John Fulleylove (1845-1908) stands as a significant, if sometimes overlooked, figure in the rich tapestry of late Victorian art. A prolific painter in both watercolour and oils, he carved a distinct niche for himself through his meticulous and evocative depictions of architectural marvels and picturesque landscapes. His work, deeply rooted in the observational traditions of British art, extended from the familiar charm of English gardens and historic towns to the sun-drenched ruins of classical antiquity in Greece and Italy, and the sacred sites of the Holy Land. Fulleylove's career coincided with a period of immense artistic diversity and change, yet he remained steadfast in his commitment to a detailed, topographical, and aesthetically pleasing realism that found favour with both the public and established art institutions.
Early Life and Architectural Foundations in Leicester
Born in Leicester in 1845, John Fulleylove's initial artistic inclinations were channelled into a more structured discipline: architecture. He received his early training in this field, working for local Leicester architects Messrs Shenton and Baker. This architectural apprenticeship, though he would later transition fully to painting, proved to be an invaluable foundation for his subsequent artistic endeavours. The rigorous demands of architectural draughtsmanship – precision, an understanding of perspective, attention to structural detail, and the ability to render form and texture – would become hallmarks of his mature painting style.
Leicester itself, a town with a rich history, likely provided early inspiration. The ancient Roman remains, medieval churches, and later period buildings would have offered a young, observant Fulleylove a tangible connection to the past, a theme that would resonate throughout his artistic career. His early experiences in an architect's office undoubtedly honed his eye for the nuances of building materials, the play of light on stone, and the character inherent in structures both grand and humble. This practical grounding distinguished his work from artists who approached architecture purely from a picturesque or romantic viewpoint, lending his depictions an air of authenticity and structural integrity.
The Transition to a Painter's Life
While the exact timeline of his shift from architecture to full-time painting is not precisely documented, it's clear that by the early 1870s, Fulleylove had committed himself to the life of a professional artist. He began exhibiting his work in London around 1871, a crucial step for any provincial artist seeking wider recognition. This move suggests a growing confidence in his abilities and a desire to engage with the vibrant, competitive art world of the capital.
The decision to pursue painting over architecture was not uncommon in the 19th century. Artists like J.M.W. Turner, though much earlier, had also shown youthful promise in architectural drawing before embracing the broader expressive possibilities of landscape painting. For Fulleylove, the transition allowed him to combine his appreciation for structure with a more personal and interpretative approach to his subjects. He could now not only document buildings but also imbue them with atmosphere, historical resonance, and a sense of place, using the full palette of the painter.
His chosen mediums, watercolour and oil, offered different strengths. Watercolour, with its portability and luminous transparency, was ideal for on-the-spot sketching during his travels and for capturing delicate atmospheric effects. Oil painting allowed for richer colours, greater textural depth, and more substantial, finished works suitable for major exhibitions. Fulleylove became proficient in both, adapting his technique to the subject and desired outcome.
The Art of Watercolour and Oil: A Dual Proficiency
John Fulleylove's mastery extended across both watercolour and oil painting, a versatility that allowed him to capture a wide range of subjects and moods. The Victorian era witnessed a golden age for watercolour painting in Britain, with artists like Myles Birket Foster, Helen Allingham, and Thomas Collier (with whom Fulleylove had a connection) elevating the medium to new heights of popularity and technical sophistication. Fulleylove was a distinguished contributor to this tradition.
His watercolours are characterized by their clarity, delicate washes, and precise draughtsmanship. He often used a subtle palette, particularly effective in conveying the soft light of English landscapes or the aged patina of ancient stone. Works like The Road from Athens to Eleusis (1895) exemplify his skill in watercolour, capturing not just the topography but also a sense of timelessness and the gentle beauty of the Greek countryside. His architectural training is evident in the confident rendering of perspective and detail, even in more expansive landscape views.
In oils, Fulleylove could achieve a greater sense of solidity and depth. His painting Hampton Court Gardens (1889), a substantial canvas now in the collection of the New Walk Museum and Art Gallery in Leicester, demonstrates his ability to handle complex compositions with numerous figures and intricate horticultural details. The rich colours and textures possible with oils allowed him to convey the opulence of such formal gardens and the grandeur of significant architectural set-pieces. Another oil painting, The Temple Garden, further showcases his ability to capture the serene beauty of cultivated landscapes within an urban or historical context.
