The 19th century was a fertile period for landscape painting in Britain, an era that saw the towering figures of Romanticism give way to the detailed observations of the Victorians. Within this artistic milieu, James Francis Danby (1816-1875) carved out a career as a painter of landscapes and coastal scenes. While he achieved a degree of recognition during his lifetime, his artistic identity has often been intertwined with, and sometimes overshadowed by, that of his highly acclaimed father, Francis Danby ARA (1793-1861), a leading figure of the Romantic movement. This article seeks to illuminate the life and work of James Francis Danby, while also contextualizing his career within his family's artistic heritage and the broader currents of 19th-century British art.
Early Life and Artistic Inheritance
James Francis Danby was born in Bristol, England, in 1816. His upbringing was undoubtedly steeped in art, as his father, Francis Danby, was already an established painter with a growing reputation. Francis had moved from Ireland to Bristol around 1813 with fellow artists James Arthur O'Connor and George Petrie, and Bristol became a significant center for his early development, particularly his association with the burgeoning Bristol School of artists. James Francis, therefore, grew up in an environment where artistic pursuits were central. He was not the only one of Francis Danby's sons to follow an artistic path; his brother, Thomas Danby (1818-1886), also became a respected landscape painter, particularly known for his watercolors.
The influence of a successful artistic parent can be both a blessing and a challenge. For James Francis, it likely provided early training, access to artistic circles, and an inherent understanding of the painter's craft. However, it also meant that his work would inevitably be compared to that of his father, whose dramatic and imaginative canvases had captured public and critical attention.
Artistic Career and Exhibitions
James Francis Danby developed a style that, while rooted in the landscape tradition, often diverged from the high Romantic drama of his father. He focused primarily on British scenery, depicting tranquil landscapes, river views, and coastal scenes, often imbued with the specific atmospheric effects of dawn, sunset, or moonlight. His mediums of choice were oil and watercolor, both popular among Victorian landscape artists.
He began exhibiting his works in London in the 1830s and continued to do so regularly throughout his career. His paintings were shown at prestigious venues such as the Royal Academy of Arts, the British Institution, and the Society of British Artists in Suffolk Street. Consistent exhibition at these institutions indicates a professional artist actively engaged with the London art world and seeking to build a reputation among peers and patrons. Titles of his exhibited works often reflect his thematic concerns: "Loch Lomond – Sunset," "Derwentwater, Cumberland," "Moonlight on the Sea Coast," and "The Wreckers" suggest a preoccupation with specific locations and times of day, aiming to capture the nuanced beauty of the British Isles.
Style and Subject Matter
James Francis Danby's style can be characterized as typically Victorian in its attention to naturalistic detail, combined with a lingering Romantic sensibility for atmosphere and light. Unlike his father's often apocalyptic or grand mythological scenes, James Francis's works tended towards more intimate and serene depictions of nature. He was particularly adept at rendering the subtle gradations of light and color in skies and their reflections on water. His coastal scenes, sometimes featuring shipwrecks or fishing activities, added a narrative element, but generally without the overwhelming drama favored by his father.
His landscapes often evoke a sense of peace and quiet contemplation. While he might not have aimed for the "sublime" in the way his father or artists like John Martin did, his work possesses a gentle poetry. He shared with many of his Victorian contemporaries, such as Benjamin Williams Leader or Myles Birket Foster (though the latter worked predominantly in watercolor), a desire to capture the picturesque qualities of the British landscape, making it accessible and appealing to a growing middle-class audience.
The Towering Figure of Francis Danby ARA
To fully understand James Francis Danby's position, it is essential to acknowledge the significant artistic stature of his father, Francis Danby. Francis was an Irish painter of the Romantic era, born near Wexford in 1793. His early life was marked by upheaval; his father's death led to a move to Dublin, where he studied at the Royal Dublin Society's drawing schools. A youthful and ambitious trip to London with George Petrie and James Arthur O'Connor ended with Francis settling in Bristol, where his career truly began to flourish.
