John Claude Nattes stands as a notable, if sometimes controversial, figure in the annals of British art, particularly within the flourishing tradition of topographical watercolour painting during the late eighteenth and early nineteenth centuries. Born circa 1765, likely in France, Nattes spent the majority of his productive artistic life in London, establishing himself as a meticulous delineator of landscapes, architecture, and the evolving face of Britain and parts of continental Europe. His career, marked by significant commissions, foundational involvement in artistic societies, and a notorious professional setback, offers a fascinating glimpse into the life of a working artist during a period of profound social and artistic change.
Early Life and Artistic Formation
While the precise details of John Claude Nattes's birth and early upbringing remain somewhat obscure, it is generally accepted that he was of French origin, born around 1765. He appears to have relocated to England at a relatively early stage, as his artistic activity is predominantly associated with London from the 1780s onwards. It is plausible that he received some formal artistic training, though specific masters from his earliest years are not definitively recorded. However, one significant formative influence or association was with Hugh Primrose Dean, an artist known as the "Irish Claude" for his classical landscapes. Some accounts suggest Nattes may have been a pupil of Dean and perhaps even accompanied him on travels, possibly including a journey to Italy, a common finishing school for aspiring landscape artists of the era seeking to absorb the lessons of Claude Lorrain and Nicolas Poussin.
Nattes's emergence as an artist coincided with a burgeoning public appetite for topographical views. This demand was fueled by a growing sense of national identity, an interest in antiquarianism, and the rise of picturesque tourism, particularly within Britain itself as continental travel became restricted during the Napoleonic Wars. Artists like Nattes provided valuable visual records of country estates, ancient monuments, developing cities, and scenic landscapes, catering to patrons, publishers, and a public eager for such imagery. His early works began appearing at the Royal Academy of Arts in 1782, signaling his entry into the professional art world of London.
The Topographical Style and Preferred Media
Nattes's artistic output is overwhelmingly characterized by its topographical nature. His primary aim was the accurate and detailed representation of specific places, often with an emphasis on architectural features. This was not merely an artistic pursuit but also a documentary one, capturing buildings and landscapes that were, in some cases, undergoing change or at risk of disappearing. His preferred media were pencil, ink, and watercolour, often used in combination. Many of his works began as careful pencil sketches made on site, which might later be worked up with pen and ink to define forms and then finished with delicate watercolour washes to add tone, atmosphere, and a degree of naturalism.
His style was generally marked by careful draughtsmanship, a keen eye for detail, and a somewhat reserved palette, typical of the earlier phase of English watercolour painting before the bolder chromatic experiments of artists like J.M.W. Turner or Thomas Girtin. While not known for the dramatic or sublime effects sought by some of his contemporaries, Nattes excelled in conveying the character and particularity of a location. His works often possess a quiet charm and a strong sense of place, making them invaluable historical documents as much as artistic creations. He was less concerned with poetic interpretation than with faithful transcription, a quality highly valued by many patrons who commissioned views of their properties or of sites of historical interest.
Major Commissions and Projects
A significant portion of Nattes's career was sustained by important commissions that showcased his skills as a topographical artist. One of the most extensive of these was his engagement by Sir Joseph Banks, the eminent naturalist and President of the Royal Society. Between 1789 and 1797, Banks commissioned Nattes to produce an astonishing series of over seven hundred drawings and watercolours depicting the architecture of Lincolnshire, including its many fine churches and other notable buildings. This monumental undertaking resulted in a comprehensive visual survey of the county's heritage, now preserved in several volumes and recognized as an invaluable resource for architectural historians. The sheer volume of work demonstrates Nattes's diligence and his capacity for sustained, detailed observation.
Another important sphere of Nattes's activity was as a drawing master, a common role for artists of the period. He served in this capacity for the Spencer Stanhope family at Cannon Hall in Yorkshire. During his time there, he not only instructed family members in the art of drawing but also produced a series of views of the estate and its surrounding landscapes. These works would have served as both mementos for the family and as examples of picturesque scenery, reflecting the prevailing taste for landscape appreciation.
