John Inigo Richards stands as a significant, if sometimes overlooked, figure in the landscape of 18th-century British art. Born in London in 1731, his life, which concluded on December 18, 1810, spanned a period of immense artistic and cultural transformation in Britain. Richards was not only a respected landscape painter but also a highly influential scenographer, most notably for the Covent Garden Theatre. Furthermore, his role as a founding member and long-serving Secretary of the Royal Academy of Arts underscores his central position within the burgeoning British art establishment. His multifaceted career offers a fascinating window into the interconnected worlds of easel painting, theatrical spectacle, and institutional art development during the Georgian era.
Early Life and Artistic Foundations
John Inigo Richards' artistic journey began in the vibrant, competitive environment of mid-18th century London. The city was a crucible for artistic talent, with various academies and drawing schools emerging to cater to aspiring artists. Richards received his formal training at the St. Martin's Lane Academy, a crucial institution in the history of British art. Founded by William Hogarth, this academy was a more liberal and informal alternative to the continental models, providing a space for artists to draw from life and engage in artistic discourse. It served as a vital precursor to the Royal Academy of Arts, nurturing a generation of British talent.
A pivotal influence on Richards' early development was his tutelage under George Lambert (c. 1700–1765). Lambert was a leading landscape and scene painter of his time, often regarded as one of the "fathers" of English landscape painting, alongside figures like Richard Wilson. Lambert himself had been influenced by earlier masters such as Gaspard Poussin and Claude Lorrain, whose classical landscape compositions were highly admired. He was also a collaborator with William Hogarth on decorative schemes and a successful scene painter at Lincoln's Inn Fields Theatre and later Covent Garden. Through Lambert, Richards would have absorbed the principles of classical landscape composition, an understanding of light and atmosphere, and the practical skills of large-scale scene painting. This dual training in both easel painting and theatrical design would define his subsequent career.
A Dominant Force in Theatrical Scene Painting
While Richards maintained a practice as a landscape painter, his most prominent public role for a significant portion of his career was as a scene painter. From 1759, he began a long and distinguished association with the Covent Garden Theatre, one of London's two patent theatres and a major center of dramatic and operatic production. For over two decades, he served as the principal scene painter there, a position of considerable importance and influence. The 18th-century theatre relied heavily on spectacular visual effects, and the scene painter was a key creative force in bringing productions to life.
Richards' work at Covent Garden involved designing and executing vast painted backdrops, wings, and set pieces for a wide array of productions, from Shakespearean tragedies to contemporary comedies and lavish pantomimes. His designs would have needed to be both artistically compelling and practically effective, capable of creating convincing illusions of place and atmosphere. He collaborated with some of the leading figures of the London stage, including the actor-manager David Garrick, though Garrick was primarily associated with Drury Lane Theatre, the rival to Covent Garden.
One of his notable collaborations in theatrical design was with Philippe Jacques de Loutherbourg (1740–1812), a Franco-British painter who revolutionized stage design in London with his innovative techniques and emphasis on naturalism and dramatic lighting. De Loutherbourg worked at Drury Lane under Garrick but his influence was felt across the London theatre scene. Richards and de Loutherbourg (referred to as "Lorrenburia" in some records, likely a phonetic spelling or misremembering) worked together on the scenic designs for the pantomime Omai, or, a Trip Round the World in 1785. This production, based on the voyages of Captain Cook and featuring Omai, a young Tahitian man brought to England, was a spectacular success, celebrated for its exotic and visually stunning scenes depicting the South Pacific. Richards' contribution to such a landmark production highlights his skill and adaptability.
Other theatrical productions for which Richards designed scenery include The Maid of the Mill, a popular comic opera by Isaac Bickerstaffe and Samuel Arnold, first performed in 1765. His designs for this pastoral piece would have likely emphasized idyllic rural settings. Another significant work was his design for Ramah Droog, or, Wine Does Wonders, a comic opera by James Cobb with music by Joseph Mazzinghi and William Reeve, first performed in 1798. A surviving design for Ramah Droog, depicting a tranquil scene with trees and a lake, is preserved in the Victoria and Albert Museum, offering a tangible glimpse into his scenographic style, characterized by careful composition and atmospheric depth.
