Joshua Cristall (1767/8–1847) stands as a significant, if sometimes underappreciated, figure in the golden age of English watercolour painting. A founding member and eventual president of the Society of Painters in Water-Colours, Cristall was a versatile artist whose oeuvre spanned idyllic pastoral landscapes, robust figure studies, classical and mythological scenes, and insightful depictions of rural life. His dedication to the medium, his distinctive style characterized by luminous washes and sensitive draughtsmanship, and his commitment to capturing the essence of both nature and humanity, mark him as a pivotal artist who contributed substantially to the elevation of watercolour as a serious art form in Britain.
Early Life and Formative Struggles
Born in Camborne, Cornwall, around 1767 or 1768, Joshua Cristall emerged from a family background that was not immediately conducive to an artistic career. His father, Alexander Cristall, was involved in maritime trade and was reportedly a Scottish shipmaster, while his mother, Ann Batten, hailed from Cornwall. The family’s practical, mercantile orientation meant that young Joshua’s artistic inclinations were met with considerable opposition. This parental disapproval, coupled with periods of financial hardship, presented significant early obstacles to his ambitions.
Despite these challenges, Cristall’s determination to pursue art remained unwavering. He eventually made his way to London, the epicentre of the British art world, to seek formal training. Around 1792, he began working for a china dealer in Aldgate, a period that, while perhaps not directly artistic, likely exposed him to various forms of decorative art and design. His persistence paid off when, in 1795, he was admitted to the prestigious Royal Academy Schools. Here, he would have been exposed to the teachings and traditions of established masters, and the environment would have provided invaluable opportunities for learning and networking.
A crucial influence during this formative period was Dr. Thomas Monro, a physician and an avid art collector and patron. Monro’s home in Adelphi Terrace became an informal academy for young, aspiring watercolourists. Artists like J.M.W. Turner and Thomas Girtin, who would become giants of British art, famously spent evenings at Monro’s, copying works from his collection and honing their skills. Cristall, too, became part of this circle, benefiting from Monro's guidance, his collection, and the stimulating company of fellow artists. This association was instrumental in shaping his technique and his understanding of the potential of the watercolour medium.
The Society of Painters in Water-Colours: A New Dawn
The early 19th century was a transformative period for watercolour painting in Britain. Previously often regarded as a preparatory medium or suitable primarily for topographical views and amateur pastime, watercolour began to assert its independence and artistic merit. A key catalyst in this evolution was the establishment of the Society of Painters in Water-Colours (often referred to as the P.O.W.S. or the "Old Watercolour Society") in 1804. Joshua Cristall was not merely a member; he was one of its founding figures.
The Society was born out of a desire by watercolourists to have a dedicated venue to exhibit their works, as the Royal Academy exhibitions tended to favour oil paintings, often relegating watercolours to less prominent positions. Cristall, alongside artists such as William Sawrey Gilpin (the first president), George Barret Jr., John Varley, Cornelius Varley, William Frederick Wells, Samuel Shelley, Ramsay Richard Reinagle, Francis Nicholson, and Nicholas Pocock, played an active role in its formation and early success. He exhibited extensively with the Society from its inception, contributing a remarkable number of works over the years.
Cristall's commitment to the Society was profound. He served as its president on three separate occasions: in 1816, from 1821 to 1830, and again in 1831. His leadership and consistent contributions helped solidify the Society's reputation and promote watercolour as a medium capable of achieving the same depth, complexity, and emotional resonance as oil painting. His involvement underscored his belief in the collective power of artists to advance their chosen medium.
Artistic Style and Technical Prowess
Joshua Cristall’s artistic style is characterized by its clarity, its sensitive handling of light, and its often idyllic, pastoral mood. He was a master of pure watercolour, employing transparent washes to build up form and atmosphere. While some contemporaries increasingly used bodycolour (opaque watercolour) to emulate the effects of oil, Cristall, particularly in his mature landscape work, often favoured the inherent luminosity and transparency of the medium.
His draughtsmanship was strong and expressive, evident in both his landscape elements and his figure studies. He had a keen eye for the human form and for capturing characteristic gestures and activities. Early in his career, influenced perhaps by the academic training of the Royal Academy and the prevailing taste for Neoclassicism, Cristall produced a number of works depicting classical and mythological subjects. These often featured gracefully rendered figures in idealized settings, demonstrating his understanding of classical composition and narrative.
