Joseph Murray Ince (1806-1859) stands as a notable figure in the rich tapestry of 19th-century British art, particularly celebrated for his evocative watercolour landscapes. Though perhaps not as universally renowned as some of his towering contemporaries, Ince carved a distinct niche for himself through his meticulous depictions of the British countryside, academic institutions, and coastal scenes. His work, imbued with the spirit of Romanticism, captures both the picturesque beauty and the everyday life of his era, leaving behind a legacy preserved in major national collections.
Early Life and Artistic Awakening
Born in London in April 1806, Joseph Murray Ince's formative years were spent not in the bustling metropolis but in the pastoral tranquility of Radnorshire, on the Welsh borders. This early immersion in the natural beauty of the countryside likely sowed the seeds for his lifelong passion for landscape art. The rolling hills, ancient woodlands, and rustic charm of this region would have provided a rich visual vocabulary that he would later translate into his delicate watercolours. The contrast between his London birth and his rural upbringing perhaps offered him a unique perspective, appreciating both the structured urban environment and the untamed allure of nature.
The early 19th century was a fertile period for artistic development in Britain. The Napoleonic Wars had, for a time, restricted continental travel, leading artists to explore the scenic splendours of their own islands. This fostered a burgeoning school of landscape painting, with artists seeking to capture the unique character of the British Isles. It was into this environment that Ince began to develop his artistic inclinations, a time when watercolour was gaining increasing respect as a medium capable of great subtlety and expressive power.
Under the Tutelage of David Cox
A pivotal moment in Ince's artistic development came between 1823 and 1826 when he became a pupil of the esteemed landscape painter David Cox (1783-1859). Cox, himself a master of watercolour, was known for his fresh, vigorous style and his ability to capture the fleeting effects of weather and light. He taught Ince in Hereford, a region close to Ince's childhood haunts in Radnorshire. This period of study would have been invaluable, providing Ince with a strong technical foundation and exposing him to the prevailing artistic currents.
David Cox was a significant figure in the Birmingham School of artists and was associated with other prominent watercolourists like Samuel Prout, known for his architectural drawings, and Peter De Wint, celebrated for his broad, atmospheric landscapes of the English countryside. Under Cox's guidance, Ince would have learned the intricacies of watercolour application, from laying down broad washes to achieve atmospheric depth, to the finer, more detailed brushwork required for capturing specific textures and forms. Cox's emphasis on direct observation of nature and his ability to convey its moods undoubtedly left a lasting impression on his student.
Cambridge: A Drawing Master and Architectural Chronicler
After his studies with Cox, Joseph Murray Ince's career began to take shape. He started exhibiting his works, including at the prestigious Royal Academy in London, a key venue for artists seeking recognition. A significant chapter in his professional life unfolded in the 1830s when he took on the role of Drawing Master at the University of Cambridge. This position not only provided him with a steady income but also immersed him in an environment rich with architectural grandeur and scenic beauty.
During his time in Cambridge, Ince produced a considerable body of work depicting the colleges and their surroundings. These were not mere topographical records; they were imbued with his characteristic sensitivity to light and atmosphere, capturing the timeless elegance of these historic institutions. His paintings of Cambridge, and also of Oxford, showcase his skill in rendering complex architectural details while situating them within a harmonious landscape setting. Works such as Clare College, Cambridge, Seen from Kings Bridge, East Window of Kings College Chapel, Cambridge, Old Kings Gate, College Chapel, Kings College, Cambridge, Senate House Court, Great Court of Trinity College, Cambridge, and The Senate Passage, with the Senate House and the Caius College are testaments to this period. These pieces would have appealed to students, fellows, and alumni, serving as cherished mementos of their time at the university. The tradition of depicting university towns was well-established, with artists like Michael Angelo Rooker and later, Augustus Pugin, also contributing to this genre, though Pugin's focus was more intensely on Gothic architectural revival.
Artistic Style, Themes, and the Romantic Spirit
Joseph Murray Ince's art is firmly rooted in the Romantic movement that swept across Europe in the late 18th and early 19th centuries. Romanticism, in the visual arts, emphasized emotion, individualism, and the glorification of the past and nature. Ince's work reflects these tenets through his choice of subject matter and his meticulous, yet sensitive, handling of the watercolour medium. He was particularly adept at capturing the nuances of the British landscape, from tranquil rural scenes to dynamic coastal views.
His paintings often depict the daily lives of people within these landscapes – figures engaged in farming, fishing, or simply enjoying the countryside. This human element adds a narrative quality to his work, inviting the viewer to connect with the scenes on a more personal level. He excelled in portraying the interplay of light and shadow, creating a sense of depth and atmosphere. His palette, while often subtle, could also capture the vibrant hues of a summer's day or the more sombre tones of an approaching storm. The detailed observation evident in his work, such as in Welsh Border Cottage in Winter (c. 1820s) and Welsh Border Cottage in Summer (1827), speaks to a deep appreciation for the specifics of place and season.
