John Henry Henshall (1856-1928) stands as a notable, if sometimes overlooked, figure in the landscape of late Victorian art. A British painter, he distinguished himself primarily through his evocative watercolours, capturing scenes of everyday life with a keen eye for social nuance and narrative detail. Operating within a period of immense social change and artistic diversification, Henshall’s work offers a window into the concerns, aesthetics, and moral underpinnings of his time. His membership in the prestigious Royal Society of Painters in Water Colours further attests to his skill and standing among his peers. This exploration delves into his life, the artistic environment he inhabited, his characteristic style, significant works, and his relationship with the broader currents of 19th and early 20th-century British art.
The Victorian Artistic Milieu
To understand John Henry Henshall, one must first appreciate the vibrant and complex artistic world of Victorian Britain. The era, spanning Queen Victoria's reign from 1837 to 1901, was marked by industrial advancement, imperial expansion, and profound social stratification. Artistically, it was a period of immense productivity and stylistic pluralism. The Royal Academy of Arts in London, though a dominant force, saw its authority increasingly challenged by new movements and alternative exhibiting societies.
Narrative painting, or "subject painting," was particularly popular. Artists sought to tell stories, convey moral lessons, or evoke emotional responses through their depictions of historical, literary, or contemporary scenes. The burgeoning middle class, with its growing wealth and desire for cultural capital, became significant patrons of the arts, often favouring works that were relatable, sentimental, or edifying. Artists like William Powell Frith captivated audiences with sprawling, detailed canvases of modern life such as Derby Day (1858) and The Railway Station (1862), offering a panorama of Victorian society.
Social realism also gained traction, with painters turning their attention to the plight of the urban poor, the conditions of labour, and the social issues arising from industrialisation. Luke Fildes, with works like Applicants for Admission to a Casual Ward (1874), and Frank Holl, known for his sombre depictions of hardship, brought a gritty realism to the fore. Similarly, Hubert von Herkomer, in paintings like Hard Times (1885) and On Strike (1891), addressed contemporary social concerns with powerful imagery. These artists often aimed to stir the conscience of the public and advocate for social reform.
The Pre-Raphaelite Brotherhood, formed in 1848 by artists such as Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt, initially rebelled against the perceived artificiality of academic art, seeking inspiration in early Renaissance painting. Their work was characterized by meticulous detail, vibrant colour, and often complex symbolism, drawing on literary, religious, and medieval themes. Though the original brotherhood was short-lived, its influence persisted, shaping later artists and contributing to the Aesthetic Movement.
Watercolour painting, Henshall's chosen medium, enjoyed a golden age in Britain during the 19th century. Societies like the Royal Society of Painters in Water Colours (RWS), founded in 1804 as the Society of Painters in Water Colours, played a crucial role in elevating the status of the medium, which had previously been considered secondary to oil painting. Artists like J.M.W. Turner had already demonstrated its expressive potential, and a host of Victorian practitioners, including Myles Birket Foster with his charming rural idylls and Helen Allingham with her picturesque cottage scenes, further popularized it.
Henshall’s Life and Artistic Development
John Henry Henshall was born in Hanley, Staffordshire, in 1856. While specific details of his early training are not extensively documented, it is probable that he attended one of the many regional art schools that flourished in Britain during this period, possibly followed by further study in London, perhaps at the South Kensington Schools (which later became the Royal College of Art), a common path for aspiring artists. By 1911, census records indicate he was residing with his family in Fenton, Staffordshire, at 66 Oldfield St.
His career unfolded primarily as a watercolourist, and he became known for his genre scenes, often imbued with a strong narrative and emotional content. His election as an Associate of the Royal Society of Painters in Water Colours (ARWS) in 1883, and subsequently as a full Member (RWS) in 1897, signifies his recognition within the artistic establishment and his mastery of the watercolour medium. Exhibiting regularly with the RWS would have provided him with a consistent platform to showcase and sell his work.
Henshall's artistic approach aligned with the Victorian taste for storytelling and social observation. He often focused on interior scenes and figure compositions, meticulously rendering details of costume, setting, and human expression to convey his narratives. His work can be seen as part of the broader tradition of British genre painting, which sought to capture the character and customs of contemporary life.
