Joseph Paul Pettitt (1812-1882) was a British artist whose career spanned a significant portion of the Victorian era, a period of immense artistic diversity and burgeoning public interest in the arts. While perhaps not as universally recognized today as some of his towering contemporaries, Pettitt carved out a niche for himself, particularly with his evocative landscapes and dramatic, often biblically inspired, narrative paintings. His work reflects many of the prevailing tastes and artistic currents of his time, from the lingering influence of Romanticism to the Victorian appetite for detailed realism and morally resonant themes.
Early Life and Artistic Formation
Born in 1812, Joseph Paul Pettitt entered a world where British art was experiencing a golden age, particularly in landscape painting. The towering figures of J.M.W. Turner (1775-1851) and John Constable (1776-1837) were already well-established, revolutionizing the way nature was perceived and depicted. While specific details about Pettitt's early training are not extensively documented in readily accessible sources, it is reasonable to assume he would have been exposed to their work and the broader artistic milieu of London, the epicenter of the British art world.
The early 19th century saw the Royal Academy of Arts as the dominant institution, but other exhibiting societies like the British Institution and the Society of British Artists (later Royal Society of British Artists, RBA) provided crucial platforms for artists to showcase their work and gain patronage. It is likely that Pettitt, like many aspiring artists of his generation, would have sought to establish his reputation through these annual exhibitions. The artistic education of the time often involved copying Old Masters, drawing from plaster casts, and, for landscape artists, extensive sketching directly from nature.
The Landscape Tradition and Pettitt's Contribution
Landscape painting was a dominant genre in 19th-century Britain, fueled by a Romantic appreciation for the sublime and the picturesque, as well as a growing national pride in the British countryside. Artists like David Cox (1783-1859) and Peter De Wint (1784-1849) were celebrated for their fresh and direct depictions of rural England and Wales, often working in watercolour, a medium that achieved unprecedented prominence in Britain.
Pettitt's landscape work appears to have embraced these traditions. He is known to have painted scenes from various picturesque regions of the British Isles, including Wales, the Lake District, and Scotland – all popular destinations for artists seeking dramatic and inspiring scenery. His approach likely combined direct observation with a degree of studio refinement, aiming for compositions that were both topographically recognizable and aesthetically pleasing. The Victorian taste often favored landscapes that were not merely descriptive but also imbued with a certain mood or sentiment, perhaps a gentle melancholy, a sense of tranquility, or the awe-inspiring power of nature.
One work mentioned in an 1867 London auction catalogue, "Forest of Arden," points to an interest in landscapes with literary or historical associations. The Forest of Arden, famously the setting for Shakespeare's "As You Like It," would have resonated with Victorian audiences familiar with their national poet. Such a subject allowed for a blend of naturalistic depiction with a layer of romantic or imaginative interpretation. This aligns with a broader trend where artists like Daniel Maclise (1806-1870), though more known for historical scenes, often incorporated detailed landscape settings into his Shakespearian and historical compositions.
"Armageddon": A Vision of Prophetic Drama
Perhaps Joseph Paul Pettitt's most notable work, or at least the one that hints at a more ambitious and dramatic side to his oeuvre, is "Armageddon." This painting, depicting the biblical scene of the final apocalyptic battle described in the Book of Revelation, places Pettitt within a tradition of artists tackling grand, often terrifying, religious and mythological themes. The subject of Armageddon, with its inherent drama, chaos, and divine judgment, offered immense scope for an artist's imagination.
Victorian audiences had a strong appetite for such subjects. The artist John Martin (1789-1854) achieved immense fame and popular success with his spectacular and often cataclysmic biblical scenes, such as "The Great Day of His Wrath" and "Belshazzar's Feast." Martin's work was characterized by vast perspectives, dramatic lighting, and teeming multitudes, creating a sense of overwhelming scale and divine power. It is plausible that Pettitt's "Armageddon" would have aimed for a similar impact, employing strong chiaroscuro, dynamic compositions, and a heightened emotional intensity to convey the terrifying grandeur of the prophecy.
The execution of such a painting would have required considerable skill in figure composition, an understanding of dramatic narrative, and the ability to evoke a powerful atmosphere. While the current visual record of "Armageddon" might be elusive, its very existence suggests Pettitt was an artist capable of moving beyond purely topographical landscape into the realm of historical and religious painting, a more prestigious genre in the academic hierarchy of the time. This ambition was shared by many artists, including members of the Pre-Raphaelite Brotherhood like William Holman Hunt (1827-1910), who also tackled profound religious themes, albeit with a very different stylistic approach emphasizing meticulous detail and symbolism.
