John Falconar Slater stands as a significant figure in British art, particularly renowned for his evocative and dynamic portrayals of the Northumberland coastline. A largely self-taught artist with a unique connection to the raw power of the North Sea, Slater developed a distinctive Impressionistic style that captured the light, atmosphere, and often tumultuous weather of his chosen environment. His life journey, from commerce to art, and his dedication to painting outdoors in all conditions, shaped a body of work that continues to resonate with viewers today.
Early Life and a Change of Course
Born in Newcastle-upon-Tyne on November 23, 1857, John Falconar Slater's early life did not immediately point towards a career in the arts. His initial professional path followed a more conventional route for the time. He began working as a bookkeeper, employed in his father's corn mill business located in the bustling industrial landscape of Tyneside. This early exposure to commerce seemed set to define his future.
However, Slater harboured ambitions beyond ledgers and accounts. Seeking adventure and fortune, he made a bold move, travelling to South Africa. There, he immersed himself in the challenging and speculative world of the diamond trade. This period represented a significant departure from his life in the North East of England, offering experiences far removed from the Tyne's riverside industries.
Fate, however, intervened dramatically. Slater's venture in South Africa was reportedly cut short by a devastating storm, an event that significantly impacted his business interests and perhaps crystallised a desire for a different path. Facing this setback, he made the decision to return to Britain. This return marked a pivotal moment, a turning point where he chose to fully embrace his passion for painting and dedicate himself to a life as an artist.
Forging an Artistic Identity
Upon returning to England, Slater settled in the North East, specifically in the coastal area near Cullercoats, a location that would become central to his artistic identity. Unlike many of his contemporaries who benefited from formal academic training in London or Paris, Slater appears to have been largely self-taught. His artistic education came primarily from direct observation of nature and relentless practice.
His style evolved under the broad influence of Impressionism, a movement that had revolutionised painting in France and was finding echoes across Britain. While perhaps not directly studying under French masters like Claude Monet or Camille Pissarro, Slater absorbed the Impressionist ethos: the emphasis on capturing fleeting moments, the effects of light and atmosphere, and the use of visible, often energetic brushwork. He applied these principles to his local surroundings.
Slater's approach, however, was distinctly his own. He was less concerned with the sun-dappled leisure scenes favoured by some Impressionists and more drawn to the dramatic interplay of light, water, and weather on the rugged Northumberland coast. His work retained a strong connection to the earlier British landscape traditions of artists like J.M.W. Turner, who masterfully depicted atmospheric turmoil, and John Constable, known for his close observation of the English countryside, but reinterpreted through a more modern, immediate lens.
The Cullercoats Connection
Slater became closely associated with the Cullercoats Artist Colony, a loose affiliation of painters drawn to the picturesque fishing village and its dramatic coastal setting during the late 19th and early 20th centuries. This area, with its sturdy fisherfolk, traditional cottages (known as 'lowries'), and striking natural harbour ('haven'), provided rich subject matter.
The colony had gained prominence partly due to the earlier, influential visit of the American painter Winslow Homer in 1881-1882. Homer's powerful depictions of the local life and the formidable sea left a lasting impression on the area's artistic identity. Slater arrived later but became a leading figure within the ongoing artistic community there.
Other artists associated with Cullercoats during various periods included Robert Jobling, known for his detailed portrayals of the fishing community's life and labour, and William Henry Charlton. While direct collaborative projects between Slater and these artists are not extensively documented, they shared the same inspirational environment. Slater, however, distinguished himself primarily through his focus on the seascape itself, often depicting the raw interface between land, sea, and sky, rather than concentrating solely on the human element like Jobling often did.
Master of the Marine Landscape
The North Sea was undoubtedly John Falconar Slater's greatest muse. He possessed an extraordinary ability to capture its myriad moods, from the tranquil blues of a calm summer day to the furious, grey-green chaos of a winter storm. His paintings are not mere topographical records; they are immersive experiences conveying the sheer power and majesty of the ocean.
His seascapes often feature dramatic compositions with low horizons, emphasizing the vastness of the sky and the dynamic movement of clouds and waves. He employed vigorous, often thick impasto brushwork to convey the texture of churning water, crashing surf, and windswept skies. Works like Tidal Study; Waves Crashing Upon Rock exemplify his skill in rendering the energy and force of the sea against the unyielding coastline.
Slater was particularly adept at capturing the effects of light on water – the glint of sunlight on wave crests, the diffused light of an overcast day, or the dramatic illumination breaking through storm clouds. His palette could range from bright, clear blues and whites to sombre greys, deep blues, and earthy browns, always chosen to enhance the specific atmospheric conditions he was depicting.
The "Weather Painter"
Slater's dedication to capturing the authentic feel of the Northumberland coast led him to paint outdoors (en plein air) in conditions that would deter most artists. He became legendary for setting up his easel on the shore or cliffs, even amidst howling winds and driving rain, often clad in protective oilskins to withstand the elements.
This practice earned him nicknames such as "The Weather Painter" or the "Weather-Proof Artist." It was more than just an eccentric habit; it was fundamental to his artistic process. By immersing himself directly in the environment he sought to depict, Slater could respond immediately to the changing light, the movement of the waves, and the feel of the weather. This direct engagement infused his paintings with a remarkable sense of immediacy and authenticity.
His determination to paint in all weathers allowed him to capture scenes of dramatic intensity – storm-tossed fishing boats battling heavy seas, waves exploding against rocky outcrops, and skies filled with turbulent clouds. These works convey not just the visual appearance of a storm but also its raw energy and the resilience required to face it, perhaps reflecting his own determined character.