A Master of Architectural Representation
Perhaps Fulleylove's most defining characteristic as an artist was his exceptional ability to depict architecture. His early training provided an intimate understanding of form, structure, and perspective that infused his architectural subjects with a convincing realism. He didn't merely sketch facades; he conveyed the weight, texture, and historical narrative of the buildings he painted. This skill set him apart from many contemporaries whose architectural renderings might be more impressionistic or romanticized.
His subjects ranged from the great cathedrals and collegiate buildings of England to the classical ruins of the Mediterranean. He was adept at capturing the intricate stonework of Gothic cathedrals, the majestic columns of Greek temples, and the weathered charm of historic townscapes. Works such as his depiction of The North Façade of the Parthenon reveal a profound appreciation for classical architecture, rendered with both accuracy and an artist's eye for light and shadow. He understood how light interacted with architectural forms, highlighting details and creating dramatic contrasts that brought the structures to life.
Fulleylove's interest was not limited to the monumental. He also found beauty in less grand structures, in the vernacular architecture of towns and villages, and in the way buildings sat within their landscape. This comprehensive approach to architectural representation, grounded in his early professional training, remained a constant throughout his career, providing a solid framework for his artistic vision. His ability to convey the "spirit of place" through its architecture was a key element of his appeal.
Journeys Through Britain: Landscapes, Gardens, and Historic Sites
While Fulleylove gained international recognition for his depictions of foreign lands, he remained deeply connected to the British landscape. He travelled extensively throughout England, capturing its diverse scenery, from stately homes and their formal gardens to ancient university towns and venerable cathedrals. His British works often evoke a sense of history and tradition, reflecting the Victorian era's fascination with the national past.
His paintings of English gardens, such as Hampton Court Gardens and The Temple Garden, are particularly noteworthy. These works tap into the Victorian love for horticulture and the carefully cultivated landscape. He depicted these spaces with an appreciation for their design, the vibrancy of their floral displays, and the leisurely human activity within them. In this, he shared an interest with contemporaries like his brother-in-law, George Samuel Elgood, who was renowned for his beautiful garden scenes.
Oxford and Cambridge, with their rich architectural heritage, were natural subjects for Fulleylove. His 1887 painting, The Thames, Oxford, Christchurch College beyond, captures the iconic beauty of the university city. He also painted historic sites like Knole Park, known for its sprawling Tudor mansion and deer park. These subjects allowed him to combine his skills in architectural rendering with landscape painting, creating harmonious compositions that celebrated Britain's cultural and natural heritage. His depiction of Richard III leaving the Blue Boar Inn in Leicester, based on an earlier print by John Flower, demonstrates his interest in local history and his ability to reconstruct historical scenes with atmospheric detail, even when the original structures no longer stood.
The Lure of the Classical World: Italy and Greece
Like many artists of his generation and those before, such as David Roberts or Edward Lear, John Fulleylove was drawn to the classical lands of Italy and Greece. These regions, rich in ancient ruins and steeped in history, offered unparalleled inspiration. His architectural background made him particularly well-suited to appreciate and depict the remnants of these great civilizations.
Beginning in 1875, Fulleylove undertook several sketching tours to Italy, often accompanied by his wife, Elizabeth, who was the sister of the garden painter George Samuel Elgood. Their travels took them to Rome, where they explored iconic sites like the Temple of Vesta and the Medici Gardens. They also visited Florence, Tuscany, and Naples. These Italian journeys provided a wealth of material for his brush and pen, and his observations contributed to Cassell's publication, The Picturesque Mediterranean. His Italian scenes capture the unique blend of ancient grandeur, Renaissance beauty, and vibrant contemporary life.
His visit to Greece in 1895 was particularly significant. This trip solidified his reputation as a specialist in depicting Greek topography and antiquities. The clear Mediterranean light, the stark beauty of the landscape, and the majestic ruins of sites like the Acropolis in Athens provided powerful subjects. He produced a substantial body of work from this journey, culminating in a solo exhibition of 90 Greek views at the Fine Art Society in London the following year. Works like The North Façade of the Parthenon and The Road from Athens to Eleusis are prime examples of his ability to convey both the archaeological detail and the poetic atmosphere of these ancient sites. His Greek works were later featured in A & C Black's popular illustrated book on Greece.
