John Cleveley the Younger stands as a significant figure in the rich tradition of British marine painting. Active during the latter half of the eighteenth century, a period of burgeoning naval power and global exploration for Great Britain, Cleveley captured the essence of this maritime spirit with his skilled brushwork and keen eye for detail. His life and work offer a fascinating window into the artistic, naval, and exploratory endeavors of his time, linking him to prominent figures and pivotal historical events.
Early Life and Artistic Foundations
Born in Deptford, London, on Christmas Day, 25 December 1747, John Cleveley the Younger was destined for a life intertwined with the sea and its depiction. Deptford itself was a bustling hub of naval activity, home to a crucial Royal Dockyard, and this environment undoubtedly shaped his early impressions. He was the son of John Cleveley the Elder (c.1712–1777), himself a respected shipwright and marine painter. This familial background provided an invaluable apprenticeship, not only in the practicalities of shipbuilding, which lent an inherent accuracy to his later depictions of vessels, but also in the foundational techniques of marine art.
John the Younger was not the only artist in his generation of the Cleveley family; he had a twin brother, Robert Cleveley (1747–1809), who also pursued a career as a marine painter, further cementing the family's artistic legacy in this specialized genre. The brothers would have shared influences and perhaps even collaborated or learned side-by-side in their father's workshop. This early immersion in both the craft of shipbuilding and the art of painting gave John the Younger a distinct advantage, allowing him to render ships with an authenticity that many of his contemporaries admired.
His formal artistic training was further enhanced under the tutelage of Paul Sandby (1731–1809), a highly influential watercolorist and topographical artist, often referred to as the "father of English watercolour." Sandby was the chief drawing master at the Royal Military Academy in Woolwich, and it was here that Cleveley honed his skills, particularly in watercolor and draughtsmanship. Sandby's emphasis on accuracy in topographical work would have resonated with Cleveley's own inclination towards detailed maritime scenes. This training equipped him with the finesse to capture not just the grandeur of ships but also the subtle atmospheric effects of sea and sky.
Artistic Style and Thematic Focus
John Cleveley the Younger developed a distinctive style characterized by its clarity, precision, and lively depiction of maritime life. While he worked in oils, he was particularly proficient in watercolors, a medium gaining increasing respectability in Britain during this period, partly due to the efforts of artists like his mentor, Paul Sandby. Cleveley's watercolors were often intended as studies or finished works in their own right, but many also served as the basis for engravings and aquatints, which helped to disseminate his imagery to a wider public.
His thematic focus was squarely on the maritime world. This encompassed a wide range of subjects: majestic naval warships, bustling harbor scenes, ceremonial ship launches, specific naval engagements, and views of exotic coastlines encountered during voyages of exploration. He possessed a remarkable ability to depict the intricate rigging and construction of various vessels, from formidable ships-of-the-line to smaller fishing boats and merchantmen. This technical accuracy, likely a legacy of his father's shipbuilding background, lent a strong sense of realism to his work.
Cleveley's compositions are often dynamic, capturing the movement of ships through water, the billowing of sails, and the busy activity of sailors and dockworkers. He paid close attention to the effects of light and weather, skillfully rendering calm seas reflecting clear skies or choppy waters under dramatic, cloud-filled expanses. His palette, particularly in his watercolors, was typically bright and clear, contributing to the vibrancy of his scenes. He was part of a flourishing school of British marine painting that included artists like Dominic Serres the Elder (1719–1793), who became Marine Painter to King George III, and the earlier Charles Brooking (1723–1759), whose work set a high standard for the genre.
Expeditions and Experiences at Sea
A significant aspect of John Cleveley the Younger's career, and a rich source of inspiration for his art, was his direct experience with maritime expeditions. While he did not undertake the extensive voyages of some of his contemporaries, his travels provided him with firsthand material. He is recorded as having accompanied the esteemed naturalist Sir Joseph Banks on an expedition to Iceland in 1772. Banks, who had famously sailed with Lieutenant James Cook on HMS Endeavour (1768-1771), organized this private scientific voyage, and Cleveley served as a draughtsman, tasked with recording the landscapes and phenomena encountered.
