The annals of art history are rich with figures whose passion and discernment have shaped our understanding and appreciation of artistic genius. Among these, Hugh Andrew Johnstone Munro of Novar stands as a pivotal, if sometimes overlooked, figure of nineteenth-century Britain. A Scottish landowner of considerable means, Munro was not merely a passive accumulator of art; he was an active and influential patron, a discerning collector with an eye for both Old Masters and contemporary talent, and an accomplished amateur painter in his own right. His legacy is intrinsically linked with some of the greatest artists of his era, most notably Joseph Mallord William Turner, and his collection was a testament to a profound engagement with the visual arts that resonated through the cultural landscape of his time.
The Genesis of a Collector: Early Life and Influences
Born around 1797 into a prominent Highland family, Hugh Munro inherited the Novar estate in Ross-shire, Scotland. Like many gentlemen of his standing, his upbringing would have included exposure to the classics, literature, and the fine arts. The early nineteenth century was a period of burgeoning British power and cultural confidence, and the tradition of the Grand Tour, though evolving, still played a role in shaping the tastes of the wealthy. Young men travelled to Italy and other parts of Europe, encountering firsthand the masterpieces of the Renaissance and antiquity, as well as the vibrant contemporary art scenes.
It is highly probable that such experiences, coupled with a natural inclination, ignited Munro's passion for art. He developed a keen eye, distinguishing himself from many contemporary collectors who might have bought based on fashion or dealer advice alone. Munro's collecting was characterized by a personal vision and a deep appreciation for artistic skill and innovation. His activities as a collector began in earnest in the 1820s and continued for several decades, during which he assembled one of the most significant private art collections in Britain.
His role was not confined to Scottish estates; London was the epicentre of the British art world, and Munro became a familiar figure in its galleries, auction houses, and artists' studios. He moved within a circle of influential collectors, critics, and artists, contributing to the dialogues that shaped artistic taste and practice. His own efforts as an amateur painter, likely focusing on landscapes and perhaps watercolour sketches from his travels, would have further deepened his understanding of artistic processes and challenges, informing his choices as a collector and patron.
A Patron of Titans: Munro and J.M.W. Turner
The relationship between Hugh Munro of Novar and J.M.W. Turner is one of the most celebrated patron-artist associations in British art history. Munro was more than just a buyer of Turner's works; he was a steadfast friend, a travelling companion, and a commissioner of some of Turner's most ambitious and iconic paintings. Their bond was built on mutual respect and a shared passion for landscape and the sublime power of nature.
Munro's patronage provided Turner with crucial support, particularly during periods when the artist's increasingly experimental style faced criticism from more conservative quarters. He acquired a remarkable array of Turner's masterpieces, spanning different periods of the artist's career. Among the most famous Turners in Munro's collection were "Modern Italy – The Pifferari" (1838) and "Ancient Italy – Ovid Banished from Rome" (1838), a pair that showcased Turner's poetic and historical imagination. He also owned the breathtaking "The Grand Canal, Venice" (c. 1835) and the evocative "Stresa, Lago Maggiore" (1842), one of a series of sublime Swiss and Italian views that Turner produced, often inspired by their travels together.
Indeed, Munro accompanied Turner on several continental tours, including trips to Switzerland and Italy in the 1830s and 1840s. These journeys were immensely productive for Turner, providing him with fresh inspiration and subject matter. Munro's companionship and financial backing facilitated these expeditions, allowing Turner the freedom to explore and sketch. The watercolours and oil paintings that resulted from these tours are among Turner's most luminous and atmospheric works, and Munro had the foresight to acquire many of them. His collection included a significant number of Turner's watercolours, highly prized for their immediacy and technical brilliance. Other notable Turners he owned included "Rome, from Mount Aventine" and "Juliet and Her Nurse."
The depth of their relationship is underscored by the fact that Turner appointed Munro as one of his executors, a testament to the trust and esteem in which he held his patron. Munro's championing of Turner was crucial in cementing the artist's reputation and ensuring that his revolutionary approach to landscape painting was appreciated by a wider audience.
