The annals of British art are rich with figures who not only mastered their craft but also shaped its trajectory for generations to come. Among these, the Varley family holds a distinct place, particularly through the contributions of John Varley (1778-1842), a pivotal figure in the establishment of watercolour as a respected medium, and his grandson, John Jnr. Varley (1850-1933), who carried the artistic torch into a new era, capturing the essence of distant lands untouched by burgeoning modernity. This exploration delves into their lives, artistic styles, influences, and the lasting legacy they bestowed upon the world of art.
The Patriarch: John Varley (1778-1842) – A Pioneer of British Watercolour
John Varley, born in Hackney, London, on August 17, 1778, emerged from a family of scientific and artistic inclinations. His father, Richard Varley, was a man of science, and initially, young John was discouraged from pursuing an artistic career. His early life saw him apprenticed to a silversmith and later working for an architectural draughtsman. However, the allure of art proved irresistible. Following his father's death, he briefly studied with Joseph Charles Barrow, a drawing master who ran an evening drawing school. It was during this period, and through sketching trips, that Varley began to hone his skills, particularly in landscape.
Early Influences and Artistic Development
Varley's formative years were marked by an association with Dr. Thomas Monro, a physician and an important patron of young artists. Dr. Monro's home was a hub where aspiring talents like J.M.W. Turner and Thomas Girtin gathered to copy works by masters and refine their techniques. Though Varley's direct involvement with the "Monro Academy" is debated, the artistic ferment of the time undoubtedly influenced him. He first exhibited at the Royal Academy in 1798, at the age of twenty, signaling his formal entry into the art world. His early works, often depicting Welsh scenery, showcased a developing mastery of composition and atmospheric effect, drawing inspiration from the picturesque tradition but imbuing it with a personal, often tranquil, vision. Artists like Richard Wilson and the aforementioned Thomas Girtin were significant influences on his evolving style, which emphasized broad washes, clear light, and a sense of classical order in landscape.
Championing Watercolour: The Society of Painters in Water Colours
One of John Varley's most significant contributions was his role as a founding member of the Society of Painters in Water Colours (often referred to as the "Old Watercolour Society" or OWS) in 1804. At a time when watercolour was often seen as a preparatory medium, subservient to oil painting, the OWS aimed to elevate its status, providing a dedicated venue for watercolourists to exhibit and sell their work. Varley was a prolific contributor to its exhibitions, showcasing hundreds of paintings throughout his career. His dedication helped solidify watercolour as an independent and expressive art form. His colleagues in this venture included artists such as William Sawrey Gilpin, Nicholas Pocock, and Francis Nicholson, all of whom shared the goal of promoting this versatile medium.
Artistic Style and Thematic Concerns
John Varley's style is characterized by its clarity, balanced compositions, and often serene, idealized landscapes. He possessed a remarkable ability to simplify complex scenes into harmonious arrangements of form and colour. His early works often featured Welsh mountains, castles, and river scenes, rendered with a delicate touch and subtle tonal gradations. As his career progressed, his style became bolder, with stronger contrasts and a more structured approach to composition, sometimes described as "Claudian" in its classical balance, referencing the work of Claude Lorrain.
He developed a distinctive technique using broad, flat washes of transparent colour, building up layers to achieve depth and luminosity. His palette, while often subdued, could also incorporate rich blues, greens, and ochres, capturing the varied moods of the British landscape. Works such as View of Peterborough Cathedral (1800), Harlech Castle and Tygwyn Ferry (c. 1805), and Bamburgh Castle with St. Alban's Island (1827) exemplify his skill in rendering architectural subjects within expansive natural settings. He was less interested in the turbulent romanticism of some contemporaries like J.M.W. Turner, preferring a more tranquil and ordered vision of nature, though his work was not without its own poetic sensibility.
A Prolific Teacher and Author
Beyond his own artistic output, John Varley was an immensely influential teacher. He had a large and diverse group of pupils, many of whom went on to become significant artists in their own right. These included David Cox, Copley Fielding, John Linnell, William Henry Hunt (known as "Bird's Nest" Hunt), Peter De Wint, William Mulready, and Samuel Palmer. His teaching methods emphasized direct observation of nature, coupled with an understanding of compositional principles. He encouraged outdoor sketching but also taught systematic approaches to constructing a picture.
