John Henry Amshewitz (1882-1942) stands as a notable, if sometimes overlooked, figure in the landscape of early twentieth-century British art. His career, marked by a diverse output ranging from poignant historical murals and insightful portraiture to sharply satirical cartoons, reflects both the academic traditions of his training and a keen engagement with the socio-political currents of his time. Born in Ramsgate, England, Amshewitz's journey into the art world was somewhat serendipitous, shaped by circumstances that diverted him from a potential military path towards a lifelong dedication to the visual arts.
Early Life and Artistic Formation
Amshewitz's formal artistic training took place at the prestigious Royal Academy Schools in London. This institution, a bastion of academic art in Britain, would have exposed him to the rigorous disciplines of drawing, painting, and composition, grounded in the classical tradition. During his formative years, the British art scene was a vibrant mix of established academicians and emerging modernists. Figures like John Singer Sargent, with his dazzling society portraits, and Solomon J. Solomon, known for his historical and biblical scenes, were prominent members of the Royal Academy. While Amshewitz would develop his own distinct voice, the emphasis on skilled draughtsmanship and narrative clarity prevalent at the Academy undoubtedly left an imprint on his subsequent work.
His contemporaries at the Schools or exhibiting alongside him in early exhibitions might have included artists exploring various stylistic avenues. The lingering influence of Pre-Raphaelitism could still be felt in the work of artists like John William Waterhouse, while the New English Art Club offered a platform for artists influenced by French Impressionism, such as Philip Wilson Steer and Walter Sickert. Amshewitz, however, largely navigated a path that embraced narrative and figurative representation, often with a historical or allegorical bent.
An Unexpected Turn: From Military Aspirations to Artistic Dedication
A significant turning point in Amshewitz's early life was an injury sustained while working on a mural project in Liverpool. This physical setback rendered him unfit for military service, a path many young men of his generation might have considered, especially with the looming clouds of global conflict. Instead, this incident solidified his commitment to art and, intriguingly, also led him to explore the theatrical world. This dual interest in visual art and drama perhaps contributed to the narrative and often theatrical quality found in many of his compositions.
The early 20th century was a period of immense change and anxiety, and artists responded in myriad ways. While some, like the Vorticists including Wyndham Lewis and David Bomberg, sought radical new forms to express the dynamism and disruption of the modern age, Amshewitz often employed more traditional visual language to comment on contemporary events or to delve into historical subjects. His inability to serve in the military did not mean a disengagement from the pressing issues of the day; rather, he found his own means of commentary through his artistic practice.
Satirical Cartography: "Kill that Eagle" and Wartime Commentary
One of Amshewitz's most widely recognized early works is the satirical map titled "The European Revue: Kill that Eagle," created in 1914, on the cusp of the First World War. This piece exemplifies a genre of serio-comic or satirical cartography that gained popularity in the late 19th and early 20th centuries, where nations were depicted as anthropomorphic or zoomorphic figures, embodying national stereotypes or political stances. In Amshewitz's map, the European powers are vividly characterized: Britain is a robust John Bull figure, or sometimes described as a bull-headed figure, brandishing a weapon, while France is personified as Marianne, armed and resolute. The "Eagle" of the title refers to the German Empire, often symbolized by this bird of prey.
This map is a powerful piece of visual propaganda, designed to galvanize public opinion and simplify complex geopolitical tensions into an easily digestible, if biased, narrative. It taps into a tradition of British caricature exemplified by artists like James Gillray and Thomas Rowlandson in earlier eras, and in Amshewitz's own time, by cartoonists for publications like Punch, such as Bernard Partridge and F. H. Townsend. Amshewitz's contribution is notable for its direct engagement with the immediate pre-war atmosphere, capturing the jingoistic fervor and nationalistic posturing that characterized the period. The map's effectiveness lay in its ability to communicate a clear, partisan message through striking visual metaphors.
Murals and Historical Narratives: The Grandeur of the Past
Beyond satire, Amshewitz was a skilled muralist, undertaking significant commissions that allowed him to explore historical themes on a grand scale. Perhaps his most celebrated mural is "Vasco da Gama Leaving Portugal," completed around 1936. This impressive work is housed in the William Cullen Library at the University of the Witwatersrand in Johannesburg, South Africa, a testament to Amshewitz's period of activity in that country. The mural depicts the poignant and ceremonious departure of the Portuguese explorer Vasco da Gama in 1497, as he embarked on his historic voyage to India.
The composition is rich in detail, showcasing Amshewitz's academic training in its balanced structure, attention to historical costume, and dramatic portrayal of the figures. Such historical murals were popular in public buildings and institutions during this period, aiming to inspire civic pride and educate viewers about significant historical events. Amshewitz's work in this genre can be seen in the context of other British muralists of the era, such as Frank Brangwyn, who was renowned for his large-scale decorative schemes, or even Stanley Spencer, whose epic murals at Sandham Memorial Chapel, though deeply personal, also engaged with historical events (the First World War). Amshewitz's "Vasco da Gama" mural demonstrates his ability to handle complex multi-figure compositions and to evoke the spirit of a bygone age.
