John Wright Oakes stands as a significant, if sometimes overlooked, figure in the rich tapestry of 19th-century British landscape painting. Born at a time when Romanticism was ceding to new artistic currents, Oakes carved out a distinct niche for himself, deeply rooted in the meticulous observation of nature, yet responsive to the evolving tastes and movements of the Victorian era. His career, spanning several decades, saw him transition from provincial recognition to national acclaim, leaving behind a body of work celebrated for its fidelity to the British countryside and its subtle atmospheric power.
Early Life and Artistic Awakening in Cheshire and Liverpool
John Wright Oakes was born on July 9, 1820, in Sproston, near Middlewich, Cheshire. His early education took place locally at Sproston House. The burgeoning industrial city of Liverpool, with its growing cultural institutions, provided the backdrop for his formal artistic training. He enrolled at the Mechanics' Institution School in Liverpool, a common starting point for many aspiring artists and artisans of the period. More significantly, he became a pupil of John Bishop, a respected Liverpool-based artist. Under Bishop's tutelage, Oakes would have honed his foundational skills in drawing and painting.
His initial artistic inclinations leaned towards still life, a genre that demands close observation and precise rendering – skills that would later serve him well in his landscape work. He began exhibiting his art publicly in 1839 at the Liverpool Academy of Arts, a key institution in the North West of England that played a vital role in fostering local talent and providing a platform for artists outside the London-centric art world. It was around 1843 that Oakes made a decisive shift in his primary subject matter, turning his focus towards landscape painting, the genre that would define his career.
The Liverpool Milieu and Pre-Raphaelite Currents
The 1840s and 1850s in Liverpool were a vibrant period for the arts. The Liverpool Academy, where Oakes was increasingly active, became a surprising outpost for the radical new ideas of the Pre-Raphaelite Brotherhood (PRB). Founded in London in 1848 by William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, the PRB advocated a return to the detailed realism and vibrant colours found in art before Raphael, championing "truth to nature" above all. Their work, initially met with hostility by critics like Charles Dickens, found early and enthusiastic support in Liverpool.
Oakes was undoubtedly exposed to these revolutionary ideas. While not a formal member of the original PRB, his work from this period demonstrates a clear affinity with their principles. His landscapes began to show an intensified focus on natural detail, a brighter palette, and a commitment to capturing the specific character of a place. He became an Associate of the Liverpool Academy in 1847 and was elected a full member in 1850. His involvement deepened further when he served as the Academy's honorary secretary from 1853 to 1855, a period when the institution controversially awarded its annual prize to Pre-Raphaelite works, much to the chagrin of the London art establishment. This association placed Oakes firmly within the progressive wing of British art at the time, alongside other Liverpool artists like William Davis and William Lindsay Windus, who also embraced Pre-Raphaelite tenets.
Relocation to London and Broadening Horizons
In 1859, seeking greater opportunities and exposure, John Wright Oakes made the pivotal decision to relocate to London, the undisputed centre of the British art world. This move allowed him to engage more directly with the leading artists and institutions of the day. He established a studio in Kensington, a popular district for artists. Soon after his arrival, he became a member of the Hogarth Club, a social and exhibiting society founded in 1858. The Hogarth Club provided an alternative venue to the Royal Academy for artists, including many with Pre-Raphaelite sympathies such as Ford Madox Brown and Arthur Hughes, though its membership was diverse.
Oakes had already begun exhibiting in London prior to his move. His first work at the Royal Academy of Arts was shown in 1848, and he continued to exhibit there regularly throughout his career. He also sent pictures to other prestigious London venues like the British Institution and the Society of British Artists (later the Royal Society of British Artists) on Suffolk Street. His consistent presence at these exhibitions gradually built his reputation among critics and collectors.
Artistic Style: Truth to Nature and Atmospheric Subtlety
John Wright Oakes's mature style is characterized by a profound love for the British landscape, rendered with both detailed accuracy and a keen sensitivity to atmosphere and light. His early Pre-Raphaelite leanings instilled in him a discipline of close observation, evident in the careful delineation of geological formations, the intricate rendering of foliage, and the precise depiction of foreground elements. Unlike some of the more dogmatic Pre-Raphaelites, however, Oakes's commitment to detail was often tempered by a desire to capture the overall mood and a more naturalistic, less intensely heightened, effect of light.
His favoured subjects were the rugged terrains of North Wales, the dramatic coastlines of Scotland, and the pastoral beauty of the English countryside. He was particularly drawn to mountainous regions, where he could explore the interplay of light and shadow across complex forms, and to coastal scenes, which offered opportunities to depict the dynamic relationship between land, sea, and sky. Works like An Old Welsh Bridge, Autumn or A Carnarvonshire Glen exemplify his ability to convey the specific character and texture of these landscapes. He often painted en plein air, making sketches and studies directly from nature, which he would then work up into larger, more finished canvases in his studio. This practice, common among landscape painters of his generation like Benjamin Williams Leader and George Vicat Cole, ensured a freshness and authenticity in his work.
Mastery in Watercolour and Institutional Recognition
Beyond his achievements in oil painting, John Wright Oakes was also a highly accomplished watercolourist. The Victorian era witnessed a golden age for watercolour painting in Britain, with artists like Myles Birket Foster and Alfred William Hunt (who also shared Oakes's detailed approach to landscape) achieving great popularity. Oakes embraced the medium with enthusiasm, finding it well-suited to capturing the fleeting effects of weather and light. His watercolours often display a luminous quality and a delicate touch.
