John Phillip stands as a significant figure in nineteenth-century British art, a painter whose career bridged the traditions of Scottish genre painting with a vibrant, sun-drenched depiction of Spanish life. Born in Aberdeen, Scotland, in 1817, and passing away in London in 1867, Phillip rose from humble beginnings to become a celebrated member of the Royal Academy and a favourite of Queen Victoria. His transformation from portraying scenes of Scottish domesticity to capturing the colourful essence of Spain earned him the affectionate nickname "Phillip of Spain," marking a distinct and influential chapter in Victorian art. His journey reflects not only personal artistic evolution but also the broader British fascination with continental Europe during his time.
Early Life and Artistic Awakening in Aberdeen
John Phillip's story began in the granite city of Aberdeen, a world away from the Andalusian landscapes he would later master. Born into modest circumstances on April 19, 1817, his early life gave little indication of the artistic heights he would reach. However, his innate talent for drawing and painting emerged early. Legend has it that he began his artistic endeavours by painting signs for local merchants, honing his skills through practical application.
Recognizing his potential, local patrons, most notably Major Pryse Lockhart Gordon and Lord Panmure, provided crucial support. This patronage enabled the young Phillip to pursue more formal training. Initially, he received guidance from a local portrait painter named James Forbes. His ambition, however, looked south towards London, the epicentre of the British art world. A possibly apocryphal tale tells of him stowing away on a brig bound for London to visit the Royal Academy exhibition of 1834, an experience that solidified his determination to become a professional artist.
Training at the Royal Academy Schools
Supported by Lord Panmure, John Phillip formally entered the prestigious Royal Academy Schools in London in 1837. This institution was the crucible where generations of British artists had been forged, following the principles laid down by its first president, Sir Joshua Reynolds. Here, Phillip immersed himself in the rigorous academic curriculum, which emphasized drawing from antique casts and life models, studying anatomy, and learning the techniques of the Old Masters.
During his time at the RA Schools, Phillip became associated with a group of fellow students known as "The Clique." Led by the precociously talented but ultimately tragic figure of Richard Dadd, this group included artists like Augustus Egg, William Powell Frith, and Henry Nelson O'Neil. The Clique, while diverse in individual styles, shared a rebellious spirit against some of the perceived staidness of the Academy establishment, favouring modern-life subjects and narrative clarity, often drawing inspiration from literature and history. This early association likely sharpened Phillip's skills in storytelling through paint.
The Influence of Sir David Wilkie
A pivotal influence on the young John Phillip, and indeed on many British genre painters of the era, was his fellow Scot, Sir David Wilkie. Wilkie had achieved immense fame for his detailed and anecdotal scenes of Scottish life, such as The Penny Wedding and The Blind Fiddler. His work combined meticulous observation, narrative interest, and a warm humanity that resonated deeply with the public and fellow artists.
Phillip greatly admired Wilkie's ability to capture character and incident within domestic settings. His early works clearly show this influence, focusing on subjects drawn from Scottish history, literature (particularly the works of Sir Walter Scott), and everyday life. Paintings like Presbyterian Catechising and Baptism in Scotland exemplify this phase, characterized by careful draughtsmanship, relatively subdued colour palettes, and a focus on communal or familial interactions, echoing Wilkie's successful formula. He was, in these early years, establishing himself firmly within the Scottish genre tradition.
A Scottish Painter Emerges
Throughout the 1840s, John Phillip built his reputation primarily as a painter of Scottish subjects. He exhibited regularly at the Royal Academy and the British Institution, gradually gaining recognition for his competent handling of narrative and his sympathetic portrayal of Scottish character and customs. His works often depicted scenes of rural life, historical moments, or illustrations of popular ballads and poems.
