Joseph Wright, famously known as Joseph Wright of Derby (1734-1797), stands as one of Britain's most innovative and distinctive painters of the 18th century. Working largely outside the metropolitan art world of London, he forged a unique path, capturing the intellectual ferment of the Enlightenment and the transformative power of the burgeoning Industrial Revolution. His masterful use of light and shadow, often depicting scientific experiments, industrial scenes, and dramatic landscapes, set him apart from his contemporaries and cemented his legacy as a pivotal figure in the history of British art.
Early Life and Artistic Formation
Born in Derby on September 3, 1734, Joseph Wright was the son of an attorney, John Wright, and Hannah Brookes. This respectable middle-class background provided him with a degree of stability. His early education remains somewhat obscure, but his artistic inclinations became apparent, leading him to London in 1751. There, he apprenticed under the prominent portrait painter Thomas Hudson, a master known for his competent, if somewhat conventional, likenesses. Hudson's studio was a significant training ground for aspiring artists of the period; Sir Joshua Reynolds, who would later become the first President of the Royal Academy, had also been a pupil of Hudson, though their tenures did not significantly overlap.
Wright spent two years with Hudson, from 1751 to 1753, acquiring the foundational skills of portraiture. After a period working independently, he returned to Hudson's studio for another fifteen months in 1756-1757. During these formative years, Wright would have been exposed to the prevailing artistic tastes and techniques, including the influence of earlier masters like Sir Anthony van Dyck, whose elegant portrait style remained a benchmark, and Jonathan Richardson, an influential painter and theorist. Wright's early works, primarily portraits of Midlands gentry, demonstrate a solid grounding in Hudson's style but already hint at a more profound interest in character and the effects of light.
The Italian Sojourn: A Crucible of Inspiration
Like many ambitious artists of his era, Wright recognized the importance of a journey to Italy to study classical antiquity and the works of the Renaissance masters. He embarked on this formative trip in 1773, remaining abroad until 1775. Italy proved to be a profound source of inspiration, significantly broadening his artistic horizons beyond portraiture. He diligently sketched Roman ruins, absorbed the lessons of Michelangelo and Raphael, and was particularly captivated by the dramatic landscapes and natural phenomena of the Italian peninsula.
One of the most impactful experiences was witnessing the eruption of Mount Vesuvius. This awe-inspiring spectacle of nature's power provided him with a subject he would return to repeatedly throughout his career, creating numerous dramatic paintings that captured the fiery glow and sublime terror of the volcano. These works allowed him to explore extreme effects of light and atmosphere, pushing his technical abilities and expressive range. During his time in Italy, he also encountered fellow British artists, such as the landscape painter Richard Wilson, whose classical Italianate landscapes were highly regarded, and the sculptor John Flaxman. He may also have crossed paths with or seen the work of other British artists making the Grand Tour, like George Romney, who was in Italy during a similar period.
Return to England: Derby and the Lunar Society
Upon his return from Italy in 1775, Wright initially attempted to establish himself in Bath, a fashionable spa town, perhaps hoping to fill the void left by Thomas Gainsborough, who had recently moved to London. However, this venture was not as successful as he had hoped, and by 1777, he had settled permanently back in his native Derby. This decision, while removing him from the direct orbit of the London art scene and the Royal Academy (of which he was elected an associate in 1781 and a full member in 1784, though he later declined the latter honor due to a perceived slight), proved fortuitous.
Derby and the surrounding Midlands were at the heart of the Industrial Revolution, a region buzzing with scientific inquiry, technological innovation, and entrepreneurial spirit. Wright found himself in the company of leading industrialists, scientists, and thinkers, many of whom were members of the influential Lunar Society of Birmingham. This informal group, which included figures like the potter Josiah Wedgwood, the inventor James Watt, the manufacturer Matthew Boulton, and the physician, poet, and scientist Erasmus Darwin (grandfather of Charles Darwin), met regularly to discuss scientific advancements and their practical applications. Wright, though not a formal member, was closely associated with this circle, painting portraits of several members and absorbing their enthusiasm for science and progress. This intellectual environment profoundly shaped his subject matter.
