Jacob More (1740-1793) stands as a significant, if sometimes overlooked, figure in the history of 18th-century landscape painting. A Scotsman by birth, he found his artistic voice and considerable fame in the sun-drenched environs of Italy, particularly Rome. His career bridged the gap between the fading grandeur of the Baroque, the decorative charm of Rococo, and the burgeoning ideals of Neoclassicism, all while contributing to the Romantic sensibility that was beginning to permeate European art. This exploration delves into More's life, the artistic milieu of his time, his key works, distinctive style, relationships with contemporaries, and his enduring, albeit nuanced, legacy.
Early Life and Scottish Beginnings
Born in Edinburgh in 1740, Jacob More emerged from a merchant family, a background that perhaps instilled in him a practical sense that would later serve his professional career. His initial artistic inclinations led him to an apprenticeship, reportedly commencing around 1766, with the Norie family of painters in Edinburgh. The Nories were well-known decorative painters and landscapists, and this early training would have provided More with a foundational understanding of landscape composition and painterly techniques.
During the 1760s, More began to make his mark by sketching and painting the landscapes of his native Scotland. He was particularly drawn to the scenery of the Scottish Lowlands. These early works, while perhaps not yet displaying the full maturity of his later Italian period, were crucial in honing his observational skills and his ability to capture the specific character of a place. It was during this period that he produced works like the sketch Edinburgh, N.G., demonstrating his early engagement with his homeland's topography.
A significant commission in these formative years was the design of stage scenery for the Theatre Royal in Edinburgh in 1769. This was a notable event, as it marked the first performances in a newly legitimized theatre in Scotland. This foray into theatrical design suggests a versatility and an understanding of dramatic effect that would subtly inform his later landscape paintings, which often possess a sense of grandeur and carefully constructed composition.
The Artistic Climate of 18th-Century Europe
To fully appreciate Jacob More's artistic journey, it is essential to understand the complex and shifting artistic landscape of Europe during his lifetime (1740-1793). This era was a dynamic period of transition, with established styles coexisting alongside emerging movements.
The Enduring Baroque
The Baroque style, which had dominated the 17th century, still cast a long shadow in the first half of the 18th century. Originating in Italy, Baroque art emphasized dynamism, intense emotion, and theatricality. Artists like Michelangelo Merisi da Caravaggio had revolutionized painting with their dramatic use of chiaroscuro (strong contrasts between light and dark). The Flemish master Peter Paul Rubens was celebrated for his vibrant colors, energetic compositions, and sensuous figures. In sculpture and architecture, Gian Lorenzo Bernini defined the Baroque aesthetic in Rome with works that combined technical virtuosity with profound emotional impact. In Spain, Diego Velázquez brought a unique realism and psychological depth to portraiture, while later, Francisco Goya would bridge the Baroque with Romanticism. The Dutch Golden Age, with masters like Rembrandt van Rijn and Frans Hals, though distinct, shared the Baroque's interest in dramatic lighting and psychological insight, albeit often applied to more intimate, everyday scenes and portraiture. The Baroque was closely tied to the Catholic Counter-Reformation and the assertion of monarchical power, using its grandeur to inspire awe and convey authority.
The Flourishing Rococo
Emerging in France in the early 18th century, primarily during the reign of Louis XV, Rococo offered a lighter, more intimate, and decorative alternative to the grandeur of Baroque. Characterized by its asymmetry, pastel colors, serpentine lines, and themes of love, leisure, and mythology, Rococo reflected the refined and often frivolous tastes of the aristocracy. French painters like Jean-Antoine Watteau, with his fêtes galantes, and François Boucher, known for his sensuous mythological scenes and pastoral idylls, were leading proponents. The style extended beyond painting into interior design, furniture, and porcelain, creating immersive, ornate environments. While originating in France, its influence spread across Europe. The Italian architect Francesco Borromini, though primarily a Baroque figure, displayed an inventive dynamism in his architectural forms that prefigured some of Rococo's freedom from strict classical rules. Rococo was, in many ways, a reaction against the formality of earlier Classicism and the solemnity of religious Baroque.
The Rise of Neoclassicism
By the mid-18th century, a reaction against what was perceived as the frivolity of Rococo and the excessive ornamentation of late Baroque began to take shape. This was Neoclassicism, a movement inspired by the art and culture of ancient Greece and Rome, fueled by Enlightenment ideals of reason, order, and moral virtue. The rediscovery and excavation of ancient sites like Pompeii and Herculaneum provided direct visual inspiration. Neoclassicism emphasized clarity, simplicity, strong lines, and idealized forms. In painting, figures like the French artist Nicolas Poussin (though earlier, a key inspiration) and later Jacques-Louis David became standard-bearers, creating morally uplifting historical and mythological scenes. In Britain, artists like James Barry and architects such as Robert Adam championed Neoclassical principles. This movement sought a return to perceived purity and rationality, aligning with the intellectual currents of the Enlightenment.