While giants of Romantic landscape like J.M.W. Turner and John Constable explored grand, often dramatic, visions of nature, Ince's contributions were typically on a more intimate scale. His focus was often on the picturesque – a quality that combined beauty with a sense of rustic charm and interesting irregularity. This aligned him with a broader group of artists who found inspiration in the British countryside, including figures like John Sell Cotman, known for his strong sense of pattern and bold washes, and the short-lived but brilliant Richard Parkes Bonington, whose work often featured coastal and historical scenes with a luminous quality.
A Portfolio of Notable Works
Beyond his Cambridge scenes, Joseph Murray Ince produced a diverse range of landscapes. His Netley Abbey depicts the ruins of a Cistercian monastery in Hampshire, a subject popular with Romantic artists who were drawn to the melancholic beauty of historical decay. Such ruins symbolized the passage of time and the power of nature to reclaim man-made structures, themes central to Romantic thought. Artists like Thomas Girtin, a pioneering watercolourist, also famously depicted such historical sites.
His travels, though perhaps not as extensive as some contemporaries like David Roberts or Clarkson Stanfield who journeyed to the Near East and beyond, did take him to the continent. Westeroburgel with Schonburg Castle on the Rhine indicates a journey to Germany, a region whose dramatic castles and river scenery were also a magnet for Romantic artists. Closer to home, works like Hay – on – Wye and the Brecon Beacons and Hay and the Brecon Hills show his continued connection to the Welsh border region, capturing its distinctive topography and atmosphere. Lake near Dolgellau on the Barmouth Road further exemplifies his engagement with Welsh scenery.
Other notable titles include Young Ireland in Business for Himself (1850/59), which suggests a genre scene with a narrative, possibly touching on social commentary, and The Entrance to the Harbor of Marseilles (c. 1838), indicating his portrayal of bustling maritime locations. Hotwells and the Avon Gorge, Bristol showcases his ability to capture specific urban and natural confluences. These works demonstrate a breadth of subject matter, from the pastoral to the urban, the tranquil to the active.
Contemporaries and the Artistic Milieu
Joseph Murray Ince operated within a vibrant and competitive art world. The Royal Academy and the Society of Painters in Water Colours (now the Royal Watercolour Society) were key institutions for exhibition and recognition. While Ince exhibited at the Royal Academy, the Society of Painters in Water Colours was particularly instrumental in elevating the status of the medium. Its members included many leading watercolourists such as Copley Fielding, known for his seascapes and downland views, and William Henry Hunt, famed for his minutely detailed still lifes and rustic figures.
The period saw a flourishing of landscape art in various styles. Alongside the epic visions of Turner and the naturalistic studies of Constable, there were artists like Samuel Palmer, whose early works were intensely spiritual and visionary depictions of the Shoreham valley. Francis Danby created dramatic, often apocalyptic, Romantic landscapes. Ince's work, with its careful delineation and gentle Romanticism, offered a different, yet equally valid, perspective on the British scene. He shared with many of these artists a deep love for the native landscape and a commitment to capturing its essence, whether through grand statements or more modest, intimate portrayals. The influence of earlier figures like George Morland, known for his rustic genre scenes, can also be seen in the broader tradition of depicting rural life that Ince contributed to.
Later Years, Exhibitions, and Enduring Collections
In 1853, Joseph Murray Ince returned to Radnorshire, the county of his childhood, where he spent the remainder of his life. He passed away in 1859. His connection to this region remained strong throughout his career, and it is fitting that he chose to return there.
Despite the passage of time, Ince's work continues to be recognized and appreciated. His paintings are held in several prestigious public collections, a testament to their artistic merit and historical significance. The Tate Britain and the Victoria and Albert Museum in London, both premier institutions for British art, house examples of his work. Various Cambridge colleges also retain his depictions of their architecture and grounds. In the United States, the Huntington Art Gallery in San Marino, California, holds five of his watercolours.
His works have also appeared in exhibitions. Notably, in 2006, the Hereford Museum and Art Gallery, located near his teaching grounds with David Cox, held an exhibition to mark the bicentenary of Ince's birth. This event would have provided an opportunity for a new generation to appreciate his delicate and skillful watercolours. His art also features in collections like that of Compton Verney Art Gallery and Park, and continues to be sought after by private collectors, appearing at auctions where his refined landscapes find appreciative buyers.
Legacy and Conclusion
Joseph Murray Ince may not have achieved the revolutionary fame of a Turner or a Constable, but his contribution to British watercolour painting and the Romantic landscape tradition is undeniable. As a dedicated pupil of David Cox, he absorbed the best of the British watercolour school and developed his own distinct voice. His tenure as Drawing Master at Cambridge University resulted in a valuable visual record of one of Britain's most iconic academic landscapes, rendered with artistic sensitivity rather than mere topographical accuracy.
His broader body of work, encompassing the rustic charm of the Welsh borders, the picturesque beauty of English countryside, coastal vistas, and even scenes from continental Europe, showcases a consistent dedication to careful observation and delicate execution. Ince's paintings offer a window into the 19th-century world, capturing its landscapes and the lives of its inhabitants with a quiet charm and enduring appeal. He was a skilled practitioner of a medium that reached its zenith in Britain during his lifetime, and his works stand as a fine example of the artistry and sensibility of the Romantic era. Through his gentle yet perceptive watercolours, Joseph Murray Ince has left an indelible mark on the story of British art.