His style during this period remained relatively tight and detailed, adhering to the conventions popularised by Wilkie and other genre painters like Alexander Carse or Walter Geikie. The colouration was generally sober, reflecting the often-grey skies and earthy tones associated with Scottish landscapes and interiors. While competent and increasingly successful, these early works, viewed retrospectively, perhaps lacked the spark and vibrancy that would later define his career. He was a respected painter, but not yet a truly distinctive one on the crowded London art scene.
The Transformative Journey to Spain
The turning point in John Phillip's life and art came in 1851. Advised by his doctor to seek a warmer climate for health reasons (possibly related to respiratory issues), he embarked on a journey to Spain. This trip, initially intended for convalescence, proved to be an artistic revelation. He travelled extensively, particularly in Andalusia, spending significant time in Seville, a city that captivated him with its intense light, vibrant street life, and rich cultural tapestry.
Spain offered Phillip a world dramatically different from the muted tones and familiar scenes of Scotland and London. He was struck by the brilliance of the sunlight, the vivid colours of local costumes, the expressive faces of the people, and the pervasive influence of Catholic ritual and tradition. He encountered the legacy of Spanish Golden Age painting firsthand, particularly the works of Diego Velázquez and Bartolomé Esteban Murillo, whose techniques and subject matter resonated deeply with his own artistic inclinations. This immersion in Spanish culture fundamentally altered his artistic vision.
A New Palette: The Spanish Influence
Returning from Spain, John Phillip's art underwent a profound transformation. His palette exploded with colour, embracing the rich reds, deep blacks, and sunlit ochres he had witnessed. His brushwork became looser, more fluid, and more expressive, moving away from the tighter handling of his earlier Scottish scenes. He began to capture the effects of strong sunlight and shadow with a new confidence, reminiscent of the Spanish masters he admired.
His subject matter shifted decisively towards Spanish themes. He painted scenes of everyday life in Seville and other regions – market vendors, church interiors, family gatherings, musicians, dancers, and religious observances. He was particularly drawn to depicting the interactions between people, capturing moments of flirtation, devotion, contemplation, or communal activity. This new direction quickly caught the attention of the London art world. Critics and the public were fascinated by these exotic, yet relatable, glimpses into Spanish life, rendered with a newfound technical brilliance. His work stood out for its vibrancy against the often more reserved tones of contemporary British painting.
Velázquez and Murillo: Spanish Masters as Mentors
Phillip's engagement with Spanish art went beyond mere thematic borrowing; he actively studied and absorbed the techniques of the Spanish masters, particularly Velázquez and Murillo. From Velázquez, the seventeenth-century court painter renowned for his realism and sophisticated handling of paint, Phillip learned about the expressive potential of visible brushwork, the dramatic use of light and shadow (chiaroscuro), and the power of capturing psychological presence in portraiture.
From Murillo, famous for his religious paintings and his charming depictions of street urchins and everyday life in Seville, Phillip drew inspiration for his subject matter and his sympathetic portrayal of ordinary people. Murillo's warm colours and softer modelling also likely influenced Phillip's evolving style. Phillip's celebrated work, The Early Life of Murillo (1864), pays direct homage to the Spanish master, depicting the young Murillo sketching amidst the bustling life of a Seville market, a subject that allowed Phillip to combine his admiration for the artist with his own talent for capturing vibrant street scenes.
Masterworks of Spanish Life: La Gloria
Among Phillip's most famous and powerful Spanish-themed works is La Gloria (also known as The Spanish Wake), exhibited at the Royal Academy in 1864. This large and complex painting depicts a poignant scene: the wake of an infant in a Spanish home. While the grieving mother sits shrouded in sorrow in the shadowed background, the foreground is filled with neighbours celebrating the child's ascent to heaven ("La Gloria") with music and dancing, according to local custom.