Jacob More's career unfolded against this backdrop. His landscape painting would draw on the picturesque traditions that had roots in Baroque masters like Claude Lorrain and Salvator Rosa, while also responding to the growing taste for the sublime and the picturesque that prefigured Romanticism, and the clarity sought by Neoclassical sensibilities.
The Italian Sojourn: Rome as a Muse
In 1771 (some sources state 1773), Jacob More made the pivotal decision to leave Scotland and travel to Italy, the mecca for aspiring artists from across Europe. He settled in Rome, a city that was not only a repository of ancient and Renaissance masterpieces but also a vibrant contemporary art center. For landscape painters, the Roman Campagna, with its ancient ruins, picturesque towns, and unique light, offered inexhaustible inspiration.
More quickly established himself within the expatriate British artistic community and gained recognition among Italian patrons and fellow artists. His talent was such that he became one of the most respected landscape painters in Rome, earning the moniker "More of Rome." This was a significant achievement, given the number of talented artists, both local and foreign, vying for attention and patronage in the city.
His time in Rome was marked by prolific output and engagement with the artistic life of the city. He was elected to the prestigious Accademia di San Luca, a clear indication of his standing among his peers. Furthermore, in 1784, his Self-Portrait was invited for inclusion in the Uffizi Gallery in Florence, a collection renowned for its portraits of artists – a singular honor that underscored his international reputation.
Masterpieces and Signature Works
Jacob More's oeuvre is characterized by its focus on landscape, both of his native Scotland and his adopted Italy. Several works stand out as particularly representative of his skill and artistic vision.
The Falls of the Clyde Series:
Before leaving for Italy, More produced a series of three significant oil paintings depicting the Falls of the Clyde in Scotland. These are:
Corra Linn (now in the National Gallery of Scotland, Edinburgh)
Stonebyres Linn (now in the Tate, London)
Bonnington Linn (now in the Fitzwilliam Museum, Cambridge)
Created around 1771, this series is considered a landmark in Scottish art, representing one of the first serious and formal artistic interpretations of Scottish scenery. These paintings capture the sublime power and natural beauty of the waterfalls, combining topographical accuracy with a sense of romantic grandeur. They demonstrate More's ability to handle complex compositions and convey the atmospheric effects of his native landscape. The success of these works likely bolstered his confidence and reputation before his Italian venture. Sir Joshua Reynolds, a leading figure in British art, is said to have highly praised these works.
Self-Portrait (1783):
Housed in the Uffizi Gallery, Florence, this self-portrait presents More as a confident and established artist. It is a testament to his success and recognition in Italy. The inclusion of his likeness in such a prestigious collection speaks volumes about his contemporary standing.
Depictions of Mount Vesuvius:
The dramatic landscape around Naples, particularly the active volcano Mount Vesuvius, captivated many artists of the period. More was no exception. In 1778, he traveled to Naples, in the company of architects Thomas Hardwick and John Henderson, and Robert Furze Brettingham, specifically to witness and sketch an eruption of Vesuvius. He met with his friend and fellow painter Thomas Jones during this trip. The sketches and observations made during this excursion provided material for later paintings developed in his Roman studio. One notable work is Mount Vesuvius in Eruption. While some versions or related engravings carry later dates (e.g., 1807, which would be posthumous), his direct studies from the 1770s and 1780s captured the terrifying beauty and sublime power of the volcano, a popular theme that resonated with the burgeoning Romantic sensibility.
Ariccia and other Roman Landscapes:
During his long residency in Rome, More produced numerous views of the city and its surrounding Campagna. Works depicting sites like Ariccia, a town in the Alban Hills near Rome, showcase his mature style. These paintings are characterized by their luminous quality, careful attention to detail, and often a serene, classical mood, influenced by the tradition of Claude Lorrain. They were highly sought after by Grand Tourists – wealthy, often British, travelers undertaking an educational tour of Europe – as sophisticated souvenirs of their Italian experience.
Edinburgh, N.G. (sketch):
This earlier work from the 1760s, a sketch of the Scottish Lowlands, provides a valuable insight into his formative period and his initial engagement with landscape before the full development of his Italianate style.