Beyond the Coastline
While most famous for his marine paintings, Slater's artistic interests extended beyond the immediate shoreline. He also painted rural landscapes, often featuring scenes from the Northumberland countryside. These works demonstrate the same sensitivity to light and atmosphere found in his seascapes.
Paintings like A Summer's Day showcase his ability to capture the warmth and vibrancy of the countryside, perhaps depicting farm workers or pastoral scenes with lively brushwork and a bright palette. Other works, such as Crossing the Ford on Horseback or Driving Through Snow, reveal his interest in depicting figures within the landscape and his skill in rendering different weather conditions and seasons inland.
He also painted river scenes, such as the notable Hexham from across the River Tyne, demonstrating his versatility in handling different types of water and landscape settings. These works, while perhaps less numerous than his coastal scenes, contribute to a fuller understanding of his artistic range and his deep connection to the broader North East region.
Exhibitions and Recognition
John Falconar Slater achieved considerable recognition during his lifetime. He was a regular exhibitor at prestigious venues, most notably the Royal Academy of Arts in London. His submissions to the RA began in 1889 and continued frequently until 1936, the year before his death. This long association with the nation's premier art institution indicates the consistent quality and appeal of his work to the selection committees and the public.
His paintings were also frequently shown at major galleries in the North East, including the Laing Art Gallery in Newcastle and the Shipley Art Gallery in Gateshead, which hold examples of his work in their permanent collections. His work could also be found at the Bowes Museum in Barnard Castle, County Durham. Exhibiting widely across the region cemented his reputation as a leading figure in North Eastern art.
He likely exhibited with other societies as well, placing his work alongside that of prominent British contemporaries. The art world of his time included figures associated with British Impressionism and the New English Art Club (NEAC), such as George Clausen, Philip Wilson Steer, and Walter Sickert, who were exploring modern approaches to painting, often focusing on light and everyday life, providing a context for Slater's own stylistic choices.
Critical Acclaim and Market Presence
Slater's distinctive style and powerful subject matter earned him respect within the art community and popularity with the public. His ability to convey the atmosphere and drama of the North Sea struck a chord with those familiar with the region and appealed to a broader appreciation for dynamic landscape painting.
His work found a ready market, and continues to be sought after by collectors. Auction records indicate consistent interest in his paintings. For instance, the sale of Collecting Mussels on the Northumberland Coast for £2000 (as noted in earlier research) reflects the value placed on his characteristic coastal scenes. Other works appearing at auction, such as The Scottish Highlands at Dusk or Dappled Light Illuminates a Horse-Drawn Carriage, demonstrate the variety of subjects that attract buyers.
His reputation was built not just on technical skill but on the perceived authenticity and emotional power of his work. He successfully translated his personal connection to the Northumberland environment into paintings that resonated with a wide audience, securing his place in the art market both during his life and posthumously.
Later Life and Contributions
Beyond his own painting practice, John Falconar Slater played an active role in the artistic life of the North East. He was recognised as a leading member and, at times, a leader of the North East Coast Art Club, an organisation dedicated to promoting the work of regional artists. This involvement demonstrates his commitment to fostering a vibrant local art scene.
Slater also shared his insights and opinions more broadly by writing art reviews for local newspapers. This critical engagement with the work of others adds another dimension to his career, showing him not just as a creator but also as a commentator and participant in the ongoing artistic dialogue of his time.
Furthermore, he documented his own experiences and perspectives, publishing memoirs related to his life and painting. These writings, though perhaps less widely known today than his paintings, offer valuable insights into his artistic philosophy, his working methods, and his experiences capturing the challenging landscapes he loved. He continued painting and exhibiting into his later years, remaining dedicated to his craft until his death on April 28, 1937.
Enduring Legacy and Influence
John Falconar Slater left behind a significant legacy as one of the foremost interpreters of the Northumberland coast. His work is celebrated for its energy, its atmospheric depth, and its unique blend of Impressionistic technique with a profound feeling for the power of nature. He is considered a key figure in the story of North East England's art history.
His influence extends beyond the gallery walls. His deep connection to Cullercoats is commemorated by a plaque in the village, acknowledging his contribution to its artistic heritage. The Cullercoats area, partly due to the legacy of artists like Slater and Homer, continues to attract painters inspired by the same dramatic coastline. His work arguably influenced later generations of regional artists who tackled similar themes.
Today, Slater's paintings are held in numerous public collections, primarily in the North East of England, ensuring their accessibility to new audiences. His work remains popular, with images sometimes reproduced on prints and merchandise, indicating a lasting cultural resonance. He stands alongside other notable British artists who focused on coastal life and landscape, such as Stanhope Forbes of the Newlyn School or Laura Knight, though Slater's particular focus on the wildness of the North Sea gives his work a unique place in British art of the period.
Conclusion
John Falconar Slater carved a unique niche for himself in British art history. Through dedication and a deep, personal connection to his subject matter, he transcended his lack of formal training to become a master painter of the North Sea. His Impressionist-influenced style, characterised by vigorous brushwork and a keen sensitivity to light and weather, perfectly captured the dramatic beauty and raw power of the Northumberland coast. Remembered as "The Weather Painter" for his commitment to working outdoors in challenging conditions, Slater produced a body of work that is both an important regional record and a powerful artistic statement. His paintings continue to evoke the spirit of the wild North Sea and stand as a testament to his singular vision and enduring talent.
