John "Warwick" Smith (1749-1831) stands as a significant, if sometimes underappreciated, figure in the golden age of British watercolour painting. Active during a period of profound transformation in the medium, Smith was both a product of his time and an innovator who contributed to the elevation of watercolour from a mere tool for topographical record to a respected medium for expressive artistic creation. His extensive travels, particularly in Wales and Italy, provided the rich subject matter for a prolific career, and his association with influential patrons and fellow artists placed him at the heart of a burgeoning art scene. His legacy is one of meticulous observation, evolving technique, and a deep sensitivity to the nuances of landscape.
Early Life and Artistic Awakening
Born on July 26, 1749, in the small village of Irthington, near Carlisle in Cumberland (now Cumbria), John Smith's early life was modest. His father was a gardener in the employ of the Gilpin family at Scaleby Castle, a connection that would prove fortuitous for the young aspiring artist. It was here that he likely first encountered art and received encouragement. His initial artistic guidance came from Captain John Bernard Gilpin, an amateur artist and member of the distinguished Gilpin family, which included the renowned animal painter Sawrey Gilpin and the influential writer on the picturesque, Reverend William Gilpin.
Captain Gilpin recognized Smith's nascent talent and played a crucial role in his early development. More significantly, he introduced the young artist to a patron who would decisively shape his career: George Greville, 2nd Earl of Warwick. The Earl, a prominent connoisseur and collector, became Smith's benefactor, providing him with the means to pursue his artistic studies more formally. This patronage was not uncommon in the 18th century, where talented individuals from less privileged backgrounds often relied on the support of enlightened aristocrats to advance their careers. The Earl's support would eventually lead to the transformative experience of a Grand Tour.
Even before his Italian sojourn, Smith was honing his skills as a draughtsman and watercolourist, likely focusing on the landscapes of his native Cumberland and the surrounding regions. The prevailing style for landscape watercolours in the mid-18th century was largely topographical, characterized by delicate tinted drawings, where a monochrome underdrawing in Indian ink would be overlaid with light washes of colour. Artists like Paul Sandby, often considered the "father of English watercolour," were masters of this approach. Smith's early work would have been influenced by this tradition, emphasizing accuracy and detailed rendering of specific locations.
The Italian Sojourn: A Crucible of Development
The patronage of the Earl of Warwick culminated in the quintessential educational experience for an aspiring artist of the 18th century: a journey to Italy. Smith traveled to Italy around 1776 and remained there until 1781. This period was transformative, exposing him to the classical landscapes, ancient ruins, and vibrant artistic communities that had drawn British artists for generations. The Earl of Warwick himself was a keen collector and likely commissioned Smith to produce views of Italian scenery for his collection at Warwick Castle.
In Italy, Smith did not work in isolation. He encountered and interacted with a host of other British artists who were also drawn to the artistic allure of Rome, Naples, and the Italian countryside. Among these was the Welsh landscape painter Thomas Jones, whose oil sketches of Naples and Rome are now celebrated for their freshness and directness. He also associated with Francis Towne, an artist known for his distinctive, somewhat austere style characterized by strong pen outlines and flat washes of subtle colour, particularly evident in his Alpine and Italian scenes. William Pars, another notable watercolourist who had earlier accompanied Richard Chandler and Nicholas Revett on an expedition to Greece and Asia Minor, was also part of this expatriate artistic circle.
The experience of Italian light, the grandeur of classical architecture, and the picturesque beauty of the Campagna had a profound impact on Smith's art. While he continued to produce detailed topographical views, his palette began to broaden, and his handling of watercolour became more confident and expressive. He absorbed the lessons of artists like Claude Lorrain and Gaspard Dughet, whose idealized classical landscapes had long set the standard for landscape painting. Smith produced a considerable body of work during his five years in Italy, capturing views of Rome, Tivoli, Naples, and the surrounding areas. These works, often characterized by a warm palette and a sensitivity to atmospheric effects, were highly valued upon his return to England. Some of his Italian scenes were later engraved and published, notably in Samuel Middiman's "Select Views in Great Britain" and his own later publication, "Select Views in Italy" (1792-1796).