However, it is perhaps for his landscapes and rustic genre scenes that Cristall is best remembered. He possessed a deep appreciation for the British countryside, particularly the rugged scenery of Wales and the pastoral charm of the English counties. His landscapes are rarely empty; they are often populated with figures – fisherfolk, farm labourers, women and children – who are integral to the scene, embodying a harmonious relationship between humanity and nature. This approach distinguished him from purely topographical artists, as he imbued his scenes with a sense of lived experience and gentle humanism.
Cristall was also an advocate for sketching directly from nature, or "plein air" work, a practice that was gaining traction among landscape artists of his generation. This direct observation allowed him to capture the fleeting effects of light and atmosphere with remarkable freshness and accuracy. His ability to render the subtle gradations of tone in a sky, the texture of foliage, or the reflective quality of water contributed significantly to the appeal of his work.
Key Themes and Subject Matter
A recurring theme in Cristall's art is the depiction of rural life and labour. In an era of increasing industrialization, his paintings often presented an idealized vision of the countryside, celebrating the simple virtues and enduring rhythms of agrarian existence. Works featuring fisherfolk along the coast, families resting by cottages, or labourers in the fields reflect a Romantic sensibility, finding beauty and dignity in the everyday lives of ordinary people. These scenes resonated with a public that was perhaps nostalgic for a perceived simpler past, or that sought solace in images of natural harmony.
His Welsh landscapes form another significant body of work. Inspired by several sketching tours, notably with his friend and fellow artist Cornelius Varley in 1802 and 1804, Cristall captured the dramatic mountains, valleys, and waterfalls of Wales with both accuracy and poetic feeling. These tours were part of a broader trend among British artists who, with continental travel often restricted by the Napoleonic Wars, turned to the wilder regions of their own islands for picturesque and sublime subject matter. Artists like J.M.W. Turner, John Sell Cotman, and David Cox also found inspiration in Wales.
Classical and mythological themes, as mentioned, were prominent in his earlier output. These subjects allowed him to explore narrative, idealised human forms, and compositions inspired by masters like Claude Lorrain, whose Arcadian landscapes were highly influential on British landscape painting. Even as he shifted more towards naturalistic landscapes, a certain classical sense of order and balance often informed his compositions.
Representative Works: A Closer Look
Several of Joshua Cristall's works exemplify his diverse talents and characteristic style.
_The Devil's Bridge_ (1805), now in a private collection (formerly with Lobsenz & Odenkick, New York), is a fine example of his Welsh landscapes. Likely inspired by his tours, this watercolour captures the dramatic and picturesque qualities of the famous Welsh landmark. The composition would have focused on the rugged scenery, the architectural feature of the bridge, and the play of light and shadow across the landscape, typical of the Romantic appreciation for such sublime sites.
_Pont-y-Pair Falls_ (1803) is another testament to his Welsh explorations. This work would have depicted the well-known falls near Betws-y-Coed, a popular spot for artists. Cristall’s rendering would likely emphasize the natural beauty and power of the water, framed by lush foliage, showcasing his skill in capturing the textures and movement of the natural world.
_Seaman Holding a Monkey_ (1816), housed in the Paul Mellon Collection at the Yale Center for British Art, demonstrates Cristall's facility with figure subjects. This work, likely a character study, would showcase his ability to capture individual personality and the textures of clothing and flesh. The inclusion of the monkey adds an exotic, anecdotal element, perhaps reflecting his father's maritime connections or the general interest in curiosities from afar during this period.
_Wooded Landscape with Cottages and Countrywomen_ (1818), also at the Yale Center for British Art, is a quintessential example of his pastoral scenes. This watercolour would depict a serene, idealized rural setting, with figures integrated harmoniously into the landscape. The emphasis would be on the tranquility of country life, the gentle interplay of light through trees, and the picturesque charm of rustic dwellings.
_Barking Timber in Wychwood Forest, Oxfordshire_ (1818), located in The Metropolitan Museum of Art, New York, is a significant work that highlights Cristall's interest in rural labour. The scene depicts workers stripping bark from felled trees, a common forestry practice. Cristall elevates this everyday activity, imbuing the figures with a sense of dignity and purpose within the majestic setting of the ancient forest. It reflects a broader interest among artists like John Linnell and Samuel Palmer in depicting the timeless connection between people and the land.