Exhibitions and Recognition
Throughout the 19th century, annual exhibitions were the primary means for artists to present their work to the public and critics, and to attract buyers. Joseph Paul Pettitt was a regular exhibitor at several key London institutions. Records show his works were displayed at the Royal Academy, the most prestigious venue, which would have been a significant achievement. He also exhibited frequently at the British Institution and the Society of British Artists on Suffolk Street.
Exhibiting at the Royal Academy, even if not as a full Academician, signified a certain level of professional standing. His consistent presence at these venues over several decades indicates a sustained career and a degree of recognition within the London art world. The catalogues of these exhibitions would list his works, often providing titles that give clues to his subject matter – landscapes of specific locales, and occasionally, more ambitious narrative or historical pieces. For instance, titles might include views of Welsh mountains, Scottish lochs, or scenes from the English countryside, alongside works like "Armageddon."
The critical reception of his work in contemporary art journals and newspapers would provide further insight, though such reviews for artists who were not at the very forefront of public acclaim can sometimes be brief or generic. However, the fact that he continued to exhibit suggests his work found an audience and a market. The Victorian art market was expanding, with a growing middle class eager to acquire paintings for their homes, leading to a greater demand for accessible and appealing subjects, particularly landscapes.
Contemporaries and the Artistic Milieu
Pettitt's career (1812-1882) placed him amidst a vibrant and diverse generation of artists. Beyond the early influences of Turner and Constable, he would have witnessed the rise of several significant movements and figures.
The Pre-Raphaelite Brotherhood, founded in 1848 by John Everett Millais (1829-1896), Dante Gabriel Rossetti (1828-1882), and William Holman Hunt, challenged Academic conventions with their emphasis on truth to nature, bright colours, and serious subjects. While Pettitt's style may not have directly aligned with Pre-Raphaelitism, their impact on the British art scene was undeniable.
In landscape, the influence of John Ruskin (1819-1900), the pre-eminent art critic of the era, was profound. Ruskin championed Turner and advocated for meticulous observation of nature. This encouraged a generation of landscape painters to focus on detailed renderings of geology, botany, and atmospheric effects. Artists like Benjamin Williams Leader (1831-1923) became immensely popular for their highly finished and often sentimental depictions of the British countryside, representing a more traditional and widely appreciated strand of Victorian landscape painting that Pettitt’s work might have shared affinities with. Another contemporary known for atmospheric landscapes, often nocturnal or twilight scenes, was John Atkinson Grimshaw (1836-1893), whose work captured the mood of Victorian cities and docks.
The tradition of dramatic and historical painting continued with artists like Frederic Leighton (1830-1896) and Lawrence Alma-Tadema (1836-1912), who became leading figures of the late Victorian classical revival, producing highly polished and often sensuous depictions of ancient Greece and Rome. While their subject matter differed from Pettitt's "Armageddon," they shared an interest in creating compelling narrative scenes on a grand scale. Similarly, Edward Burne-Jones (1833-1898), associated with the later phase of Pre-Raphaelitism and the Aesthetic Movement, created dreamlike and romantic worlds drawn from mythology and legend, demonstrating the continued appeal of imaginative subjects.
Even artists working in different, perhaps more avant-garde styles, were part of the broader context. James McNeill Whistler (1834-1903), an American-born artist active in London, was a proponent of "art for art's sake," challenging the Victorian emphasis on narrative and moral content with his atmospheric "Nocturnes" and aesthetic compositions.
Pettitt, therefore, operated within a rich tapestry of artistic production. His work, balancing landscape with occasional forays into more dramatic narrative, would have found its place among the diverse offerings that catered to the varied tastes of the Victorian public. He was part of a large cohort of professional artists who sustained the vibrant art scene of the period, contributing to the visual culture of an era that valued art for its beauty, its narrative power, and its moral instruction.
Themes and Subjects Explored
Based on known titles and the general trends of the era, Pettitt's thematic concerns likely revolved around several key areas:
1. The Picturesque and Sublime in Nature: His landscapes of Wales, the Lake District, and other scenic areas would have tapped into the enduring Romantic fascination with the beauty and grandeur of the natural world. These works would have aimed to evoke specific moods, from the tranquil beauty of a sunlit valley to the rugged majesty of mountains. The depiction of identifiable locations also catered to a public interested in topographical accuracy and the celebration of Britain's natural heritage.
2. Literary and Historical Associations: As suggested by "Forest of Arden," Pettitt may have occasionally chosen landscape subjects with connections to literature, particularly Shakespeare, or to historical events. This added an intellectual or romantic layer to the appreciation of the landscape, appealing to an educated audience.