Varley codified his teaching in several publications, including A Treatise on the Principles of Landscape Design (1816-21) and A Practical Treatise on the Art of Drawing in Perspective (1815-20). These manuals provided practical instruction on composition, perspective, and the depiction of natural effects, disseminating his ideas to a wider audience. His theories often involved a somewhat formulaic approach to composition, which, while helpful for students, was sometimes criticized for leading to repetitive motifs in his own later work. Nevertheless, his impact as an educator was profound, shaping the course of British watercolour painting for much of the 19th century. John Linnell, one of his most notable students, became a distinguished landscape and portrait painter, and in turn, was a close associate of William Blake.
Friendship with William Blake and Interest in Astrology
A fascinating aspect of John Varley's life was his close friendship with the visionary poet and artist William Blake. Varley, who was deeply interested in astrology and the occult, was captivated by Blake's spiritual visions. Between 1819 and 1820, Blake produced a series of "Visionary Heads" at Varley's encouragement, sketches of historical and imaginary figures whom Blake claimed to see in visions. These included The Ghost of a Flea, one of Blake's most iconic and unsettling images. Varley documented these sessions and even co-authored, with Blake providing illustrations, A Treatise on Zodiacal Physiognomy (1828), though only the first part was published. This friendship highlights Varley's intellectual curiosity and his openness to unconventional ideas, setting him apart from many of his more conventional contemporaries. His brother, Cornelius Varley, also an artist, was more scientifically inclined, known for his invention of the graphic telescope.
Later Life and Challenges
Despite his success as an artist and teacher, John Varley faced persistent financial difficulties throughout his life. He was reportedly a poor businessman, and his large family (he married twice and had many children) placed considerable strain on his resources. His ventures into invention, such as a design for a six-wheeled carriage, also proved costly and unsuccessful. He continued to paint and exhibit prolifically, but his later work, while still technically proficient, sometimes lacked the freshness of his earlier period, possibly due to the demands of producing a large volume of work for sale. He passed away on November 17, 1842, in London, leaving behind a rich artistic and educational legacy. His influence can be seen in the work of his students and in the broader development of the British watercolour school, which owed much to his advocacy and talent.
John Jnr. Varley (1850-1933): A Legacy of Travel and Unspoiled Vistas
Born into a distinguished artistic lineage in 1850, John Jnr. Varley, the grandson of the celebrated John Varley, inherited a passion for art, though his path and focus would diverge from those of his eminent grandfather. While the elder Varley was a foundational figure in British watercolour, deeply rooted in the landscapes of Britain and the theoretical underpinnings of art, John Jnr. carved out his niche as a travel painter, seeking inspiration in lands far from England's shores.
An Artist of a New Generation
Growing up in the shadow of such a significant artistic figure must have been both an inspiration and a challenge. John Jnr. Varley came of age in a different artistic climate. The mid-to-late 19th century saw increased opportunities for travel, and a growing public fascination with "exotic" locales, fueled by colonial expansion and improved transportation. This context shaped his artistic direction. He became known as a visual artist who specialized in capturing scenes from his extensive travels, particularly in Egypt, North Africa, and the Far East, including Ceylon (modern-day Sri Lanka).
The Allure of Unmodernized Landscapes
A defining characteristic of John Jnr. Varley's work was his focus on depicting towns and landscapes that remained largely untouched by the rapid modernization and industrialization sweeping across Europe. This suggests a romantic sensibility, a desire to record and perhaps preserve the character of places before they were irrevocably altered. His paintings often conveyed a sense of timelessness and authenticity, appealing to an audience keen to glimpse worlds beyond their own.
His journey to Egypt in 1874 was particularly notable, as he reportedly built his own boat for the expedition. This adventurous spirit underscores his commitment to immersing himself in the environments he wished to paint. Cairo, with its bustling street life, ancient architecture, and vibrant culture, became a recurring subject in his work. These depictions would have resonated with the Orientalist interests prevalent in Victorian art, though his approach seems to have been more focused on the picturesque and atmospheric qualities of the scenes rather than grand historical or allegorical narratives. Artists like John Frederick Lewis and David Roberts had earlier popularized Near Eastern subjects, and Varley Jnr. continued in this vein, albeit with his own perspective.