Stage Designs for the Theatre Royal, Edinburgh (1769):
Though not extant paintings in the traditional sense, his designs for the Theatre Royal were significant in his early career, demonstrating his versatility and understanding of visual spectacle.
These works, distributed across major collections today, highlight More's journey from a promising Scottish talent to an internationally recognized master of landscape painting.
Artistic Style and Techniques
Jacob More's artistic style evolved throughout his career, but certain characteristics remained consistent, particularly his dedication to landscape and his skillful rendering of natural effects.
His early Scottish works, including the Falls of the Clyde series, already demonstrated a capacity for capturing the sublime aspects of nature. These paintings are marked by a certain grandeur and an attempt to convey the wildness and power of the Scottish scenery. The compositions are carefully constructed, and there is an evident interest in atmospheric effects.
Upon moving to Italy, More's style absorbed the influences of the classical landscape tradition, particularly the work of 17th-century masters like Claude Lorrain and Nicolas Poussin, whose idealized landscapes of the Roman Campagna had set a standard for generations. More's Italian landscapes often feature a warm, golden light, meticulously rendered foliage, and a harmonious balance in composition. He became adept at capturing the specific quality of Italian light and atmosphere, which distinguished his work.
More was praised for his bright colors and his ability to create spectacular panoramic views. His technique involved fine lines and soft, nuanced shading, evident in both his oil paintings and his watercolors. He paid close attention to detail, giving his landscapes a sense of realism, yet often imbuing them with an idealized or romantic quality. Some of his Roman landscapes, like views of Ariccia, were noted for their almost photographic reality, combined with a romantic sensibility.
He also experimented with monochrome landscapes, particularly in watercolor, where bold lines and static compositions could create a sense of tranquility and depth. This versatility in medium and approach contributed to his reputation. While some British painters of the time may have found his style too polished or perhaps too indebted to the Claudian tradition, his technical skill was widely acknowledged. He successfully blended topographical accuracy with artistic interpretation, creating landscapes that were both recognizable and aesthetically pleasing. His work often aimed for a "presentation" style that was less about raw, untamed nature and more about a composed, harmonious vision, though his Vesuvius pictures certainly embraced the sublime and dramatic.
Contemporaries, Collaborations, and Recognition
Jacob More's career in Rome placed him at the heart of a vibrant international artistic community. He interacted with numerous artists, patrons, and intellectuals.
One notable contemporary with whom More had direct contact was the Scottish portrait painter Allan Ramsay. During their time in Rome, More and Ramsay are known to have collaborated in a rather antiquarian pursuit: searching for the site of Horace's Sabine Villa. This indicates a shared interest in classical antiquity that extended beyond purely painterly concerns.
More was also acquainted with the Welsh landscape painter Thomas Jones, whose candid memoirs provide valuable insights into the lives of British artists in Italy during this period. Their meeting in Naples during More's visit to observe Vesuvius points to a network of British artists supporting and interacting with each other abroad.
His election to the Accademia di San Luca in Rome was a significant mark of recognition from the Italian artistic establishment. This honor placed him in the company of esteemed Italian artists and further solidified his professional standing. The subsequent invitation for his self-portrait to be hung in the Uffizi Gallery in Florence was an even greater accolade, signaling his fame beyond Rome and placing him in the historical canon of artists.
While some British painters back home may have offered criticisms of his style (details of which are not extensively documented in the provided source material), More received high praise from influential figures. Sir Joshua Reynolds, the first president of the Royal Academy in London and a dominant figure in British art, is recorded as having admired More's work, particularly the Falls of the Clyde series. The German writer and polymath Johann Wolfgang von Goethe, who also spent time in Italy and was a keen observer of the arts, reportedly considered More among the best painters of his time. Such endorsements from leading cultural figures would have significantly enhanced his reputation.
Other British artists active in Italy during or around More's time, forming part of the broader Grand Tour ecosystem, included landscape painters like Richard Wilson (often called the father of British landscape painting, who also found inspiration in Italy), and later, watercolorists such as John Robert Cozens, whose atmospheric Italian views pushed the boundaries of the medium. While direct collaborations with all these figures are not specified, More operated within this milieu of British artists interpreting Italy for a largely British audience. His success in this competitive environment speaks to the quality and appeal of his work. The sculptor Vincenzo Pacetti was later commissioned by More's nephew to create his tomb, indicating connections within the Italian artistic community itself.
Major Events and Artistic Development
Several key events shaped Jacob More's artistic trajectory. His initial training with the Norie family and his early work in Scotland, including the stage designs and the Falls of the Clyde series, laid the groundwork for his future success. The positive reception of his Scottish landscapes, possibly including an exhibition at the Society of Artists in London around 1767 where he was reportedly encouraged by Reynolds, likely emboldened him to seek his fortunes in Italy.