The Novar Collection: A Pantheon of Masters
While his association with Turner was a defining feature of his collecting, Hugh Munro's artistic interests were far-reaching. The Novar collection was renowned for its breadth and quality, encompassing Old Masters from various European schools as well as works by leading contemporary British artists. This demonstrated a sophisticated taste that could appreciate both established historical canons and emerging artistic currents.
Among the Old Masters, Munro possessed works of exceptional calibre. One of the jewels of his collection was Rembrandt van Rijn's powerful and poignant "Lucretia" (1666), a late masterpiece by the Dutch artist. He also owned Paolo Veronese's "The Vision of the Holy Spirit," showcasing the Venetian master's vibrant colour and dynamic composition. Works by other luminaries such as Titian, Raphael, Correggio, Nicolas Poussin, and Claude Lorrain graced his walls, indicating a deep appreciation for the Italian and French classical traditions. The presence of such names speaks to Munro's ambition to create a collection that could stand alongside the great aristocratic holdings of Europe.
His acquisitions were not limited to grand historical or mythological scenes. He also appreciated the intimacy of Dutch Golden Age painting, the drama of Baroque art, and the elegance of the Rococo. This eclectic yet discerning approach marked him as a true connoisseur, capable of recognizing quality across different genres and periods.
Championing Contemporary British Art
Beyond Turner, Munro was a significant supporter of other contemporary British artists. He recognized the vitality of the British school and sought to encourage its development. One notable artist he patronized was Richard Parkes Bonington, a brilliant but short-lived painter whose romantic landscapes and historical scenes were highly admired. Munro owned Bonington's "Fishmarket, Boulogne," a work that captures the lively atmosphere of the French coast with a freshness and luminosity characteristic of the artist.
Munro's collection likely included works by other prominent figures of the era. The British art scene during his lifetime was vibrant, with artists like John Constable revolutionizing landscape painting with his naturalistic depictions of the English countryside. Sir David Wilkie was celebrated for his genre scenes, while Sir Thomas Lawrence was the preeminent portrait painter of the Regency and early Victorian periods. Edwin Landseer captivated audiences with his animal paintings, often imbued with narrative and emotional depth. William Etty was known for his nudes and historical subjects, and John Martin created vast, apocalyptic landscapes that thrilled the public.
While it's not exhaustively documented which of these specific artists, beyond Turner and Bonington, Munro directly collected on a large scale, his engagement with the London art world meant he was certainly aware of their work. His support for contemporary art was a vital contribution, providing artists with financial stability and critical endorsement. This was a period when the Royal Academy of Arts played a central role, and patrons like Munro were crucial to the ecosystem that sustained artistic production and innovation. The rise of the Pre-Raphaelite Brotherhood in the mid-century, with figures like John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt, would also have been a contemporary development, though Munro's tastes generally leaned towards the established masters and the Romantic landscapes of Turner.
Munro the Amateur Artist: A Deeper Connection
Hugh Munro of Novar was not content to merely observe and acquire art; he was also an active practitioner. As an amateur painter, he engaged directly with the creative process, an experience that undoubtedly sharpened his critical faculties and deepened his empathy for professional artists. While gentlemen amateurs were common in this period, Munro's dedication seems to have been more than a casual pastime.
His own artistic output likely consisted primarily of landscape watercolours and sketches, often inspired by his travels in Scotland and on the Continent. This practice would have given him a firsthand understanding of the technical challenges of capturing light, atmosphere, and form – elements that he so admired in the works of Turner and other masters. Working alongside Turner on their tours, Munro would have had an unparalleled opportunity to observe the master at work, learning from his techniques and his unique way of seeing the world.
While his own works may not have achieved the public recognition of his professional contemporaries, his status as an amateur artist added another dimension to his role as a patron. It fostered a more intimate connection with the art he collected and the artists he supported, allowing for a dialogue based on shared experience and understanding. This active engagement distinguishes him from collectors who approached art solely as an investment or a status symbol.
The Dispersal and Legacy of the Novar Collection
Hugh Munro of Novar passed away in 1864. After his death, his magnificent collection remained largely intact for a period before eventually being dispersed through a series of landmark sales, most notably at Christie's in London. The sales of the Novar collection, particularly the one in 1878, were major events in the art world, attracting collectors and museum representatives from across Europe and America.