Exhibitions and Artistic Style
John Jnr. Varley was an active exhibitor, frequently showing his works at prestigious venues such as the Royal Academy in London. This indicates a level of professional success and recognition within the contemporary art scene. While detailed analyses of his specific stylistic traits are less common than those for his grandfather, his work is generally described as being in the tradition of British landscape and topographical painting, executed with attention to detail and a keen sense of light and atmosphere. His medium was likely watercolour, given his family heritage, but he may also have worked in oils.
His paintings of North Africa and Asia would have required a careful observation of different light conditions, architectural styles, and local customs. The romanticism noted in his work likely manifested in an evocative portrayal of these scenes, emphasizing their unique character and perhaps a sense of nostalgia for a pre-industrial world. He sought out the "unmodernized," suggesting an appreciation for the traditional and the enduring, a theme that would have found favor with audiences weary of the rapid changes in their own societies.
A Life Spanning Eras
John Jnr. Varley's life (1850-1933) spanned a period of immense artistic and social change, from the High Victorian era through the Edwardian period and into the early modern age. He witnessed the rise of Impressionism, Post-Impressionism, and various avant-garde movements. While his own work appears to have remained rooted in a more traditional representational style, his travels and subject matter reflected the expanding horizons of the 19th and early 20th centuries. He passed away in 1933 at the age of 83, leaving behind a body of work that documents his extensive journeys and his particular vision of the world.
It is important to distinguish John Jnr. Varley, the painter, from another John Varley, a notable American science fiction author born in 1947, whose works like Picnic on Nearside, Overdrawn at the Memory Bank, and The Persistence of Vision belong to an entirely different field and era. This distinction is crucial to avoid confusion when discussing the artistic legacy of the Varley family of painters.
The Varley Artistic Heritage and Its Wider Impact
The Varley name, primarily through John Varley the elder, is inextricably linked with the golden age of British watercolour. His contributions were multifaceted: as a highly skilled practitioner who produced a vast body of work, as a dedicated teacher who nurtured a generation of talent, and as a founding member of an institution that championed the medium. His influence extended beyond his immediate circle; his publications on art theory and practice reached a wider audience, and his engagement with figures like William Blake added a unique dimension to his intellectual profile.
Artists like Thomas Girtin, though a contemporary who died young, shared with Varley a commitment to elevating landscape watercolour. J.M.W. Turner, another towering figure, took watercolour to unprecedented expressive heights, but Varley's more systematic and teachable approach had a broader, if different, impact on the general practice of the art. His students, such as David Cox, developed their own distinctive styles but carried forward elements of his instruction, particularly the emphasis on capturing atmospheric effects and the structure of landscape. Samuel Palmer, in his visionary early works, was also briefly under Varley's tutelage, absorbing some of his compositional ideas before forging his intensely personal style.
John Jnr. Varley, while perhaps not as revolutionary a figure as his grandfather, continued the family's artistic tradition in his own way. His work as a travel painter contributed to the Victorian and Edwardian fascination with distant lands, providing visual records of cultures and environments that were becoming increasingly accessible yet remained "exotic" to many in Britain. His focus on unmodernized scenes reflects a romantic appreciation for the past and for places seemingly untouched by time, a sentiment that resonated with many during an era of rapid industrial and social transformation. His contemporaries in travel painting might include artists like Mortimer Menpes or Frank Brangwyn, who also depicted foreign scenes, though often with different stylistic approaches.
The legacy of the Varleys, therefore, is one of both foundational innovation and sustained artistic practice. John Varley the elder helped to define British watercolour painting in the early 19th century, while John Jnr. Varley extended this artistic engagement into new geographical and cultural territories later in the century and into the next. Their collective body of work offers a rich tapestry of landscapes, from the familiar hills of Wales to the bustling streets of Cairo, all rendered with a dedication to the craft of painting and a keen eye for the world around them. Their story is a testament to the enduring power of artistic lineage and the diverse paths that creativity can take across generations.