The move to Italy in the early 1770s was undoubtedly the most transformative event in his career. Rome provided him with new subject matter, a sophisticated market, and a stimulating artistic environment. His immersion in the classical landscape tradition, combined with direct observation of Italian scenery, led to a refinement of his style. He became known as "More of Rome," a title that indicates how closely his artistic identity became associated with the city.
The 1778 journey to Naples to witness the eruption of Mount Vesuvius was another significant episode. This experience allowed him to engage directly with the theme of the sublime in nature, a concept of growing importance in late 18th-century aesthetics, famously explored by thinkers like Edmund Burke. His depictions of Vesuvius showcased his ability to capture nature's terrifying power and beauty, adding another dimension to his landscape repertoire.
His artistic development can be seen as a progression from a more regional focus on Scottish scenery to a more cosmopolitan, Italianate style that appealed to an international clientele. While his early Scottish works were significant in establishing his reputation, it was his Italian landscapes that cemented his fame. His style, while rooted in the classical tradition of Claude Lorrain, also incorporated a contemporary sensibility for picturesque detail and, at times, sublime drama. This evolution, however, was not always universally lauded; any innovation or deviation from established norms can invite criticism, and his polished style might have been seen by some as less ruggedly "natural" than emerging Romantic tastes might prefer. Nevertheless, his sustained success in Rome over two decades attests to the broad appeal of his artistic vision.
His sudden death in Rome on October 1, 1793, cut short a distinguished career. The fact that his nephew, Jacob More Jr., commissioned a tombstone from the Italian artist Vincenzo Pacetti the following year indicates the family's desire to create a lasting memorial in the city where he had achieved so much.
Legacy and Influence
Jacob More's legacy is primarily that of a highly skilled and successful landscape painter who masterfully captured the beauty of both Scottish and Italian scenery. During his lifetime, he achieved considerable fame, particularly in Rome, where he was a leading figure among expatriate artists and highly regarded by patrons and peers. The praise from figures like Sir Joshua Reynolds and Goethe underscores his contemporary significance.
His paintings were popular among Grand Tourists, and his views of Rome and the Campagna became desirable mementos of their travels. In this sense, he played a role in shaping the visual perception of Italy for a generation of British travelers. His work, characterized by its luminous colors, panoramic compositions, and often serene beauty, aligned well with the prevailing tastes for classical and picturesque landscapes.
While his popularity may have waned somewhat in the 19th century with the rise of different artistic movements and sensibilities, his contribution to the development of landscape painting, particularly within the British school, is recognized. He successfully adapted the classical landscape tradition of artists like Claude Lorrain to his own time, infusing it with a fresh observational quality.
His influence on subsequent artists is perhaps more subtle than that of more revolutionary figures. However, by producing high-quality, appealing landscapes, he helped to elevate the status of the genre. His detailed technique and his ability to render light and atmosphere provided a model of craftsmanship. For Scottish art, his Falls of the Clyde series remains a significant early example of the artistic appreciation of native scenery, prefiguring the later focus on national landscapes in the Romantic era. Artists like Alexander Nasmyth, who also painted Scottish landscapes, would have been aware of More's work.
Though not a radical innovator in the mold of a J.M.W. Turner or John Constable who would later revolutionize British landscape painting, Jacob More was a consummate professional who excelled within the established conventions of his time, while also subtly responding to emerging aesthetic trends. His paintings remain admired for their technical skill, their evocative beauty, and their ability to transport the viewer to the sunlit landscapes of 18th-century Italy or the dramatic scenery of Scotland. His work is a testament to the enduring allure of landscape and the cross-cultural artistic exchanges that characterized the era.
Conclusion
Jacob More of Edinburgh, and later "More of Rome," carved out a distinguished career as a landscape painter in an era of significant artistic transition. From his early depictions of the Scottish Highlands to his celebrated views of the Roman Campagna and dramatic scenes of Vesuvius, he demonstrated a remarkable ability to capture the essence of place with technical finesse and aesthetic sensitivity. He navigated the complex art world of Rome with considerable success, earning accolades and the respect of influential figures like Sir Joshua Reynolds and Goethe. While his style was largely rooted in the classical landscape tradition, he infused his work with a contemporary vibrancy and an eye for the picturesque and the sublime. His paintings remain important documents of 18th-century taste and significant contributions to the rich history of European landscape art, securing his place as a notable Scottish artist who achieved international renown.