Signature Style and Thematic Concerns
John Henry Henshall’s style is characterized by a careful, detailed realism, typical of much Victorian painting, but executed with the particular luminosity and subtlety that watercolour allows. He demonstrated a strong command of draughtsmanship, essential for the clear articulation of figures and settings in his narrative compositions. His use of colour was often rich and carefully modulated to enhance the mood and focus of his scenes.
A significant aspect of Henshall's work is its emotional resonance. He was adept at capturing expressions and gestures that conveyed the psychological state of his characters, drawing the viewer into the depicted drama. This often lent his paintings a theatrical quality, with figures arranged in a manner that suggested an unfolding story or a moment of poignant reflection.
His thematic concerns frequently revolved around everyday life, particularly within domestic or public interiors. These scenes often carried an undercurrent of social commentary or moral reflection, though perhaps not always as overtly didactic as some of his contemporaries. He explored human relationships, moments of quiet contemplation, social interactions, and the subtle dramas of ordinary existence. The choice of watercolour, often associated with intimacy and immediacy, suited these themes well.
Notable Works and Their Significance
While a comprehensive catalogue of Henshall's oeuvre is not readily available, several works are frequently cited and provide insight into his artistic preoccupations.
The Public Bar (1883)
Exhibited in the year he became an ARWS, The Public Bar is perhaps Henshall's most discussed work. This painting is a prime example of Victorian social observation, depicting a scene within a public house. Such establishments were central to working-class life but also subjects of concern for the temperance movement and social reformers. Henshall’s portrayal likely captured a cross-section of society, from the barmaid to the various patrons, each with their own implied story.
The composition would have been crucial in conveying the atmosphere – the conviviality, perhaps, but also potentially the underlying tensions or hardships of the lives depicted. The attention to detail in the setting, the attire of the figures, and their interactions would have provided a rich visual narrative. This work aligns with a broader trend in Victorian art of depicting scenes of urban leisure and social spaces, seen in the work of artists like Walter Sickert later in the century, though Sickert's approach would be more impressionistic and less overtly narrative. Henshall's painting, by contrast, likely carried the more explicit storytelling and moral undertones characteristic of its period.
Esmeralda (1889)
The title Esmeralda suggests a literary or romantic subject, most famously associated with Victor Hugo's 1831 novel Notre-Dame de Paris (The Hunchback of Notre-Dame). The character of Esmeralda, the compassionate and beautiful Romani dancer, was a popular figure in 19th-century art and literature. If Henshall's painting depicts this character, it would place him within the Victorian tradition of drawing inspiration from literature, history, and legend.
Artists like John William Waterhouse, known for his depictions of mythological and literary heroines, or the Pre-Raphaelites, frequently turned to such sources. Henshall's Esmeralda, a watercolour enhanced with white bodycolour on paper, was exhibited at the Royal Society of Painters in Water Colours. The medium would have allowed for a delicate and expressive portrayal, perhaps focusing on Esmeralda's beauty, innocence, or tragic fate. The use of bodycolour (an opaque watercolour) would have enabled him to achieve highlights and a greater sense of solidity in the forms.
Elizabethan Figures (1889)
Also exhibited at the RWS in 1889, Elizabethan Figures indicates Henshall's engagement with historical genre painting. The Victorian era had a profound fascination with history, particularly with periods like the Elizabethan and Cromwellian eras, which were seen as formative in British national identity. Artists frequently depicted scenes from these times, often romanticizing them or using them to comment on contemporary values.
Painters like Marcus Stone specialized in sentimental historical genre scenes, while earlier Pre-Raphaelites like John Everett Millais, in works such as A Huguenot, on St. Bartholomew's Day (1852), used historical settings for dramatic and emotional narratives. Henshall’s Elizabethan Figures would likely have featured characters in period costume, engaged in some activity characteristic of the era, allowing for a display of skill in rendering historical detail and creating an evocative atmosphere. The choice of "figures" rather than a specific event suggests a focus on character types or a more generalized scene.
Henshall and the Royal Society of Painters in Water Colours
Henshall's long association with the Royal Society of Painters in Water Colours (RWS) is a key aspect of his career. The RWS, often referred to as the "Old Watercolour Society," was the premier institution for watercolourists in Britain. Membership was highly sought after and conferred considerable prestige. The society held regular exhibitions, providing artists with a vital venue to display and sell their work, and to engage with fellow practitioners and patrons.