This voyage to Iceland, and another with Captain George Vandeput aboard HMS Asia to the Azores, furnished Cleveley with a portfolio of sketches and memories that he would later work up into finished watercolors and paintings. These experiences allowed him to depict foreign shores and diverse maritime conditions with greater authenticity. His works stemming from these travels often showcase a sensitivity to the unique geographical features and atmospheric qualities of these locations.
The connection to Captain James Cook's voyages is particularly noteworthy, although it is primarily through his brother, James Cleveley. James served as a carpenter on Cook's third and final voyage aboard HMS Resolution. It was during this voyage that Cook met his tragic end in Hawaii in 1779. John Cleveley the Younger is famed for his dramatic and widely reproduced aquatint, "The Death of Captain Cook," published in 1784. While John himself was not present, the image is believed to have been based on sketches made on the spot by his brother James, and possibly influenced by drawings made by John Webber (1751–1793), the official artist on Cook's third voyage. This work became one of his most iconic, capturing a pivotal moment in the history of exploration.
Major Representative Works
Among John Cleveley the Younger's extensive oeuvre, several works stand out for their artistic merit, historical significance, or popular appeal.
"The Death of Captain Cook" (aquatint, based on earlier drawing, 1784) is arguably his most famous piece. It vividly portrays the chaotic and tragic confrontation at Kealakekua Bay, Hawaii. The composition is dramatic, filled with figures in dynamic poses, and it sought to provide the British public with a visual record of this much-mourned event. The accuracy of the details, likely informed by his brother's eyewitness accounts, contributed to its impact and enduring legacy. The print was immensely popular and solidified Cleveley's reputation.
His series of watercolors depicting scenes from the Portuguese coast and the Azores, resulting from his voyage with Captain Vandeput, are also highly regarded. These works demonstrate his skill in capturing varied coastal topographies and the specific light and atmosphere of these southern European locales. They showcase his ability to combine topographical accuracy with picturesque sensibilities.
Cleveley also produced numerous paintings and watercolors of British naval vessels and dockyard scenes, particularly those around his native Deptford and nearby Woolwich. These works are invaluable historical documents, illustrating the types of ships in service, the activities of the Royal Navy, and the appearance of Britain's vital naval infrastructure. For instance, depictions of ship launches, such as "The Launching of H.M.S. Alexander at Deptford," were popular subjects, celebrating British shipbuilding prowess.
He also painted scenes of naval reviews and ceremonial occasions, which were important events in the maritime calendar. These paintings often feature a multitude of vessels, meticulously rendered, and convey the grandeur and order of the Royal Navy. His works frequently appeared in exhibitions, contributing to his contemporary recognition.
Exhibitions and Contemporary Recognition
John Cleveley the Younger was an active participant in the burgeoning London art scene. He began exhibiting his works at a relatively young age, showcasing his talents to a wider audience and seeking patronage. In 1767, he became a member of the Free Society of Artists, an organization that provided an alternative exhibition venue to the more established Society of Artists of Great Britain. He exhibited regularly with the Free Society until 1770.
From 1770, Cleveley began to exhibit at the prestigious Royal Academy of Arts in London, which had been founded just two years prior in 1768 with Sir Joshua Reynolds as its first president. He continued to show his marine paintings and watercolors at the Royal Academy almost annually until his death. Exhibiting at the Royal Academy was a mark of professional standing and provided artists with the opportunity to attract critical attention and commissions. Among his fellow exhibitors in the marine genre would have been artists like Dominic Serres and his son John Thomas Serres (1759–1825), as well as Nicholas Pocock (1740–1821), who also specialized in detailed depictions of naval battles and ship portraits. Thomas Mitchell, another artist, also exhibited at the Royal Academy during this period, contributing to the vibrant display of contemporary British art.
Cleveley's works were generally well-received for their accuracy, lively execution, and engaging subject matter. The public's fascination with the Royal Navy, maritime trade, and voyages of discovery created a strong market for marine paintings, and Cleveley was well-positioned to cater to this demand. His ability to work in both oil and watercolor, and to produce drawings suitable for engraving, broadened his reach and impact.