His connection to the theatre extended beyond London. Through his marriage to Elizabeth Wignell, he became connected to the Wignell family, prominent in theatrical circles. His brother-in-law, Thomas Wignell, became an important actor-manager in the nascent American theatre, and Richards was reportedly involved in some capacity with the design or planning of the Chestnut Street Theatre in Philadelphia, the first purpose-built theatre in the United States.
The Landscape Painter: Capturing the British Scene
Alongside his demanding theatrical career, John Inigo Richards consistently produced landscape paintings, exhibiting them regularly. His style in this domain, while rooted in the classical traditions inherited from George Lambert, also embraced the growing taste for the picturesque and the depiction of specific British locales. His landscapes often featured gentle, rolling countryside, architectural ruins, and tranquil river scenes, rendered with a soft light and a delicate touch.
He painted views across various English counties, including Kent, Surrey, Merseyside, and the Isle of Wight. These works demonstrate an appreciation for the particularities of the British landscape, moving beyond generalized Claudian compositions to engage with the specific character of a place. This aligns with the broader trend in British art towards topographical accuracy and the celebration of native scenery, a movement also championed by artists like Paul Sandby, known for his detailed watercolour views.
One of Richards' representative works is Battle Abbey Gatehouse (1792). This painting depicts the historic gatehouse of Battle Abbey in Sussex, the site of the Battle of Hastings. His treatment of the subject showcases his skill in architectural rendering, his attention to the textures of stone and foliage, and his ability to evoke a sense of history and romantic decay, a popular theme in the late 18th century. The careful handling of light and shadow in this piece is characteristic of his approach.
Another example of his landscape work is A River Landscape with a Figure and Cattle, which, as its title suggests, would have been a more pastoral scene, likely emphasizing a harmonious vision of nature, perhaps with echoes of the Dutch landscape tradition as well as the classical. His painting The Cascade at Stourhead (1769), now in the National Trust collection at Stourhead, depicts a feature of one of England's most famous landscape gardens, indicating his engagement with these celebrated man-made environments that were themselves works of art. Similarly, his Entrance to Harrow, held in Harrow School's Speech Room Gallery, shows his interest in specific, identifiable locations.
Richards' landscape art, while perhaps not as revolutionary as that of contemporaries like Thomas Gainsborough or Richard Wilson in their respective innovations, was nonetheless highly competent and well-regarded. It contributed to the growing appreciation for landscape painting in Britain and reflected the evolving tastes of the period, balancing classical structure with an increasing sensitivity to naturalistic detail and atmospheric effect.
A Founding Father of the Royal Academy of Arts
John Inigo Richards played a crucial role in the establishment and administration of the Royal Academy of Arts. Founded in 1768 under the patronage of King George III, the Royal Academy aimed to raise the status of art and artists in Britain, provide a system of art education, and create a venue for the annual exhibition of contemporary art. Richards was one of the thirty-four founding members, a group that included many of the leading artists of the day, such as Sir Joshua Reynolds (its first President), Thomas Gainsborough, Benjamin West, Sir William Chambers (its first Treasurer), Francesco Bartolozzi, Angelica Kauffman, Mary Moser, Paul Sandby, Thomas Sandby, Dominic Serres the Elder, and Francis Hayman.
His commitment to the Academy was profound. In 1788, he succeeded Francis Milner Newton as Secretary of the Royal Academy, a position he held with diligence and dedication until his death in 1810. The role of Secretary was a demanding one, involving the day-to-day administration of the Academy, correspondence, record-keeping, and, crucially, the organization of the highly popular and influential annual Summer Exhibition. This exhibition was the premier event in the London art calendar, and its smooth running was essential to the Academy's prestige and financial stability. Richards' long tenure in this role speaks to his organizational skills and his esteemed position among his fellow Academicians.
As Secretary, Richards would have worked closely with successive Presidents, including Sir Joshua Reynolds and later Benjamin West. He would have been involved in the selection and hanging of works for exhibition, a notoriously complex and often contentious process. His own works were regularly featured in these exhibitions, primarily landscapes, from 1769 until the year of his death. His dual role as an exhibiting artist and a key administrator placed him at the very heart of the British art world.
Artistic Style and Influences Reconsidered
John Inigo Richards' artistic style can be characterized as a blend of the prevailing influences of his time. His grounding in the classical landscape tradition, derived from George Lambert and ultimately from Claude Lorrain and Gaspard Poussin, provided his work with a sense of order, balance, and idealized beauty. This is evident in the structured compositions and harmonious arrangements found in many of his landscapes.