The dispersal, while regrettable in the sense that it broke up a uniquely personal and high-quality assemblage, also had the effect of enriching public collections worldwide. Many of the masterpieces once owned by Munro now reside in prestigious museums, including the National Gallery in London, the National Gallery of Scotland, and institutions in the United States. For instance, Rembrandt's "Lucretia" eventually found its home in the Minneapolis Institute of Art, while many of Turner's works from the Novar collection are now in public hands, allowing broader access to these seminal pieces.
Munro's legacy extends beyond the individual artworks he collected. He played a crucial role in elevating the status of British art and in fostering a greater appreciation for landscape painting. His unwavering support for Turner, in particular, was instrumental in securing the artist's place in the pantheon of great painters. Furthermore, his example as a discerning and knowledgeable collector set a standard for others to follow, influencing patterns of taste and patronage in Victorian Britain.
He demonstrated that a private collector could make a profound impact on the art world, not just through acquisition but through active engagement, friendship with artists, and a commitment to quality. His collection was a reflection of a deeply personal vision, a testament to a life lived in close communion with art. Figures like Munro were vital to the cultural fabric of their time, acting as bridges between artists and the public, and as custodians of artistic heritage.
The Wider Artistic Milieu: Contextualizing Munro's World
To fully appreciate Hugh Munro of Novar's contribution, it is essential to consider the broader artistic milieu in which he operated. The 19th century was a period of immense change and dynamism in the European art world. In France, artists like Jean-Auguste-Dominique Ingres upheld the classical tradition, while Eugène Delacroix championed the passion and drama of Romanticism. Later in Munro's collecting period, Camille Corot and the Barbizon School painters were pioneering a more naturalistic approach to landscape, prefiguring Impressionism.
In Britain, alongside the towering figure of Turner and the pastoral charm of Constable, the art scene was diverse. The Victorian era saw a flourishing of narrative painting, historical subjects, and portraiture. The Royal Academy exhibitions were major social and cultural events. The rise of an affluent middle class also expanded the market for art, though connoisseurs like Munro, with their aristocratic backgrounds and deep knowledge, often set the benchmark for taste.
Munro's focus on both Old Masters and contemporary art was characteristic of some of the most enlightened collectors of his time. It showed an understanding that great art was not confined to the past but was a continuous, evolving tradition. His willingness to support innovative artists like Turner, even when their work challenged conventional aesthetics, marked him as a forward-thinking patron. He was part of a network that included other significant collectors such as John Sheepshanks, who also championed British artists and whose collection formed a founding part of the Victoria and Albert Museum, and Robert Vernon, whose bequest greatly enriched the National Gallery.
The art market itself was becoming more sophisticated, with influential dealers like Agnew's playing an increasingly important role. However, patrons like Munro often preferred to deal directly with artists or to rely on their own judgment at auctions. His collection, therefore, was not merely a curated selection by dealers but a deeply personal assemblage reflecting his own tastes and relationships.
Conclusion: An Enduring Influence
Hugh Andrew Johnstone Munro of Novar was more than a wealthy man who bought paintings; he was a pivotal figure in the cultural life of 19th-century Britain. His discerning eye, his adventurous spirit in collecting, and his profound and loyal patronage, especially of J.M.W. Turner, left an indelible mark on art history. His collection, though now dispersed, continues to speak of a remarkable connoisseurship that embraced both the grandeur of the Old Masters like Rembrandt and Veronese, and the revolutionary genius of contemporary artists.
As an amateur painter himself, Munro possessed an intimate understanding of the artistic process, which undoubtedly informed his acquisitions and his relationships with artists such as Bonington. He navigated the vibrant art world of his time, from the studios of London to the landscapes of Italy, always in pursuit of beauty and artistic excellence. The legacy of Hugh Munro of Novar is not just in the masterpieces that once graced his collection, but in the enduring example he set as a passionate, knowledgeable, and transformative force in the world of art. His life and work remind us of the vital role that enlightened patronage plays in fostering artistic innovation and preserving cultural heritage for future generations.