Nattes also contributed to published works, most notably Scotia Depicta, or the Antiquities, Castles, Public Buildings, Noblemen and Gentlemen’s Seats, Cities, Towns and Picturesque Scenery of Scotland. Published in 1804 with engravings by James Fittler after drawings by Nattes and other artists, this volume was part of a wider trend for illustrated books that brought views of different parts of Britain to a wider audience. His contributions would have involved extensive travel and sketching throughout Scotland, capturing its distinctive landscapes and historic sites. He also produced drawings of the cold baths in the basement of the Assembly Rooms in Bath, a fashionable spa town, further demonstrating his focus on recording specific architectural and social spaces.
The Society of Painters in Water-Colours: A Tumultuous Chapter
John Claude Nattes played a role in a pivotal moment in the history of British watercolour painting: the founding of the Society of Painters in Water-Colours (often referred to as the Old Water-Colour Society) in 1804. This society was established by a group of artists, including William Frederick Wells, Samuel Shelley, Francis Nicholson, John Varley, Cornelius Varley, and William Sawrey Gilpin, who felt that watercolour painting was not given sufficient prominence or respect at the annual exhibitions of the Royal Academy, where it was often overshadowed by oil paintings. The society aimed to create a dedicated venue for the exhibition and sale of watercolours, thereby raising the status of the medium.
Nattes was one of the founding members of this ambitious new society. His inclusion suggests he was a respected figure among his peers at this time. However, his association with the society was to be short-lived and end in controversy. In 1807, just a few years after its inception, Nattes was accused of exhibiting works that were not entirely his own, specifically, that he had passed off drawings by his pupils or assistants as his own. This was a serious breach of artistic integrity and the society's rules. Consequently, he was expelled from the Society of Painters in Water-Colours.
This incident undoubtedly cast a shadow over his reputation, at least within certain circles. However, the provided information suggests that the damage was not irreparable. He continued to exhibit his works, notably at the Royal Academy, until 1814. This indicates that he was still able to find venues for his art and maintain a professional presence, perhaps relying on established patronage and the continued demand for topographical views. The art world of the time, while having its codes, may have been somewhat forgiving, or perhaps the full details of the scandal were not widely disseminated or were disputed.
Later Career and Continued Artistic Production
Despite the setback with the Watercolour Society, Nattes continued to work as an artist. The Napoleonic Wars (1803-1815) significantly impacted British artists, particularly those who relied on continental travel for subject matter or patronage. For Nattes, who had previously travelled in Europe, this period may have necessitated a greater focus on British subjects. He sustained his livelihood through ongoing commissions to record architecture and estates, and by continuing to teach drawing. This adaptability was crucial for many artists of the era.
His continued exhibitions at the Royal Academy until 1814 demonstrate his persistence. The Royal Academy, founded by artists like Sir Joshua Reynolds and Sir William Chambers, was the preeminent art institution in Britain, and exhibiting there was a mark of professional standing. Nattes's ability to show his work there for over three decades, from 1782 to 1814, underscores his long and active career.
His representative works, such as Great Grove House, Kensington, Mrs. Bavizzetti's Seminary (1812) and views like Assembly Rooms, Bath (dated to 1819, though this might be a later working of an earlier sketch or a specific commission date), exemplify his continued focus on specific architectural subjects, often with a social or historical context. These works, typical of his output, provide detailed visual information about the buildings and their settings.
Other Artistic Endeavors and Versatility
Beyond his primary focus on topographical watercolours, Nattes demonstrated a degree of versatility. He is known to have provided illustrations for scientific publications, such as Sébastien Leclerc's Practical Geometry. This type of work required precision and clarity, skills that were well-aligned with his topographical practice. Such illustrative work was a common way for artists to supplement their income and reach different audiences.
Interestingly, Nattes also ventured into the realm of caricature and satirical prints. One example mentioned is a satirical depiction of the destructive power of the steam engine. This suggests an engagement with contemporary social and technological changes, and a willingness to employ his artistic skills in different genres. Caricature was a hugely popular art form in Georgian Britain, with artists like James Gillray, Thomas Rowlandson, and George Cruikshank achieving great fame. While Nattes was not primarily known for this, his foray into the genre indicates a broader artistic awareness.
Contemporaries and the Artistic Milieu
John Claude Nattes operated within a vibrant and evolving artistic landscape. The late 18th and early 19th centuries saw a remarkable flourishing of watercolour painting in Britain. He was a contemporary of, and in some cases an associate of, key figures in this development.