Return to Britain: The Lure of Native Scenery
Upon his return to England in 1781, Smith initially settled in Warwick, a natural consequence of his connection with the Earl. However, he later moved to London, which was the undisputed center of the British art world. While his Italian experiences continued to inform his work, he increasingly turned his attention to the landscapes of his own country. The Napoleonic Wars, which made continental travel difficult and dangerous for extended periods, further encouraged British artists to explore the scenic beauty of Great Britain.
Smith became particularly renowned for his depictions of Wales and the Lake District. He undertook numerous sketching tours in these regions, drawn by their dramatic mountains, picturesque valleys, ancient castles, and cascading waterfalls. Wales, in particular, held a strong appeal for artists of the Romantic era. Its rugged scenery, rich history, and association with Celtic myths and legends provided ample inspiration. Artists like Richard Wilson had earlier pioneered the depiction of Welsh landscapes, and Smith followed in this tradition, but with the evolving techniques of watercolour.
His Welsh tours, undertaken frequently between the mid-1780s and the early 1800s, resulted in a vast corpus of work. He meticulously documented famous sites such as Snowdonia, the castles of Harlech, Conwy, and Caernarfon, and the picturesque river valleys. These watercolours were prized for their accuracy but also for their increasingly sophisticated handling of light and atmosphere. His work in the Lake District, his native region, was equally accomplished, capturing the serene beauty of its lakes and fells. These tours were often arduous, involving travel by horseback or on foot, carrying sketching materials, but they were essential for gathering the raw material for finished studio watercolours.
Artistic Style and Technical Evolution
John Warwick Smith's artistic style evolved considerably over his long career, reflecting both his personal development and the broader changes occurring in watercolour painting. His early works, prior to and during the initial part of his Italian tour, largely adhered to the tinted drawing method prevalent in the mid-18th century. This involved a careful monochrome underdrawing, typically in grey or brown ink, which established the composition and tonal values, followed by the application of transparent washes of colour.
The Italian experience marked a significant shift. Exposure to the stronger light of Italy and the work of other artists encouraged him to use a richer, warmer palette. He began to rely less on the pen outline and more on building form through juxtaposed washes of colour. His Italian views often display a greater sense of atmospheric perspective and a more painterly approach than his earliest British landscapes. He became adept at capturing the golden light of the Italian Campagna and the deep blues of the Mediterranean sky.
Upon his return to Britain and his subsequent focus on Welsh and Lake District scenery, Smith continued to refine his technique. He developed a characteristic style that combined topographical accuracy with a heightened sense of the picturesque and, at times, the sublime. His colours became richer and more varied, and he was particularly skilled in rendering the subtle greens, blues, and greys of the British landscape. He often used a limited palette to great effect, achieving harmony and unity in his compositions.
A notable characteristic of Smith's mature style was his use of strong, often vibrant, local colour, particularly blues and greens, which led to some contemporary critics, like Edward Dayes, to find his work occasionally "gaudy" or "harsh." However, this boldness in colour was also part of his innovation, moving watercolour away from the delicate tints of the earlier generation towards a more robust and expressive medium. He was also praised for his "breadth of effect" and his ability to capture the essential character of a scene. His handling of foliage, rock formations, and water was particularly admired.
While he was not as revolutionary as younger contemporaries like Thomas Girtin or J.M.W. Turner, who dramatically expanded the expressive potential of watercolour, Smith played an important role in consolidating the gains made in the medium. He demonstrated that watercolour could achieve a richness and depth previously associated primarily with oil painting. His work often features a careful balance between detailed foreground elements and more broadly rendered distant views, creating a convincing sense of space and atmosphere. Works such as "Distant view of the Eifl Hills," "Fishguard," "Upper fall of the Clydagh," and "River Landscape with a Single Arched Bridge" exemplify his skill in capturing the specific character of Welsh scenery. His Italian scene, "Val d’Aosta," showcases his ability to render architectural subjects within a grand landscape setting.