Visions of the Holy Land
The Middle East, particularly the Holy Land, held a strong fascination for the Victorian public, fueled by religious interest, archaeological discovery, and the increasing ease of travel. John Fulleylove was among the artists who journeyed to this region to capture its unique landscapes and sacred sites. His meticulous style was well-suited to documenting the historical and religious landmarks of Jerusalem and its surroundings.
His most significant contribution in this area was his collaboration with the writer John Kelman on the book The Holy Land, published in 1902 by Adam and Charles Black. Fulleylove provided a series of evocative illustrations that brought Kelman's text to life. These images depicted key biblical locations, bustling street scenes, and the distinctive architecture of the region. His illustrations aimed for a degree of accuracy that would satisfy the public's desire for authentic representations of these revered places, while also conveying their profound historical and spiritual significance.
Fulleylove's work in the Holy Land can be seen in the tradition of earlier British artists like David Roberts, whose lithographs of Egypt and the Holy Land had been immensely popular decades earlier. However, Fulleylove brought his own distinct sensibility, perhaps less overtly romantic than Roberts, but equally attentive to detail and atmosphere. His illustrations for The Holy Land helped to shape the visual understanding of this region for a wide British readership at the turn of the 20th century. He also produced views of the Middle East and North Africa for the Royal Mail Service, further demonstrating his engagement with this part of the world.
Fulleylove as an Illustrator: The A & C Black Connection
John Fulleylove's talents extended significantly into the realm of book illustration, a field that flourished during the Victorian and Edwardian eras. His detailed and accurate style made him a sought-after illustrator, particularly for travel books and topographical works. His most prominent collaboration was with the publishing house A & C Black, renowned for their "Beautiful Books" series – lavishly illustrated volumes covering various countries and regions.
Fulleylove contributed illustrations to several A & C Black titles, including those on Greece (with text by J.A. McClymont), the Holy Land (with John Kelman), and other locations. These books, with their numerous colour plates, brought Fulleylove's art to a broad audience, making his depictions of foreign lands accessible to those who might never travel there themselves. His illustrations were not mere accompaniments to the text but integral components that enhanced the reader's experience, providing vivid visual narratives of the places described. Other notable illustrators of this "Golden Age" of illustration included figures like Arthur Rackham and Edmund Dulac, though their styles often veered more towards fantasy, while Fulleylove remained grounded in realism.
He also contributed to other publications, such as Cassell's The Picturesque Mediterranean. This aspect of his career highlights the important role that illustrators played in disseminating knowledge and shaping popular perceptions of the world in an era before widespread photography in books. Fulleylove's work as an illustrator was a natural extension of his skills as a painter, allowing him to share his vision with an even wider public.
Artistic Circles, Affiliations, and Contemporaries
John Fulleylove was an active participant in the London art world, exhibiting regularly and holding memberships in prestigious art societies. In 1879, he was elected a member of the Royal Institute of Painters in Water Colours (RI), a key institution for watercolourists. His skill in oil painting was also recognized when he became a member of the Royal Institute of Oil Painters (ROI) in 1883. Later, he also became a member of the esteemed Royal Society of Painters in Water Colours (RWS), often considered the senior society for the medium. These affiliations placed him among the leading practitioners of his day.
He exhibited his work at major venues, including the Royal Academy, the Royal Society of British Artists (RBA), and the Fine Art Society. These exhibitions provided platforms for him to showcase his latest paintings and engage with fellow artists and critics. The Fine Art Society, in particular, played a crucial role by hosting his solo exhibition of Greek scenes in 1896.