Artistic Style: The Mastery of Light and Shadow
Joseph Wright of Derby is perhaps best known for his extraordinary command of light and shadow, a technique known as chiaroscuro, and its more dramatic form, tenebrism. His "candlelight pictures," as they came to be known, feature scenes illuminated by a single, often concealed, light source, creating intense contrasts, deep shadows, and a palpable sense of atmosphere. This approach was not entirely new; he drew inspiration from Baroque masters like Caravaggio, whose dramatic use of light revolutionized painting in the 17th century, and Dutch Golden Age painters such as Rembrandt van Rijn, Gerrit Dou, and Godfried Schalcken, who were renowned for their intimate, candlelit interior scenes.
However, Wright adapted these techniques to new, distinctly modern subjects. He employed tenebrism not just for religious or mythological narratives, but to illuminate scientific experiments, industrial workshops, and literary scenes, imbuing them with a sense of drama, wonder, and intellectual gravity. The light in Wright's paintings often carries symbolic weight, representing the light of knowledge, discovery, and reason that characterized the Enlightenment. His meticulous rendering of different qualities of light – the warm glow of a candle, the harsh glare of a forge, the ethereal light of the moon, or the fiery incandescence of a volcano or alchemical experiment – was unparalleled among his British contemporaries.
Key Themes and Representative Works
Wright's oeuvre is diverse, encompassing portraits, landscapes, literary subjects, and his pioneering depictions of science and industry.
Scientific and Philosophical Subjects:
His most iconic works fall into this category. A Philosopher Lecturing on the Orrery (c. 1766) depicts a scientist demonstrating a mechanical model of the solar system. The rapt attention of the diverse group of figures, illuminated by the lamp representing the sun at the center of the orrery, captures the excitement of learning and the dissemination of knowledge. The painting is a powerful emblem of the Enlightenment's faith in reason and empirical observation.
Even more famous is An Experiment on a Bird in an Air Pump (1768). This large, dramatic canvas shows a natural philosopher, or "scientist," demonstrating the properties of a vacuum by evacuating air from a glass jar containing a cockatoo. The varied reactions of the onlookers – from the scientific detachment of the philosopher to the distress of the young girls and the thoughtful contemplation of others – create a complex emotional and intellectual narrative. The painting explores themes of life and death, the ethics of scientific experimentation, and the awe-inspiring power of new knowledge. The dramatic lighting, emanating from a single source behind a strategically placed flask, heightens the tension and focuses the viewer's attention on the central experiment.
Another significant work in this vein is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers (1771, reworked 1795). This painting, set in a Gothic laboratory, captures the moment of accidental discovery, with the alchemist kneeling in awe before the glowing phosphorus. It bridges the gap between ancient mysticism and modern chemistry, again using a brilliant internal light source to create a sense of wonder and revelation.
Industrial Scenes:
Wright was one of the first professional artists to find aesthetic appeal and heroic subject matter in the burgeoning industries of his time. Works like An Iron Forge (1772), The Blacksmith's Shop (1771), and Arkwright's Cotton Mills, by Night (c. 1782-1783) depict the labor and machinery of the Industrial Revolution. In An Iron Forge, for instance, he elevates the scene of a family of ironworkers to a level of dignity and even classical grandeur, with the white-hot iron illuminating the figures in a manner reminiscent of a sacred scene. He captured both the awesome power of the new technologies and the human element within these transformative environments. These paintings stand in contrast to the pastoral landscapes and grand manner portraits favored by many of his London-based contemporaries like Thomas Gainsborough or Sir Joshua Reynolds.
Portraits:
Throughout his career, Wright remained a sought-after portraitist, particularly in the Midlands. He painted prominent local figures, including industrialists like Richard Arkwright and Jedediah Strutt, scientists like Erasmus Darwin, and members of the gentry. His portraits are characterized by their psychological insight, strong characterization, and often, his signature use of dramatic lighting. He eschewed the overt flattery common in much society portraiture of the day, aiming instead for a more direct and honest portrayal of his sitters. His portrait of Samuel Crompton (c. 1790s), inventor of the spinning mule, is a sensitive depiction of a key figure in the textile industry.