The painting is a tour de force of composition, colour, and emotional contrast. Phillip masterfully juxtaposes the solemnity of death with the vibrant, almost jarring, celebration. The brilliant colours of the dancers' costumes and the strong contrasts of light and shadow heighten the drama. La Gloria was widely discussed and admired for its technical skill and its unflinching portrayal of a cultural practice unfamiliar and perhaps unsettling to Victorian British audiences. It cemented Phillip's reputation as a leading figure painter capable of tackling complex and emotionally charged subjects. Other notable Spanish works include The Letter Writer of Seville and numerous scenes depicting interactions at church doors or windows, often involving elements of courtship or quiet devotion.
Royal Patronage: The Marriage of the Princess Royal
John Phillip's growing reputation and his evident skill attracted the highest levels of patronage. In 1858, he received a prestigious commission directly from Queen Victoria and Prince Albert. He was asked to paint the marriage of their eldest daughter, Victoria, Princess Royal, to Prince Frederick William of Prussia (later Emperor Frederick III of Germany), which took place in the Chapel Royal at St James's Palace.
This was a significant honour and a challenge, requiring Phillip to capture a complex state occasion involving numerous identifiable portraits within a grand architectural setting. He executed the commission with considerable success. The resulting painting, The Marriage of the Princess Royal, 25 January 1858, completed in 1860, was praised for its composition, its likenesses of the key figures, and its rich depiction of the ceremony's pageantry. Queen Victoria was reportedly delighted with the work, which further enhanced Phillip's standing and led to other royal commissions, including portraits. This patronage solidified his position within the art establishment.
Recognition and the Royal Academy
John Phillip's success, particularly following his Spanish works and the royal marriage commission, was formally recognized by the art establishment. He was elected an Associate of the Royal Academy (ARA) in 1857, a significant step confirming his rising status. Just two years later, in 1859, he achieved the highest honour, being elected a full Royal Academician (RA).
Membership in the Royal Academy was the pinnacle of success for a British artist at the time. It brought prestige, exhibition privileges, and a role in shaping the direction of British art. Phillip took his responsibilities seriously and continued to exhibit major works at the RA's annual exhibitions, which were central events in the London social and cultural calendar. His paintings were eagerly anticipated and often commanded high prices, reflecting his popularity with collectors and the public. He joined the ranks of other prominent Victorian Academicians like Sir Edwin Landseer, Charles West Cope, and Daniel Maclise.
Phillip and His Contemporaries: A Wider Circle
While influenced by Wilkie and associated with The Clique in his youth, Phillip navigated the complex Victorian art world alongside many other notable figures. His Spanish subjects set him apart from the mainstream of British genre painting, which often focused on domestic scenes (like Thomas Webster or William Mulready) or historical narratives (like Edward Matthew Ward).
His relationship with the Pre-Raphaelite Brotherhood (PRB), founded in 1848 by John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt, is interesting. While Phillip knew Millais and other figures associated with the movement, his artistic approach differed significantly. The Pre-Raphaelites initially emphasized meticulous detail, bright, clear colours applied to a wet white ground, and subjects drawn from literature, religion, and modern life, often with a strong moral or symbolic dimension. Phillip, especially in his later work, favoured looser brushwork, richer, darker tones influenced by Velázquez, and subjects focused more on observed cultural life than symbolic allegory. He remained largely independent of the PRB's stylistic and ideological programme.
He can also be considered alongside other Scottish artists who achieved success in London, such as Thomas Faed, who continued the Wilkie tradition of Scottish genre scenes, and Erskine Nicol, known for his often humorous depictions of Irish life. David Roberts, another Scot, was renowned for his topographical views, including scenes from Spain and the Near East, offering a different perspective on foreign lands compared to Phillip's focus on human life and culture. Phillip's unique blend of Scottish roots and Spanish inspiration gave him a distinct niche.
Technique and Style Revisited: A Master Colourist
John Phillip's mature style is characterized by its confident handling of paint, rich colour, and dramatic use of light. His Spanish works, in particular, showcase his abilities as a colourist. He employed deep reds, vibrant blues, earthy browns, and stark whites and blacks, often juxtaposed to create visual excitement and emotional intensity. His application of paint became increasingly bold and fluid, with visible brushstrokes contributing to the texture and energy of the surface, a technique clearly indebted to his study of Velázquez.