Academic Art and Memento Mori: "Death’s Arrest"
Amshewitz's commitment to academic principles is further evident in works like "Death’s Arrest," an oil painting exhibited at the Royal Academy in 1912. This piece aligns with the Memento Mori tradition – art designed to remind the viewer of their mortality and the transience of earthly pleasures. The painting, executed in a Neoclassical style, likely depicted an allegorical scene where Death, often personified as a skeletal figure, intervenes in human affairs. The choice of a Neoclassical style, with its emphasis on clarity, order, and idealized forms, lent a sense of gravitas and timelessness to the subject.
The Memento Mori theme has a long history in Western art, and Amshewitz's interpretation would have resonated with an audience familiar with its symbolism. Exhibiting at the Royal Academy placed him among the established artists of the day. While modernism was making inroads, the Academy remained a powerful institution championing more traditional artistic values. Artists like Sir Lawrence Alma-Tadema (though he died in 1912, his influence persisted) and Lord Leighton (who had passed earlier but whose academic ideals were still revered) had set a high bar for historical and allegorical painting. Amshewitz's "Death’s Arrest" shows him engaging with these traditions, demonstrating his technical skill and his interest in profound, universal themes.
Portraiture: Capturing Personalities and Moments in Time
Amshewitz was also an adept portraitist, capable of capturing the likeness and character of his sitters. A particularly notable example is his sketch of Mahatma Gandhi, executed in 1931 during Gandhi's visit to London for the Round Table Conferences on Indian constitutional reform. This drawing is a rare and historically significant depiction of the Indian independence leader. The sketch, likely made from life, offers an intimate glimpse of Gandhi during a pivotal moment in his political career. Its historical importance was underscored when it fetched a significant sum (£32,500) at auction in 2022.
In the realm of British portraiture, Amshewitz was working in an era dominated by celebrated figures such as Augustus John, known for his bohemian flair and psychologically penetrating portraits, and Sir William Orpen, a highly successful society portraitist and official war artist. While Amshewitz may not have achieved the same level of fame in portraiture as these contemporaries, his Gandhi sketch demonstrates a sensitivity and skill in capturing a subject's essence. His ability to work across genres, from grand murals to intimate sketches, highlights his versatility.
A Sojourn in South Africa
Amshewitz spent a significant period of his career in South Africa, from 1916 to 1922, and then again from the mid-1930s. It was during these periods that he undertook major commissions, including the "Vasco da Gama" mural. His presence in South Africa contributed to the local art scene, which was developing its own distinct character. While there, he would have been aware of, or perhaps interacted with, emerging South African artists who were beginning to forge a national artistic identity, such as Irma Stern and Jacobus Hendrik Pierneef, though their styles and concerns often differed significantly from Amshewitz's more European academic approach.
His work in South Africa included not only murals but also portraits and other easel paintings. The oil painting "Voorwaarts" (Forward), depicting a group of Voortrekker-like figures or immigrants moving with determination across a landscape, is another example of his work from this period or inspired by South African themes. It speaks to themes of pioneering spirit and the forging of new destinies, subjects that would have resonated within the South African context. His contributions there, particularly his public murals, left a lasting mark on the cultural landscape.
Diverse Oeuvre and Artistic Range
The breadth of John Henry Amshewitz's artistic output is one of his most defining characteristics. He moved with facility between the sharp, topical commentary of his satirical maps, the solemn grandeur of his historical murals, the allegorical depth of paintings like "Death’s Arrest," and the personal insight of his portraits. This versatility, while perhaps preventing him from being easily categorized within a single art movement, speaks to a broad range of skills and interests. He was not an avant-garde revolutionary in the vein of the Bloomsbury Group artists like Duncan Grant or Vanessa Bell, who were exploring Post-Impressionist aesthetics. Instead, Amshewitz largely operated within established representational modes, adapting them to his varied subjects.
His work often displayed a strong narrative element, whether in the unfolding drama of a historical event or the symbolic message of an allegorical scene. This storytelling quality, combined with his solid draughtsmanship and compositional skills, ensured that his art was accessible and engaging to a wide audience. He also produced book illustrations and was involved in theatrical design, further showcasing his adaptability and his engagement with different forms of visual communication.
Later Life and Legacy
After his initial period in South Africa, Amshewitz returned to England, continuing his artistic practice. He later went back to South Africa, where he remained active until his death in 1942. His legacy is that of a highly skilled and versatile artist who contributed significantly to the artistic currents of his time, particularly in the realms of mural painting and satirical illustration. While he may not be as widely known today as some of his more modernist contemporaries like Paul Nash or Ben Nicholson, his work holds an important place in the narrative of early 20th-century British and South African art.
His paintings and murals can be found in public collections and institutions, serving as a testament to his skill and industry. The renewed interest in his Gandhi sketch highlights the enduring historical value of his work. John Henry Amshewitz represents a type of artist who, while perhaps not at the cutting edge of avant-garde experimentation, played a crucial role in maintaining and adapting artistic traditions, reflecting and commenting on the world around him with skill, insight, and often, a distinctive touch of humor or gravitas. His career demonstrates a steadfast dedication to the craft of art across a remarkable range of subjects and styles.