Francis Danby became a key figure in the Bristol School, a group of artists that included Edward Bird, Edward Villiers Rippingille, and Samuel Jackson. They were known for their informal sketching club and their poetic, often atmospheric, depictions of local scenery. Francis's early Bristol works show a move from topographical accuracy towards more imaginative and emotionally charged landscapes.
His breakthrough came with works like The Upas Tree of Java (1820), a fantastical and ominous scene that captured the Romantic imagination. This was followed by even more ambitious paintings, often on a grand scale and depicting biblical or mythological subjects. The Delivery of Israel out of Egypt (1825) was a triumph, showcasing his ability to handle complex compositions with numerous figures and dramatic lighting. This work, exhibited at the Royal Academy, led to his election as an Associate of the Royal Academy (ARA) in the same year. Another powerful work, The Opening of the Sixth Seal (1828), further solidified his reputation as a painter of the sublime, rivaling John Martin in its apocalyptic vision.
Francis Danby's style was characterized by its rich, glowing color, often featuring dramatic sunsets or ethereal moonlight, and a poetic, sometimes melancholic, sensibility. He was influenced by masters like Claude Lorrain, whose idealized landscapes and luminous light effects resonated with Romantic painters, and also by his contemporary, J.M.W. Turner, particularly in his handling of light and atmosphere. Works like Sunset at Sea after a Storm (1824) and The Deluge (c. 1837-1840) are prime examples of his ability to convey nature's power and beauty with profound emotional impact.
However, Francis Danby's personal life was tumultuous. A scandal involving his wife led him to leave England in 1829, and he spent over a decade living abroad, primarily in Geneva, Switzerland. During this period, he continued to paint, focusing on Swiss landscapes and marine subjects, often on a smaller scale. He returned to England in the early 1840s and settled in Exmouth, Devon, where he spent the remainder of his life, continuing to paint and exhibit. His later works, such as The Evening Gun (1848), often possess a more serene and contemplative quality, though his mastery of light and color remained undiminished. He died in Exmouth in 1861.
Other artists who were part of Francis Danby's broader circle or shared similar Romantic inclinations included David Roberts, known for his topographical views and Orientalist scenes, and Clarkson Stanfield, a master of marine painting. John Constable, with his naturalistic approach to English landscape, represented another important facet of the era's art.
Distinguishing Father and Son
The significant achievements and dramatic flair of Francis Danby ARA have, at times, led to confusion, with works or stylistic characteristics of the father being mistakenly attributed to the son, James Francis. It is crucial for art historical clarity to differentiate between them.
Francis Danby was an innovator, a painter of grand, imaginative, and often sublime subjects, whose work engaged with the core tenets of Romanticism. His palette was rich, his compositions often complex and dramatic, and his themes frequently drawn from literature, mythology, or the Bible.
James Francis Danby, on the other hand, worked within a more conventional Victorian landscape tradition. While his paintings are skillfully executed and possess their own quiet charm, they generally lack the visionary ambition and dramatic intensity of his father's major works. His focus was more on the faithful yet poetic rendering of specific British locales and atmospheric conditions. His career was steady and professional, but he did not achieve the same level of fame or critical acclaim as Francis.
Anecdotes and Artistic Milieu (Primarily Francis Danby)
Many of the more colorful anecdotes associated with the "Danby" name belong to Francis. His early struggles, the ambitious journey to London that saw him nearly destitute, his pivotal role in the convivial Bristol School, and the later scandal that forced his expatriation, all contribute to the narrative of a quintessential Romantic artist – passionate, ambitious, and somewhat unconventional.
The artistic environment in which Francis Danby thrived was one of intense creativity and competition. The Royal Academy exhibitions were major social and cultural events, and public taste was shifting. The rise of the middle class created new markets for art, and landscape painting, in its various forms, was particularly popular. Francis Danby's success with large-scale, dramatic pictures demonstrates an appetite for art that was both visually spectacular and emotionally engaging. His interactions with figures like Turner and Martin, whether as rivals or colleagues, highlight the dynamic nature of the London art scene.