The RWS fostered a high standard of technical excellence in watercolour. Its exhibitions showcased a wide range of subjects and styles, from detailed landscapes and architectural studies to intricate figure compositions and genre scenes. Henshall’s contributions would have been part of this rich tapestry. His focus on narrative and figurative work would have complemented the landscapes of artists like Alfred William Hunt or the more decorative compositions of others. The society provided a supportive community and helped to maintain the prominence of watercolour as a serious artistic medium. Other notable members during or around Henshall's active period included Sir Lawrence Alma-Tadema (though more famous for oils, he was an RWS member) and Arthur Rackham, who joined later and became famous for his illustrative work.
Contemporaries and Artistic Context
John Henry Henshall worked during a period of transition in British art. While the narrative and realist traditions of High Victorianism remained strong, new influences were emerging. The Aesthetic Movement, which emphasized "art for art's sake," championed beauty and artistic refinement over overt moralizing or storytelling. Artists like James McNeill Whistler and Albert Moore were key figures in this trend.
Impressionism, which had revolutionized French painting, began to make its impact felt in Britain, particularly through the New English Art Club (NEAC), founded in 1886 as an alternative to the Royal Academy. Artists like Philip Wilson Steer and Walter Sickert embraced more modern approaches to light, colour, and subject matter.
While Henshall’s work appears to have remained more aligned with established Victorian modes of representation and narrative, he would have been aware of these evolving artistic currents. His contemporaries included a diverse array of talents. For instance, John Collier, a prominent portraitist and painter of "problem pictures" (narrative scenes with ambiguous or challenging social themes), was active during this time. The records also mention a "Mr. J. Ernest Breun" exhibiting in 1889, indicative of the many artists contributing to the exhibition scene.
The social realist impulse seen in Henshall's The Public Bar can be compared to the work of painters associated with the Newlyn School in Cornwall, such as Stanhope Forbes and Frank Bramley, who depicted the lives of fishing communities with a focus on realism and atmospheric effects, often working en plein air. While their medium was often oil, the shared interest in portraying everyday life and labour provides a point of connection.
In the realm of watercolour, artists like Charles Rennie Mackintosh, though more famous as an architect and designer, also produced distinctive watercolours, particularly floral studies, towards the end of Henshall's active period, showcasing a more stylized, modern aesthetic. The illustrative tradition, which often employed watercolour, was also thriving, with figures like Beatrix Potter (though in a very different vein) achieving widespread popularity.
Later Career and Legacy
Information about John Henry Henshall's later career, leading up to his death in 1928, is less prominent. By the early 20th century, the art world had undergone significant transformations. Post-Impressionism, Fauvism, Cubism, and other avant-garde movements had emerged, challenging traditional notions of representation and artistic purpose. The taste for detailed Victorian narrative painting had waned considerably.
Despite these shifts, Henshall likely continued to work and exhibit, particularly within the RWS, which maintained a commitment to watercolour practice. His legacy lies in his contribution to the tradition of Victorian genre painting and his skilled use of the watercolour medium. His works serve as valuable social documents, offering glimpses into the attitudes, customs, and environments of his time.
While he may not have achieved the widespread fame of some of his contemporaries who embraced more radical styles or worked on a grander scale in oils, John Henry Henshall carved out a respected niche as a watercolourist. His paintings, particularly works like The Public Bar, demonstrate an engagement with the social fabric of Victorian England, rendered with technical proficiency and narrative insight. He represents a strand of British art that valued storytelling, emotional connection, and the careful observation of human life. His art provides a quiet but articulate voice from a pivotal era in British history and culture.
Conclusion
John Henry Henshall was a dedicated and skilled British watercolourist whose career spanned the late Victorian and Edwardian periods. Through works like The Public Bar, Esmeralda, and Elizabethan Figures, he explored themes of everyday life, social observation, literary romance, and historical genre. His membership in the Royal Society of Painters in Water Colours underscores his mastery of the medium and his standing in the art world of his day.
While operating within the established conventions of Victorian narrative and realist art, Henshall brought a sensitivity and attention to detail to his subjects, creating works that were both engaging and reflective of their time. He was part of a rich artistic ecosystem that included figures ranging from the social realists like Luke Fildes and Frank Holl, to narrative painters like William Powell Frith, and fellow watercolourists such as Myles Birket Foster and Helen Allingham. In an era that saw the rise of modernism, Henshall remained a practitioner of a more traditional, yet deeply human, form of artistic expression, leaving behind a body of work that continues to offer insights into the complexities of Victorian society.