His connection with Hugh Primrose Dean has already been noted. Among the founders of the Society of Painters in Water-Colours were artists who would go on to have significant careers. John Varley, for instance, was not only a prolific watercolourist but also an influential teacher, whose pupils included David Cox, Peter De Wint, John Linnell, and William Henry Hunt. Cornelius Varley, his brother, was known for his scientific interests as well as his art. Francis Nicholson was a respected landscape painter, and William Sawrey Gilpin came from a family deeply associated with the theory of the Picturesque. Samuel Shelley was known more for his miniatures and subject pictures in watercolour.
Other prominent topographical and watercolour artists of the period whose work provides context for Nattes include:
Paul Sandby (1731-1809): Often called the "father of English watercolour," Sandby was an earlier exponent of topographical art and a key figure in popularizing aquatint engraving for reproducing views.
Thomas Hearne (1744-1817): Known for his meticulous drawings of antiquities and landscapes, Hearne's work shares some similarities in precision with Nattes.
Edward Dayes (1763-1804): A topographical watercolourist and engraver, Dayes was also the master of Thomas Girtin. His work often featured urban scenes.
Michael "Angelo" Rooker (1746-1801): Another fine topographical artist, Rooker was also known for his work as a scene painter for the Haymarket Theatre.
Thomas Girtin (1775-1802): A revolutionary figure in watercolour, Girtin, despite his short life, expanded the expressive and atmospheric possibilities of the medium, moving beyond pure topography.
J.M.W. Turner (1775-1851): Initially working in a topographical style, Turner rapidly developed into one of the greatest and most innovative landscape painters of all time, transforming the use of watercolour and oil.
John Sell Cotman (1782-1842): A leading figure of the Norwich School, Cotman was celebrated for his bold compositions and distinctive use of flat washes of colour.
David Cox (1783-1859): Known for his fresh and vigorous handling of watercolour, particularly in depicting Welsh landscapes and weather effects.
Peter De Wint (1784-1849): Celebrated for his broad, tranquil views of the English countryside, often characterized by their rich, earthy tones.
While Nattes may not have achieved the same level of artistic innovation as Girtin, Turner, or Cotman, his work was firmly rooted in the established and highly valued tradition of topographical depiction, a field in which many skilled artists found employment and recognition. His patrons, like Sir Joseph Banks, were often more interested in accurate documentation than in artistic experimentation.
Legacy and Art Historical Evaluation
John Claude Nattes's position in art history is primarily that of a skilled and prolific topographical artist. His extensive body of work, particularly the Lincolnshire drawings for Sir Joseph Banks, constitutes a significant historical record of British architecture and landscape at a specific point in time. These works are invaluable to architectural historians, local historians, and anyone interested in the visual culture of Georgian Britain.
His role as a founding member of the Society of Painters in Water-Colours, despite his subsequent expulsion, marks his involvement in a crucial institutional development for the medium. The society played a vital part in elevating watercolour from a preparatory medium or a gentlemanly accomplishment to a respected art form in its own right.
While the scandal of his expulsion undoubtedly affected his standing, his continued ability to exhibit and secure commissions suggests a resilience and a persistent demand for his particular skills. He was, in essence, a professional artist who successfully navigated the art market of his day, providing a service that was highly valued. His work may lack the visionary power of some of his more famous contemporaries, but its strength lies in its clarity, detail, and documentary integrity. He was one of many artists who contributed to the rich tapestry of British watercolour painting, helping to define its early character and demonstrating its utility for recording the world.
Nattes died in London in 1822, although some sources give his death year as 1839. If the 1822 date is correct, his exhibiting career at the Royal Academy would have spanned most of his active life. His drawings and watercolours are now held in numerous public collections, including the British Museum, the Victoria and Albert Museum, and various regional galleries and libraries, where they continue to be studied for their artistic merit and historical information.
Conclusion
John Claude Nattes was a dedicated practitioner of topographical art, a field that required patience, precision, and a keen observational eye. His contributions to the visual record of Britain, particularly his extensive surveys of Lincolnshire architecture and his depictions of Scottish scenery, remain his most enduring legacy. While his career was not without controversy, his prolific output and his involvement in the early stages of the watercolour movement secure him a place in the history of British art. As an artist who diligently chronicled the world around him, Nattes provides us with a valuable window onto the landscapes, buildings, and artistic concerns of the late Georgian era, reminding us of the vital role that topographical artists played in shaping our understanding of the past.