However, his work also shows an engagement with the emerging Romantic sensibility and the taste for the picturesque. His depictions of ruins, such as Battle Abbey Gatehouse, tap into the Romantic fascination with the past, with decay, and with the sublime power of nature reclaiming man-made structures. His use of soft, diffused light and delicate brushwork contributes to an atmospheric quality that can evoke mood and sentiment, key elements of Romanticism.
In his theatrical designs, while often grand and spectacular, there was also a move towards greater naturalism and illusionism, influenced by innovators like de Loutherbourg. The single-point perspective often employed in his stage designs was crucial for creating a convincing sense of depth on the stage. His understanding of how to manipulate light and shadow, honed in his landscape painting, would have been invaluable in creating dramatic effects for the theatre.
Beyond George Lambert, other artists of the period would have formed part of his artistic milieu. He would have been aware of the work of Richard Wilson, whose Italianate landscapes brought a new gravitas to British landscape painting. The topographical tradition, exemplified by Paul Sandby and his brother Thomas Sandby, both fellow Royal Academicians, also provided a context for Richards' depictions of specific British sites. The portraiture of Reynolds and Gainsborough dominated the Academy, but the growing importance of landscape and, in Richards' case, the unique field of scenography, demonstrated the expanding scope of British art. He also had contact with artists like John Collett, a painter known for his humorous genre scenes.
Relationships and Collaborations
Richards' career was interwoven with a network of personal and professional relationships. His apprenticeship with George Lambert was foundational. His long association with Covent Garden Theatre brought him into contact with playwrights, composers, actors, and fellow designers like de Loutherbourg. His marriage to Elizabeth Wignell connected him to a theatrical dynasty, and his involvement with Thomas Wignell's American theatrical ventures, even if indirect, shows the transatlantic reach of these networks.
Within the Royal Academy, he was part of a community of artists who were collectively shaping the future of British art. His role as Secretary would have necessitated constant interaction with figures like Sir Joshua Reynolds, Benjamin West, Sir William Chambers, and many others. He would have known marine painters like Dominic Serres the Elder and his son John Thomas Serres, and figures like George Dance the Younger, an architect who also designed for the theatre, and later landscape painters such as David Cox, though Cox's main period of activity was after Richards' death, the theatrical design world was relatively small. The mention of George Chinnery, a notable painter known for his work in India and China, suggests the breadth of artistic connections possible in London at the time. A portrait of Richards by Charles Grignion the Younger, an engraver and painter, dating from around 1771 and now in the Yale Center for British Art, provides a visual record of the artist.
Later Years and Legacy
John Inigo Richards remained active as Secretary of the Royal Academy until his death in 1810 at the age of 79. His long service to this institution was a testament to his dedication and administrative capabilities. His artistic output, though perhaps overshadowed in art historical narratives by some of his more famous contemporaries, was nonetheless significant in its own right and contributed to the cultural fabric of Georgian England.
His works continued to be valued after his death. A sale of his pictures, drawings, and prints was held in 1831, indicating that his art retained a market presence. Today, his works are found in several public collections, which helps to preserve his legacy. The Victoria and Albert Museum holds his theatrical designs, offering insight into 18th-century stagecraft. The National Trust preserves his landscape work at Stourhead, and Harrow School also holds an example of his painting. These institutional holdings, alongside works that appear in the art market, ensure that his contributions are not forgotten.
Richards' legacy is twofold. As a landscape painter, he was a competent and respected practitioner who contributed to the development of the British landscape tradition, skillfully blending classical principles with an appreciation for native scenery and picturesque effects. As a scene painter and a key figure at Covent Garden, he played a vital role in the visual culture of the 18th-century theatre, creating immersive and spectacular environments for some of the era's most popular productions. His foundational role in the Royal Academy, particularly his long and stable tenure as Secretary, was crucial for the institutional consolidation of the arts in Britain. He was, in essence, a dedicated professional who excelled in multiple artistic spheres, contributing significantly to the richness and diversity of British art in his time. His career exemplifies the often-interconnected nature of artistic practice in the 18th century, where skills honed in one area could readily inform and enhance work in another.