The "Warwick" of Wales and Other Commissions
John Smith became so closely associated with his patron, the Earl of Warwick, and perhaps also with the town of Warwick where he resided for a time, that he became widely known as "Warwick" Smith. This moniker served to distinguish him from other artists named Smith, a common surname. It also, inadvertently, highlighted the importance of patronage in his career. Some sources suggest the nickname also stemmed from his extensive work in Wales, as if he "belonged" to that landscape through his art, though the primary connection is almost certainly to his patron.
His reputation as a skilled landscape watercolourist led to various commissions. In 1786, for instance, he was commissioned by John Murray, 4th Duke of Atholl, to produce a series of twenty-six views of the Isle of Man. These watercolours are considered among the most important early visual records of the island's landscapes and historic sites. Such commissions were vital for an artist's livelihood and provided opportunities to explore new territories. He also provided illustrations for publications, a common practice for landscape artists of the period. His views were engraved for works like "Select Views in Great Britain" by Samuel Middiman and his own "Select Views in Italy." He also collaborated with William Gilpin, providing illustrations for "A Tour in Wales."
His connection with Wales extended to commissions from Welsh landowners. For example, he produced watercolours of estates for figures like John Christian Curwen and Isabella Curwen, demonstrating the demand for visual records of property and picturesque improvements. These works often combined topographical accuracy with an idealized vision of rural life and landscape.
Professional Life and the Society of Painters in Water-Colours
John Warwick Smith was a prominent figure in the London art world, particularly within the community of watercolour painters. In 1804, he was a founding member of the Society of Painters in Water-Colours (often referred to as the Old Watercolour Society or RWS). This society was established to promote the status of watercolour painting as a serious art form, distinct from oil painting, and to provide a dedicated venue for watercolourists to exhibit and sell their work, as the Royal Academy often marginalized watercolours.
Smith was deeply involved in the society's affairs. He exhibited regularly with the RWS from its inception until his retirement, showing a large number of works, predominantly Welsh and Italian scenes, but also views of the Lake District and other parts of Britain. His contributions were highly regarded by his peers. He served the society in various capacities, including as its President in 1814, 1817, and 1818. He also held the positions of Treasurer and Secretary at different times, indicating the respect and trust he commanded within the artistic community.
His involvement with the RWS placed him alongside other leading watercolourists of the day, such as John Varley, a highly influential teacher and artist; Cornelius Varley, John's brother, known for his scientific interests and inventions as well as his art; Joshua Cristall, who often depicted classical and rustic figures in landscapes; and George Fennel Robson, celebrated for his mountain scenery. Other prominent members during Smith's active years included Ramsay Richard Reinagle (who also painted in oils), William Frederick Wells, and the architectural specialist Augustus Charles Pugin. The society's exhibitions were popular and played a crucial role in raising the public profile of watercolour art.
Contemporaries and the Artistic Milieu
John Warwick Smith's career spanned a period of extraordinary artistic activity in Britain, particularly in landscape painting. He was a contemporary of, or overlapped with, several generations of influential artists. The generation preceding him included figures like Richard Wilson, who brought a classical grandeur to British landscape, and Paul Sandby, who refined the topographical watercolour.
Among his direct contemporaries were artists like Francis Towne, with whom he associated in Italy, and Philip James de Loutherbourg, known for his dramatic and often theatrical landscapes and seascapes. Michael "Angelo" Rooker was another accomplished watercolourist specializing in architectural and topographical views. The slightly younger generation, which included Thomas Girtin and J.M.W. Turner, would take watercolour to unprecedented heights of expressiveness and technical innovation. While Smith's style remained more rooted in the 18th-century tradition of detailed observation, he was undoubtedly aware of and influenced by the evolving artistic currents.
