John Gendall (1790-1865) stands as a noteworthy figure in the annals of British art, primarily celebrated for his meticulous and evocative landscape paintings. Active during a vibrant period of artistic development in Britain, Gendall carved a niche for himself through his depictions of both the serene English countryside and the burgeoning urban environments of his time. His work, executed in both watercolour and oil, offers valuable insights into the topographical and picturesque traditions that flourished in 19th-century British art.
Early Life and Artistic Inclinations
Born in England in 1790, John Gendall's early life, like that of many artists of his era, is not exhaustively documented. However, it is known that his artistic talents emerged at a young age, leading him to pursue a career as a painter. The artistic environment in Britain during his formative years was rich and dynamic. The Royal Academy of Arts, founded in 1768, was the preeminent institution for artists, and its annual exhibitions were crucial for gaining recognition and patronage. Landscape painting, in particular, was undergoing a significant transformation, moving from a genre often considered secondary to historical or portrait painting, to one of immense popularity and critical acclaim, thanks to pioneers like Richard Wilson and Thomas Gainsborough, and later, the towering figures of J.M.W. Turner and John Constable.
Gendall's early career appears to have been centered in London, the hub of the British art world. It was here that he would have been exposed to a wide array of artistic influences and opportunities. He began exhibiting his works, a critical step for any aspiring artist seeking to establish a reputation. His dedication to his craft is evident in the quality and detail of his surviving pieces.
Artistic Style and Preferred Mediums
John Gendall was proficient in both oil painting and watercolour, two mediums that offered different expressive possibilities. Watercolour painting, in particular, enjoyed a golden age in Britain during the late 18th and early 19th centuries. Artists like Thomas Girtin, John Sell Cotman, and David Cox elevated the medium, demonstrating its capacity for capturing atmospheric effects, subtle gradations of light, and intricate details. Gendall’s work in watercolour aligns with this tradition, showcasing a keen observational skill and a delicate touch.
His oil paintings, while perhaps less numerous or widely known than his watercolours, also demonstrate his competence in handling this more traditional medium. Regardless of the medium, Gendall's style was often characterized by a careful attention to topographical accuracy. His landscapes and cityscapes were not merely imaginative constructions but were rooted in the specific features of the places he depicted. This fidelity to the subject matter was a hallmark of much British landscape art of the period, catering to a public interested in recognizable views of their own country or of picturesque locales.
Gendall's work often displays a fine balance between this topographical precision and a picturesque sensibility. The picturesque, an aesthetic ideal popularized by writers like William Gilpin, emphasized irregularity, texture, and interesting compositions in landscape. Artists sought out views that embodied these qualities, and Gendall’s choice of subjects and his compositional arrangements often reflect this prevailing taste. His handling of light and shadow, as well as his rendering of architectural and natural forms, contributed to the overall appeal of his works.
Key Themes and Subjects: London and the West Country
John Gendall’s oeuvre encompasses a range of subjects, with a particular focus on architectural views and landscapes. His depictions of London, especially its iconic landmarks, form an important part of his artistic output. The city was a constant source of inspiration for artists, offering a dynamic interplay of historic architecture and contemporary life.
Beyond the capital, Gendall had strong connections to the West Country, particularly Devon and its principal city, Exeter. His later life seems to have been spent largely in this region, and its landscapes and urban scenes feature prominently in his work. The gentle hills, winding rivers, and historic towns of Devon provided ample material for his brush. His paintings of Exeter, for instance, capture the character of the city before the extensive changes of the later Victorian era and the 20th century.
Notable Works
Several specific works by John Gendall are recorded, providing concrete examples of his artistic practice and thematic concerns.
One of his most recognized pieces is the "Northeast view of Westminster Abbey." This painting was first exhibited at the Royal Academy in 1818, a significant achievement for any artist. The work, executed in watercolour and oil, measures 13 1/2 x 19 inches (34.8 x 43 cm) and is now part of the collection at the Yale Center for British Art, a testament to its historical and artistic value. Depictions of Westminster Abbey were popular, and Gendall’s version would have appealed to contemporary audiences for its detailed rendering of the famous Gothic structure.
Another significant work is "Exeter and the Canal Basin," a watercolour that is held in the collection of the Royal Albert Memorial Museum in Exeter. This piece underscores Gendall's connection to Devon and his interest in capturing the specificities of its urban landscapes. The Exeter Canal, one of the oldest in Britain, and its basin would have been a bustling area of commerce and activity, offering a rich subject for an artist interested in local life and topography.
Gendall also collaborated with the architect and antiquarian Edward Ashworth (1814-1896). Together, they produced drawings of a medieval building in Exeter. These drawings proved to be of considerable historical importance, as they preserved a visual record of the structure's details after it was demolished. This collaboration highlights Gendall's skill in architectural rendering and his contribution to the preservation of local heritage, a role often played by topographical artists.
Exhibitions and Professional Life
Exhibiting at the Royal Academy was a cornerstone of an artist's career in 19th-century Britain. John Gendall's participation in these exhibitions, as evidenced by his "Northeast view of Westminster Abbey" in 1818, indicates his engagement with the mainstream art world and his ambition to achieve professional recognition. The Royal Academy exhibitions were not only prestigious showcases but also important marketplaces where artists could attract patrons and sell their work.
While London was the primary center for his early career, Gendall later moved back to Exeter in Devon. This move did not necessarily signify a withdrawal from the art world but rather a shift in focus. He continued to paint, drawing inspiration from the local scenery. He is also known to have made frequent visits to Exmouth, a coastal town in Devon, for painting excursions, suggesting an ongoing commitment to capturing the diverse landscapes of the region.