3. Biblical Narrative and Prophecy: "Armageddon" stands out as evidence of his engagement with profound religious themes. The Bible was a central text in Victorian society, and biblical subjects were popular among artists and the public alike, offering opportunities for dramatic storytelling, moral reflection, and the depiction of intense human emotion and divine intervention. Such works aimed to be both awe-inspiring and edifying.
4. The Changing Landscape: While not explicitly documented for Pettitt, many Victorian landscape artists also subtly or overtly recorded the impact of industrialization and urbanization on the countryside. It's possible some of his works might have reflected these changes, either by celebrating unspoiled nature as a refuge or by incorporating elements of modern life.
The balance between these themes would have defined his artistic identity. While landscape appears to have been his primary focus, the ambition evident in a work like "Armageddon" suggests a desire to engage with the "higher" genres of art and to make statements on a grander scale.
Technique and Artistic Style
Without a large corpus of readily viewable and analyzed works, a precise description of Pettitt's technique is challenging. However, based on common practices of Victorian painters working in similar genres, we can make some educated inferences.
His oil paintings were likely executed with a concern for detailed realism, a hallmark of much Victorian art. This would involve careful drawing, a balanced composition, and attention to the rendering of textures, light, and shadow. In his landscapes, he would have aimed to capture the specific character of the scenery, the quality of light at different times of day, and the atmospheric conditions. The Victorian palette could range from the more subdued, earthy tones of the earlier landscape tradition to the brighter, more vibrant colours influenced by Pre-Raphaelitism and new synthetic pigments.
For a dramatic narrative work like "Armageddon," his technique would have involved skillful figure drawing and grouping, the creation of dynamic movement, and the use of expressive gestures and facial features to convey the emotional intensity of the scene. Lighting would be crucial, likely employing strong chiaroscuro to heighten the drama and focus attention on key elements of the narrative.
The overall finish of Victorian paintings varied. Some artists favored a highly polished, smooth surface where brushstrokes were almost invisible, a characteristic of academic painting. Others adopted a more visible, expressive brushwork. Pettitt's approach likely fell within the mainstream conventions of his time, aiming for a level of finish that was considered acceptable and appealing by the exhibiting societies and the art-buying public.
Later Career and Legacy
Joseph Paul Pettitt continued to paint and exhibit throughout his life, passing away in 1882. His career coincided with a period of significant change in the art world. By the later decades of the 19th century, new artistic movements such as Impressionism (though slower to gain traction in Britain) and Aestheticism were beginning to challenge the dominance of traditional Victorian painting.
The legacy of artists like Pettitt, who were successful and respected in their time but did not achieve the lasting fame of the era's true innovators, is often one of quiet contribution. They formed the backbone of the Victorian art world, producing a vast body of work that decorated homes, filled exhibition halls, and reflected the tastes and values of their society. Their paintings provide valuable insights into the cultural landscape of the 19th century.
While "Armageddon" hints at a capacity for powerful, imaginative compositions, much of his output appears to have been in the realm of landscape. These works, depicting the beloved scenery of Britain, would have resonated with a sense of national identity and a romantic appreciation for nature that was deeply ingrained in the Victorian psyche.
Today, the work of Joseph Paul Pettitt can be found in various public and private collections. His paintings occasionally appear at auction, allowing contemporary audiences to rediscover an artist who, in his own way, contributed to the rich and varied tapestry of Victorian art. He remains a figure worthy of further research, particularly to locate and analyze more of his works, which would allow for a fuller appreciation of his artistic achievements and his place within the context of his distinguished contemporaries like George Vicat Cole (1833-1893), another popular landscape painter, or even the animal painter Sir Edwin Landseer (1802-1873) whose narrative and sentimental works captivated the Victorian public.
Conclusion
Joseph Paul Pettitt was a diligent and skilled artist of the Victorian era, navigating the competitive art world of 19th-century Britain with a consistent output of landscapes and occasional, more ambitious narrative works. His art, from the picturesque scenes of the British countryside to the dramatic vision of "Armageddon," reflected the prevailing tastes for naturalism, romantic sentiment, and morally resonant themes. While he may not have been a radical innovator, he was a capable practitioner who contributed to the visual culture of his time, exhibiting alongside many of the era's most celebrated figures, from the great Romantic landscapists who preceded him to the luminaries of High Victorian art. His work serves as a reminder of the depth and breadth of artistic talent that flourished during this fascinating period of British art history, a period that also saw the flourishing of artists like the narrative painter William Powell Frith (1819-1909), known for his detailed panoramas of Victorian life. Pettitt's paintings offer a window into the world as seen and imagined by a dedicated Victorian artist.