Fulleylove maintained friendships and working relationships with other artists. He is known to have travelled and sketched with fellow Leicester artist Samuel Perkins Pick and the watercolourist Harry Ward, with whom he explored English rural scenery, Ward sometimes contributing architectural drawings. His brother-in-law, George Samuel Elgood, was a celebrated garden painter, and their family connection likely fostered shared artistic interests. He was also connected with the watercolourist Thomas Collier. While his style differed significantly from the Pre-Raphaelites like Dante Gabriel Rossetti or the Aesthetic Movement proponents like James McNeill Whistler, or the emerging Impressionist-influenced painters, Fulleylove operated within a strong tradition of British topographical and landscape art that had a wide appeal. His work would have been seen alongside that of academic giants like Lord Frederic Leighton or Sir Lawrence Alma-Tadema at Royal Academy exhibitions, showcasing the diversity of late Victorian art. The influence of earlier masters of architectural and landscape art, such as Samuel Prout and even the great J.M.W. Turner in his more topographical phases, can be discerned as part of the broader tradition he inherited. The writings of John Ruskin, with their emphasis on truth to nature and appreciation for Gothic architecture, also formed part of the cultural backdrop against which Fulleylove worked.
Exhibitions and Recognition: A Career in the Public Eye
From his first London exhibitions in the early 1870s, John Fulleylove consistently placed his work before the public and his peers. His participation in the annual exhibitions of the Royal Academy was a mark of professional standing, as these were the most important art events in the country. Similarly, his regular contributions to the exhibitions of the RI, RWS, and ROI demonstrated his commitment to these specialist societies and his standing among fellow watercolourists and oil painters.
The solo exhibition of his Greek paintings at the Fine Art Society in 1896 was a significant milestone, highlighting his expertise in a specific geographical and thematic area. Such one-man shows were becoming increasingly important for artists to consolidate their reputations. His work was also seen internationally, as evidenced by its inclusion in the New Zealand International Exhibition of 1906-7.
The acquisition of his painting Hampton Court Gardens by the New Walk Museum and Art Gallery in his native Leicester signifies recognition within his home city. Public collections acquiring an artist's work during or shortly after their lifetime is a strong indicator of their contemporary esteem. Furthermore, the frequent reproduction of his work in books and periodicals extended his reach far beyond the gallery walls, making his art familiar to a wide segment of the population.
Anecdotes and Personal Glimpses: Beyond the Canvas
While detailed personal accounts of Fulleylove's life are not abundant, some anecdotes offer glimpses into his personality and working methods. His sketching tours, particularly those to Italy with his wife Elizabeth, suggest a shared passion for art and travel. These journeys were not mere holidays but intensive periods of observation and artistic production, forming the raw material for more finished studio works.
The story of his paintings of Tabley Old Hall, one depicting a "ghostly old house" and another its more splendid facade, hints at an interest in the romantic and historical associations of old buildings, perhaps even a touch of the Victorian fascination with the supernatural or the picturesque decay. This ability to evoke atmosphere, whether of serene beauty or historic melancholy, was a key strength.
His collaboration with Harry Ward, where they travelled and sketched together, Ward sometimes focusing on architectural plans while Fulleylove captured the broader scene, points to a practical and companionable approach to his art-making. Similarly, his work with writers like John Kelman for illustrated books indicates a capacity for collaborative creative projects. These snippets suggest an artist who was diligent, observant, and deeply engaged with the historical and cultural narratives embedded in the landscapes and buildings he depicted.
Legacy and Enduring Appeal
John Fulleylove passed away in 1908, leaving behind a substantial body of work that documents not only the physical appearance of the places he visited but also the Victorian sensibility through which he viewed them. His art, characterized by its meticulous detail, skilled draughtsmanship, and evocative atmosphere, appealed to a contemporary audience that valued realism, historical association, and picturesque beauty.
While artistic tastes shifted dramatically in the early 20th century with the rise of modernism, Fulleylove's work retains its value as a skilled and sensitive record of its time. His paintings and illustrations offer a window into the Victorian and Edwardian fascination with travel, history, and the natural and man-made beauty of the world. His depictions of ancient ruins, historic cities, and tranquil gardens continue to charm and inform.
Today, his works are held in public collections, including the New Walk Museum and Art Gallery, Leicester, and his illustrations remain accessible through the books they adorned. For art historians, Fulleylove represents an important strand of late Victorian art – one that emphasized technical skill, careful observation, and a deep appreciation for the architectural and landscape heritage of Britain and beyond. He may not have been a radical innovator in the mould of the Impressionists or Post-Impressionists, but within his chosen field of detailed topographical and architectural art, John Fulleylove was a distinguished and accomplished master whose contributions enrich our understanding of the period. His dedication to capturing the essence of place, whether a sunlit ruin in Greece or a flower-filled English garden, ensures his enduring appeal.