The intellectual climate of the late 18th and early 19th centuries, with its emphasis on the Picturesque, as theorized by writers like Reverend William Gilpin (brother of Smith's early mentor, Captain John Bernard Gilpin), Uvedale Price, and Richard Payne Knight, profoundly shaped the appreciation and depiction of landscape. Artists like Smith were actively engaged in seeking out and representing picturesque scenery, characterized by variety, irregularity, and interesting textures. His detailed renderings of ancient castles, rustic cottages, and rugged mountains catered to this taste. The influence of poets like William Wordsworth, who celebrated the natural beauty of the Lake District, also contributed to the cultural valorization of landscape that formed the backdrop to Smith's career.
Other landscape artists whose work provides context for Smith's include Alexander Cozens and his son John Robert Cozens. John Robert Cozens, in particular, created sublime and poetic Italian and Alpine landscapes in watercolour that were highly influential, especially on Girtin and Turner. While Smith's approach was generally less overtly romantic or sublime than that of John Robert Cozens, he shared a commitment to capturing the atmospheric qualities of the landscapes he depicted.
Later Years, Legacy, and Influence
John Warwick Smith continued to paint and exhibit actively into his later years. He retired from the Society of Painters in Water-Colours in 1823, at the age of 74, but likely continued to practice as an artist and perhaps as an art tutor. He resided in London for much of his later life, and passed away on March 22, 1831, at the age of 81. He was buried in the churchyard of St George's Chapel, Uxbridge Road, London.
His legacy is that of a skilled and prolific watercolourist who made a significant contribution to the development of British landscape painting. While sometimes overshadowed by the more radical innovations of Turner and Girtin, Smith's work represents a crucial link between the earlier topographical tradition and the more expressive possibilities of the medium that were realized in the early 19th century. He was admired for his technical proficiency, his fine draughtsmanship, and his ability to capture the specific character of diverse landscapes, from the sun-drenched plains of Italy to the misty mountains of Wales.
His numerous views of Wales, in particular, form an invaluable historical record of the country's scenery before the more widespread changes brought by industrialization and mass tourism. These works continue to be studied by art historians and are held in major public collections, including the British Museum, the Victoria and Albert Museum, the National Library of Wales, and numerous regional galleries.
Smith's influence can be seen in the work of his pupils and followers, and more broadly in the increased professionalism and ambition of watercolour painting during his lifetime. His dedication to the Society of Painters in Water-Colours helped to secure a platform and a voice for artists working in the medium. Although some later critics, looking back from the perspective of High Romanticism, found his style somewhat formal or traditional, particularly in his later years, his contribution to the "art of watercolour" was substantial. He pushed the boundaries of colour and technique within the established conventions of his time, creating a body of work that is both historically important and aesthetically pleasing.
Conclusion: An Enduring Contribution
John "Warwick" Smith was a dedicated and talented artist who navigated the evolving landscape of British art with skill and professionalism. From his humble beginnings in Cumberland to his respected position within the London art establishment, his career was marked by a consistent commitment to his craft. His Italian sojourn broadened his horizons, while his extensive explorations of British scenery, especially Wales, provided the enduring themes of his art.
As a key member and sometime President of the Society of Painters in Water-Colours, he played an active role in championing the medium. His distinctive style, characterized by careful observation, strong colour, and an evolving painterly technique, contributed to the growing prestige of watercolour painting. While the art world would continue to transform rapidly after his death, John Warwick Smith's substantial body of work remains a testament to his skill and an important part of the rich tapestry of British landscape art. He successfully bridged the gap between the precise, topographical renderings of the earlier 18th century and the more atmospheric, colourful, and emotionally resonant watercolour practices of the Romantic era, leaving behind a legacy that continues to be appreciated for its historical value and its intrinsic artistic merit.