Landscapes and Literary Subjects:
His Italian journey instilled in him a love for landscape painting, particularly scenes with dramatic natural effects. His Vesuvius paintings are prime examples, but he also painted moonlit landscapes of the English countryside, such as Dovedale, and views of lakes and grottoes, often imbued with a Romantic sensibility. He also explored literary themes, drawing inspiration from authors like Shakespeare and James Thomson. His painting The Captive (from Sterne, 1774) or Miravan Breaking Open the Tomb of his Ancestors (1772) showcase his ability to convey narrative and emotion through powerful compositions and lighting.
Interactions with Contemporaries
While based in Derby, Wright was not entirely isolated. He exhibited regularly in London, primarily at the Society of Artists and later, though sometimes contentiously, at the Royal Academy. His relationship with the Royal Academy was complex; he valued its platform but was also fiercely independent and occasionally felt his work was not given due prominence in its exhibitions.
His teacher, Thomas Hudson, provided his initial link to the London art world. While Wright’s style diverged significantly from Hudson's, the foundational training was crucial. He was a contemporary of the giants of British 18th-century painting, Sir Joshua Reynolds and Thomas Gainsborough. While Reynolds dominated the London scene with his Grand Manner portraits and theoretical discourses, and Gainsborough captivated with his fluid brushwork and sensitive portrayals, Wright carved out his own niche with his unique subject matter and dramatic realism.
Other notable contemporary artists included George Romney, another popular portraitist; Benjamin West, an American-born painter who became a leading figure in historical painting in London and succeeded Reynolds as President of the Royal Academy; and Philippe Jacques de Loutherbourg, a Franco-British artist known for his dramatic landscapes, seascapes, and innovative stage designs, whose work sometimes shared Wright's interest in sublime natural phenomena and industrial subjects. Wright's scientific patrons, like Erasmus Darwin and Josiah Wedgwood, also connected him to a broader intellectual and artistic network. Wedgwood, for instance, employed artists like John Flaxman and George Stubbs for his ceramic designs.
Wright's focus on scientific and industrial themes was unique among major painters of his generation, though the spirit of inquiry and the sublime aspects of nature and industry were beginning to permeate the arts, finding later, more explicit expression in the work of artists like J.M.W. Turner, who would take the depiction of light, atmosphere, and industrial modernity to new heights in the following century.
Later Life and Legacy
Joseph Wright of Derby suffered from ill health in his later years, possibly exacerbated by the fumes from his painting materials and his intense working methods. He complained of "rheumatism" and what was likely asthma. Despite these challenges, he continued to paint, often with the assistance of his daughters. He passed away in Derby on August 29, 1797, at the age of 62.
His legacy is significant and multifaceted. He was a pioneer in depicting the scientific and industrial revolutions, recognizing the artistic potential of subjects that many of his contemporaries overlooked. His mastery of light and shadow created a distinct and influential visual language. While he may not have enjoyed the same level of metropolitan fame as Reynolds or Gainsborough during his lifetime, his work has since been recognized for its originality, technical brilliance, and profound engagement with the intellectual and social changes of his era.
Wright's paintings offer a unique window into the Age of Enlightenment and the dawn of the modern industrial world. He captured not only the machines and processes but also the human responses to these transformative forces – the awe, the curiosity, the intellectual excitement, and sometimes, the apprehension. His work influenced later artists interested in similar themes and dramatic effects, and he remains a key figure for understanding the intersection of art, science, and industry in the 18th century. Today, his paintings are prized in collections worldwide, with Derby Museum and Art Gallery holding the most significant collection of his work, a testament to his enduring connection to his native town.
Conclusion
Joseph Wright of Derby was more than just a provincial painter; he was an artist of national and international importance whose work resonated with the spirit of his age. By turning his gaze to the laboratories of scientists, the heat of the forges, and the intellectual gatherings of the Enlightenment, he created a body of work that was both visually stunning and intellectually engaging. His innovative use of light served not merely as an artistic device but as a metaphor for the illumination of knowledge and the dawning of a new era. He remains a compelling and visionary artist, a true "painter of light" who chronicled and celebrated the profound changes that shaped the modern world.