Contemporaries and Artistic Milieu
John Gendall worked during a period rich in artistic talent. His contemporaries in the field of landscape painting included some of the most celebrated names in British art. While J.M.W. Turner (1775-1851) and John Constable (1776-1837) were revolutionizing landscape painting with their expressive and atmospheric works, Gendall operated within a more traditional, topographical vein, which nonetheless had a wide appeal.
He was a friend and sketching companion of William Traies (1789-1872), another artist closely associated with Devon. Traies, known as "the Devonshire Claude" for his classical landscapes, shared Gendall's love for the local scenery. Their sketching trips together in the Devon countryside would have provided opportunities for mutual influence and artistic camaraderie. Such relationships were common among artists, fostering a sense of community and shared purpose.
Other notable landscape and topographical artists of the era whose work Gendall would have been aware of, and who contributed to the broader artistic context, include:
Thomas Girtin (1775-1802), a pioneering watercolourist whose early death was a great loss to British art.
John Sell Cotman (1782-1842), a leading member of the Norwich School of painters, known for his strong compositions and distinctive watercolour technique.
David Cox (1783-1859), celebrated for his vigorous and atmospheric watercolours of British landscapes, particularly Wales.
Peter De Wint (1784-1849), another master of watercolour, admired for his broad washes and depictions of the English countryside.
Samuel Prout (1783-1852), known for his picturesque architectural drawings of British and continental European towns.
John Varley (1778-1842), an influential watercolourist and teacher, whose pupils included several prominent artists.
Francis Towne (1739/40-1816), an earlier artist whose distinctive, linear style of watercolour was particularly influential in depicting the landscapes of Devon and Italy.
Richard Parkes Bonington (1802-1828), whose brilliant but short career saw him excel in both oil and watercolour, influencing artists in both Britain and France.
William Havell (1782-1857), a landscape painter in oil and watercolours, and a founding member of the Society of Painters in Water Colours.
Clarkson Stanfield (1793-1867), renowned for his marine paintings and large-scale dioramas and panoramas.
Samuel Palmer (1805-1881), whose visionary landscapes of Shoreham, Kent, offered a mystical counterpoint to the more naturalistic trends of the time.
This vibrant artistic environment, with its diverse approaches to landscape and topography, formed the backdrop against which John Gendall pursued his career. His work, while perhaps not as revolutionary as that of Turner or Constable, contributed to the rich tapestry of 19th-century British art by diligently recording the appearance of his country.
Later Years and Legacy
John Gendall continued to paint into his later years, remaining based in Exeter. He passed away in 1865. His legacy lies in his body of work that captures the landscapes and urban scenes of England, particularly London and Devon, during a period of significant change. His paintings serve as valuable historical documents as well as works of art, offering glimpses into the past.
His association with the Royal Albert Memorial Museum in Exeter, which holds his "Exeter and the Canal Basin," ensures that his contribution to the artistic heritage of Devon is remembered in the region he so often depicted. The presence of his "Northeast view of Westminster Abbey" in the Yale Center for British Art gives his work international recognition and makes it accessible for study by scholars and art enthusiasts.
The collaboration with Edward Ashworth on the drawings of the demolished medieval building in Exeter further underscores the documentary value of Gendall's work. In an era before photography became widespread, the role of artists in recording architecture and landscapes was crucial for historical preservation.
Distinguishing John Gendall the Artist from Other Namesakes
It is important to acknowledge that the name "John Gendall" appears in different contexts, and care must be taken to distinguish the 19th-century landscape painter from other individuals who share the name.
For instance, contemporary records and search results sometimes mention a John Gendall who is an architectural critic and writer, born in Canada and raised in Colorado. This individual is noted for obtaining a Master of Architecture degree with Distinction from Harvard University's Graduate School of Design, focusing on design studies. He has taught architectural history and urban studies at institutions like Parsons The New School for Design and has written for prominent architectural magazines such as Metropolis and Architectural Record. His publications include "Rocky Mountain Modern: Contemporary Alpine Homes," which showcases modern residential design in the Rocky Mountains. This John Gendall is clearly a modern figure working in the field of architectural criticism and academia, distinct from the 19th-century painter.
There is also mention of a Philip Parsons Watkins Gendall, who served as a medic and soldier in the Royal Army Medical Corps (RAMC) during World War I. His experiences, from initial reluctance to join the war effort to his training and eventual disillusionment on the way to the front, are documented. This individual's life and activities are separate from those of John Gendall, the artist (1790-1865).
The information provided in various sources can sometimes conflate these different individuals. However, by focusing on the birth and death dates (1790-1865), the artistic medium (landscape painting in oil and watercolour), key works (like "Northeast view of Westminster Abbey" and "Exeter and the Canal Basin"), and exhibition history (Royal Academy), we can clearly identify and appreciate the contributions of John Gendall, the British artist. His work remains a testament to his skill and his dedication to capturing the essence of the English landscape and its architectural heritage.
Conclusion
John Gendall (1790-1865) was a dedicated and skilled British artist who made a valuable contribution to the tradition of landscape and topographical painting in the 19th century. Through his watercolours and oil paintings, he meticulously documented the urban scenes of London and the picturesque landscapes of Devon, leaving behind a body of work that is both artistically pleasing and historically informative. His exhibitions at the Royal Academy, his collaborations, and his enduring connection with the West Country mark him as a significant regional artist with a national profile. While perhaps not as widely known as some of his more famous contemporaries, Gendall's art provides a charming and accurate window onto the Britain of his time, and his works continue to be appreciated for their quiet beauty and documentary value. His paintings of Westminster Abbey and Exeter, in particular, stand as important examples of his craft, securing his place in the narrative of British art history.