The Cleveley Family Artistic Tradition
The Cleveley family represents a notable instance of an artistic dynasty within a specific genre. John Cleveley the Elder, the patriarch, established the family's connection to both shipbuilding and marine art. His practical knowledge of ship construction, gained from his work as a shipwright in the Deptford dockyards, informed his own paintings and was undoubtedly passed down to his sons.
John the Younger and his twin brother, Robert Cleveley, both followed in their father's artistic footsteps, specializing in marine subjects. Robert also achieved considerable success, becoming Marine Painter to the Prince Regent and later to the Duke of Clarence. While their styles had individual nuances, both brothers contributed significantly to the body of British marine art in the late 18th century. This shared familial focus on a particular artistic niche is a fascinating aspect of their careers. The brothers likely shared knowledge, techniques, and possibly even studio space at times, fostering a supportive and creatively stimulating environment. Their collective output provides a comprehensive visual record of British maritime power and activity during their lifetimes.
Context: The British Marine Painting Tradition and Contemporaries
John Cleveley the Younger worked within a flourishing and evolving tradition of British marine painting. The 18th century saw Great Britain rise to become the world's dominant naval power, and this maritime supremacy was reflected in and celebrated by its artists. Early influences on British marine art came from Dutch Golden Age painters like Willem van de Velde the Elder and Younger, who had worked in England.
By Cleveley's time, a distinct British school had emerged. Artists such as Peter Monamy (c.1681–1749) and Samuel Scott (c.1702–1772) were important precursors who helped establish the genre in Britain. Charles Brooking, despite his short life, produced works of exceptional quality that influenced many who followed.
Cleveley's direct contemporaries, in addition to his brother Robert, included Dominic Serres the Elder, who brought a French academic sensibility to his marine works, and Nicholas Pocock, a former sea captain whose firsthand experience lent great authenticity to his depictions of naval battles. Francis Swaine (c.1725–1782) was another prolific marine painter of the period. Robert Dodd (1748–1815), born just a year after Cleveley, was a close contemporary who also specialized in marine subjects, particularly naval engagements and shipping scenes in the Thames. While some sources have suggested potential collaborations between Cleveley and Dodd on views of London's docks, concrete evidence of direct artistic partnership remains elusive, though they certainly depicted similar environments and events, reflecting the shared interests of marine artists of the era.
The watercolor tradition, in which Cleveley excelled, was also gaining prominence, with artists like his teacher Paul Sandby, and others such as John Inigo Richards (c.1731–1810), Julius Caesar Ibbetson (1759–1817), George Barret Junior (c.1767–1842), and William Turner of Oxford (1789–1862, distinct from J.M.W. Turner) contributing to its development as a respected medium for finished works. Cleveley's contributions to marine watercolor were significant in this evolving landscape.
Later Life and Enduring Influence
John Cleveley the Younger's career, though productive and successful, was relatively short. He died on 25 June 1786, at the age of just 38, in Pimlico, London. Despite his early death, he left behind a substantial body of work that continues to be valued for its artistic quality and historical importance.
His influence can be seen in the continued tradition of accurate and spirited marine painting in Britain. His works serve as vital historical documents, offering insights into naval architecture, maritime practices, and key historical events of the late 18th century. The popularity of prints made after his paintings ensured that his images reached a wide audience and helped to shape public perception of Britain's maritime world.
Today, John Cleveley the Younger's paintings and watercolors are held in major public collections, including the National Maritime Museum in Greenwich, London, the British Museum, and the Victoria and Albert Museum, as well as numerous other institutions and private collections worldwide. His art remains a testament to an era of significant maritime endeavor and a valuable contribution to the canon of British art. His ability to combine technical precision with artistic flair ensured his place among the foremost marine painters of his generation.
Conclusion
John Cleveley the Younger was more than just a painter of ships and the sea; he was a visual historian of a defining period in British history. Nurtured in a family of shipwrights and artists, trained by one of the leading watercolorists of his day, and enriched by his own maritime experiences, he developed a distinctive and accomplished style. His depictions of naval vessels, bustling ports, and dramatic historical events like the death of Captain Cook, captured the imagination of his contemporaries and continue to engage audiences today. Through his meticulous and spirited art, John Cleveley the Younger provided an enduring chronicle of Britain's age of sail, securing his legacy as a key figure in the nation's rich maritime artistic heritage.