He excelled at composing complex multi-figure scenes, arranging groups of people in dynamic and naturalistic ways that conveyed narrative and social interaction. Whether depicting the solemnity of La Gloria, the bustling energy of a market, or the quiet intimacy of a domestic interior, Phillip demonstrated a keen eye for human gesture and expression. His ability to capture the quality of light, whether the harsh glare of the Andalusian sun or the shadowed interior of a church, was fundamental to the atmosphere and realism of his paintings.
Personal Life and the Shadow of Tragedy
John Phillip's personal life was marked by a connection to the tragic story of his early associate, Richard Dadd. Phillip married Dadd's sister, Maria Elizabeth Dadd. Sadly, the Dadd family was afflicted by mental illness. Richard Dadd himself, in 1843, murdered his father in the belief that he was the Devil and spent the rest of his life in institutions (Bedlam and later Broadmoor), where he continued to produce extraordinary, minutely detailed fantasy paintings.
While details are scarce, it is known that Phillip's wife, Maria, also suffered from periods of mental instability, casting a shadow over their family life. This personal connection to mental illness, shared with his friend and brother-in-law, adds a layer of poignancy to Phillip's life story, contrasting with the often vibrant and celebratory nature of his art. Despite these challenges, Phillip maintained his professional focus and productivity. His self-portrait, The Evil Eye, commissioned by his friend Patrick Allan Fraser and housed at Hospitalfield House, Arbroath, offers a glimpse into his own intense gaze and personality. His son, Colin Bent Phillip, also became a painter, specializing in watercolours.
Later Years, Final Journey, and Legacy
John Phillip continued to paint and exhibit successfully throughout the 1860s, making further trips to Spain to gather material. He remained one of the most popular and critically acclaimed artists in Britain. His works were sought after by collectors, and engravings after his paintings helped to spread his fame more widely. He undertook another significant royal commission, depicting the House of Commons in 1860, although this proved a difficult task.
His final journey took him not to Spain, but to Italy in 1866, accompanied by his friend, the renowned watercolourist William Edward Frost. While in Rome, Phillip suffered a severe stroke. He was brought back to London but never fully recovered. He died at his home in Campden Hill, Kensington, on February 27, 1867, at the relatively young age of 49. His death was widely mourned in the art world.
John Phillip's legacy rests on his role as the foremost British interpreter of Spanish life during the Victorian era. He brought a new vibrancy and colourism to British painting, influenced by his direct experience of Spain and his admiration for its artistic heritage. While perhaps overshadowed later by the rise of Impressionism and other modern movements, his work remains a fascinating and skillful representation of nineteenth-century cultural exchange and artistic evolution. He successfully blended the narrative traditions of British genre painting with the painterly qualities and exotic subjects derived from Spain, creating a unique and enduring body of work. His paintings continue to be admired for their technical prowess, vivid colour, and engaging portrayal of human life.
Conclusion: A Bridge Between Worlds
John Phillip occupies a unique position in the history of British art. Rooted in the Scottish genre tradition exemplified by Wilkie, he transformed his art through his encounters with Spain, becoming a master colourist and a vivid chronicler of Andalusian life. His work captured the imagination of the Victorian public, offering exotic yet accessible scenes rendered with increasing technical freedom and brilliance. As a Royal Academician and a recipient of royal patronage, he achieved significant success within the established art world, while his engagement with Spanish masters like Velázquez demonstrated a sophisticated understanding of European art history. Though his life was cut short, John Phillip, "Phillip of Spain," left behind a rich legacy of paintings that bridge the worlds of Northern European narrative tradition and Southern European light and colour, securing his place as a distinctive and important figure in nineteenth-century art.