His skill in this medium was formally recognized when he was elected an Associate of the Society of Painters in Water Colours (the "Old Watercolour Society" or OWS, now the Royal Watercolour Society) in 1874, becoming a full member in 1876. This was a significant honour, placing him among the leading watercolourists of his day. His contributions to the OWS exhibitions further enhanced his reputation.
The year 1876 was a landmark in Oakes's career, as he was also elected an Associate of the Royal Academy (ARA). This was a testament to his standing within the British art establishment. While full Academician status (RA) eluded him, his election as ARA confirmed his position as a respected and successful landscape painter. Further honours came in 1883 when he was made an Honorary Member of the Royal Scottish Academy (HRSA), acknowledging his significant contributions to landscape painting and his frequent depiction of Scottish scenery.
Notable Works and Their Characteristics
Throughout his career, John Wright Oakes produced a substantial body of work, much of which was exhibited at major London and provincial galleries. Among his notable paintings, several stand out for their representative qualities:
Peel Castle, Isle of Man (exhibited RA 1887): This late work, measuring 35 x 51 inches, depicts the historic castle with a sensitivity to its rugged setting and the coastal atmosphere. Its exhibition history, including its passage through Christie's auction house, highlights the market for his work. The painting showcases his mature style, balancing detailed observation with a broader, more atmospheric treatment.
Glen Sannox, Arran (exhibited RA 1864): This painting of a Scottish glen would have appealed to the Victorian taste for picturesque and wild scenery. Scotland was a popular destination for artists, following in the footsteps of earlier figures like Horatio McCulloch and later ones such as Joseph Farquharson. Oakes's depiction would have emphasized the grandeur and specific character of the location.
The Bass Rock: This subject, a famous island off the east coast of Scotland, was painted by many artists, including J.M.W. Turner. Oakes's version would likely have focused on the dramatic silhouette of the rock and the surrounding sea, capturing the atmospheric conditions of the North Sea coast.
The Country Church: A quintessential Victorian subject, evoking sentiments of piety, tradition, and the picturesque English countryside. Artists like Birket Foster often depicted similar scenes. Oakes's interpretation would have combined architectural detail with a sympathetic rendering of the surrounding landscape.
Glenmuick: Another Scottish subject, likely depicting a scene in the Highlands, showcasing his skill in rendering mountainous terrain and the specific atmospheric effects of the region.
His watercolours, such as The First Whisper of Love, The Deserted Village, and The Cobbler (though the last title seems more genre-based than landscape), demonstrate his versatility. While the titles suggest a narrative or sentimental element, common in Victorian art, his primary strength remained in the landscape settings he created for such themes or in pure landscape itself.
His works found their way into important public collections, including the Victoria and Albert Museum in London, the Walker Art Gallery in Liverpool, and Nottingham Castle Museum and Art Gallery, ensuring their accessibility to future generations.
Contemporaries and the Victorian Art Scene
John Wright Oakes operated within a vibrant and competitive art world. The Victorian era saw a burgeoning middle class with an appetite for art, and landscape painting was particularly popular. He was a contemporary of many distinguished landscape painters. The legacy of John Constable and J.M.W. Turner loomed large over the first half of the 19th century, setting high standards for originality and technical brilliance.
In Oakes's own time, artists like Benjamin Williams Leader achieved immense popularity with their accessible and often sentimental depictions of the British countryside. George Vicat Cole was another highly successful contemporary known for his lush, detailed landscapes. John Brett, more closely aligned with the Pre-Raphaelites, produced stunningly detailed coastal scenes and landscapes. Alfred William Hunt, mentioned earlier, created highly wrought watercolours and oils of immense detail and atmospheric beauty. Further afield, the work of artists like Gustave Courbet in France was pushing landscape towards Realism, though Oakes remained firmly within the British tradition.
The exhibition societies played a crucial role. The Royal Academy's Summer Exhibition was the premier event, but other venues like the Old Watercolour Society, the British Institution, and the Grosvenor Gallery (which opened in 1877 and championed artists like Edward Burne-Jones and James McNeill Whistler) offered diverse platforms. Oakes navigated this complex scene, maintaining a consistent presence and a distinctive voice.
Later Years, Health, and Enduring Legacy
In his later years, John Wright Oakes continued to paint and exhibit, though his output may have been affected by declining health. The art world was also changing, with new movements like Impressionism beginning to make an impact, although its influence in Britain was slower to take hold compared to France. Oakes remained committed to his established style, a detailed yet atmospheric naturalism that had brought him success.
John Wright Oakes passed away on July 8, 1887, in his home at Leam Lillington, Milverton, Kensington, London, just a day short of his 67th birthday. He was buried in Brompton Cemetery, a resting place for many notable Victorians.
His legacy is that of a dedicated and highly skilled landscape painter who captured the diverse beauty of the British Isles with great fidelity and sensitivity. He successfully bridged the detailed observation associated with Pre-Raphaelitism with a broader, more traditional approach to landscape composition and atmospheric effect. While perhaps not as revolutionary as some of his contemporaries, his work represents a significant strand of Victorian art, reflecting the era's deep appreciation for nature and its picturesque qualities. His paintings continue to be admired for their technical accomplishment and their evocative portrayal of a landscape that, in many ways, has since been transformed. He remains an important figure for understanding the development of British landscape painting in the 19th century, a testament to a lifelong dedication to his craft and to the enduring beauty of the natural world. His numerous exhibited works, his memberships in prestigious art societies, and the presence of his art in public collections affirm his respected position in the annals of British art history.