For James Francis, the artistic milieu was that of the mid-Victorian era. The influence of John Ruskin's call for "truth to nature" was pervasive, encouraging detailed observation. The Pre-Raphaelite Brotherhood, though distinct in its aims, also contributed to a climate where meticulous rendering was valued. While James Francis was not a Pre-Raphaelite, this broader emphasis on naturalism would have informed his practice.
The Market and Collections
The works of Francis Danby ARA are held in major public collections worldwide, including the Tate Britain, the Victoria and Albert Museum in London, the National Gallery of Ireland, the Bristol Museum & Art Gallery, and the Yale Center for British Art. His significant paintings command high prices at auction, reflecting his established importance in the canon of British Romantic art. For instance, The Delivery of Israel out of Egypt and The Opening of the Sixth Seal are considered masterpieces of the period.
James Francis Danby's works also appear on the art market, though generally at more modest price points than those of his father. His paintings are found in some regional British collections and private collections. Their appeal lies in their competent execution and pleasant depiction of Victorian-era landscapes. While perhaps not as groundbreaking as his father's, James Francis's paintings offer a valuable glimpse into the popular taste for landscape art in the mid-19th century. His works, such as "View of the Avon Gorge" or "Harlech Castle, North Wales," are representative of his output.
Later Life and Legacy of James Francis Danby
James Francis Danby continued to paint and exhibit throughout his life. He resided in London for many years, a common base for artists seeking to engage with the primary art market and exhibition societies. He passed away in London in 1875.
His legacy is that of a competent and diligent landscape painter who contributed to the rich tapestry of Victorian art. While he did not achieve the transformative impact of his father, he upheld a family tradition of artistic endeavor. His paintings provide a contrast to the more dramatic works of Francis, showcasing a quieter, more pastoral vision of the British landscape. He, along with his brother Thomas Danby, ensured that the Danby name remained associated with landscape painting for another generation.
In the broader history of art, James Francis Danby is a figure representative of many artists of his time: skilled, professional, and dedicated to their craft, contributing to the artistic culture of their era without necessarily revolutionizing it. His work serves as a reminder that the art world is comprised not only of towering geniuses but also of many talented individuals who enrich it in their own distinct ways. His paintings continue to be appreciated for their charm, their skillful rendering of light and atmosphere, and their depiction of the enduring beauty of the British landscape. He stands as an interesting example of an artist navigating his career within the significant shadow of a famous and influential father, developing his own voice while remaining connected to a powerful artistic lineage. His contemporaries in the broader Victorian landscape school might include artists like Alfred Vickers Sr., George Augustus Williams (of the Williams family of painters), and Sidney Richard Percy, all of whom catered to the public's love for accessible and picturesque British scenery.
Conclusion
James Francis Danby was a notable British landscape painter of the Victorian era, whose career spanned several decades of consistent artistic production and exhibition. Born into an artistic family, with the celebrated Romantic painter Francis Danby ARA as his father, he pursued his own path, focusing on the serene beauty of British landscapes and coastal scenes. He skillfully captured atmospheric effects in oil and watercolor, exhibiting regularly at London's premier art institutions.
While his father, Francis Danby, is remembered for his grand, imaginative, and often sublime paintings that were central to the Romantic movement—works like The Delivery of Israel out of Egypt and The Deluge—James Francis cultivated a more tranquil and naturalistic style. He distinguished himself from his father's dramatic intensity, offering instead a gentle, poetic vision that resonated with Victorian tastes. His contemporaries included a wide range of landscape artists, from the epic visions of John Martin to the detailed naturalism favored by followers of Ruskin, and the more picturesque styles of artists like Benjamin Williams Leader or Myles Birket Foster.
Understanding James Francis Danby requires acknowledging the immense legacy of his father while appreciating his own distinct contributions. His work, found in various collections and appearing on the art market, offers a valuable perspective on 19th-century British landscape painting. He remains a figure worthy of study, not only for his artistic merit but also as an example of an artist navigating the complexities of familial influence and carving out his own niche in a competitive art world. His paintings endure as a testament to his dedication to capturing the nuanced charm of the landscapes he depicted.