_Apollo and the Muses_ (1816), an etching, shows his continued engagement with classical themes even as his landscape and genre work flourished. This piece would feature the god of music and poetry surrounded by the nine Muses, patrons of the arts and sciences. The choice of etching as a medium here is also noteworthy, indicating his versatility beyond watercolour.
_A Man Seated by a Pond_ (late 18th–early 19th century), from the John Gilgood Collection, would likely be a more intimate study, perhaps focusing on a solitary figure in quiet contemplation within a natural setting. Such works often carry a reflective, slightly melancholic mood characteristic of Romantic sensibilities.
These works, among many others, illustrate Cristall's range, from grand landscapes and classical narratives to intimate genre scenes and character studies. His consistent quality and dedication to his craft are evident throughout his career.
Travels and Their Impact
The sketching tours to Wales with Cornelius Varley were particularly formative for Cristall. These journeys provided him with a wealth of subject matter and deepened his understanding of landscape composition and atmospheric effects. The wild, untamed beauty of areas like Snowdonia offered a stark contrast to the more cultivated landscapes of southern England and provided a rich source for the Picturesque and the Sublime, aesthetic categories highly valued at the time, popularized by writers like William Gilpin.
His depictions of Welsh scenery were not merely topographical records; they were imbued with an emotional response to the landscape. He sought to convey the grandeur, the solitude, and the unique character of these regions. These works contributed to the growing appreciation of Britain's own natural heritage as a worthy subject for serious art.
Beyond Wales, Cristall also found inspiration in the English countryside, particularly in areas like Herefordshire, where he eventually settled in his later years. His travels, whether extensive or more local, were essential to his practice of direct observation and provided the raw material for his studio compositions.
Relationships with Contemporaries
Joshua Cristall was an active and respected member of the London art community. His role in the P.O.W.S. naturally brought him into close contact with leading watercolourists of the day.
His friendship with Cornelius Varley (1781–1873) was clearly significant, marked by their collaborative sketching tours. Cornelius, brother of the more famous John Varley, was an accomplished artist and inventor.
John Varley (1778–1842) was a towering figure in the watercolour world, a prolific artist, and an influential teacher whose pupils included David Cox, Peter De Wint, John Linnell, and William Henry Hunt. Cristall would have known Varley well through the P.O.W.S. and the broader artistic circles. Varley's systematic approach to landscape composition and his enthusiasm for astrology were well known.
George Barret Jr. (c. 1767–1842), another founding member of the P.O.W.S. and a close contemporary in age, collaborated with Cristall on a publication titled The Theory and Practice of Water-Colour Painting, though its exact publication details are somewhat obscure. This indicates a shared interest in the theoretical and pedagogical aspects of their medium.
The P.O.W.S. membership list reads like a who's who of early 19th-century watercolourists, including David Cox (1783–1859) and Peter De Wint (1784–1849), both celebrated for their distinctive and vigorous handling of landscape. While younger than Cristall, their careers overlapped significantly, and they all contributed to the Society's exhibitions.
Cristall would also have been aware of, and likely interacted with, artists like William Havell (1782-1857), another P.O.W.S. founder known for his landscapes, and Samuel Prout (1783-1852), famed for his picturesque depictions of European architecture.
The influence of earlier masters like Paul Sandby (1731–1809), often called the "father of English watercolour," and Thomas Girtin (1775–1802), whose tragically short career revolutionized the medium with his broad, atmospheric style, would have been part of the artistic air Cristall breathed. Girtin, like Turner and Cristall, was part of Dr. Monro's circle.
Even artists working primarily in oil, such as John Constable (1776–1837), shared a deep engagement with the English landscape and the practice of outdoor sketching, reflecting a common artistic spirit of the age. While their primary mediums differed, the thematic concerns often overlapped.
His connection to Sir Joshua Reynolds (1723-1792), the first president of the Royal Academy, would have been primarily through the institution itself, as Reynolds died shortly before Cristall formally entered the RA Schools. However, Reynolds's Discourses on Art and his emphasis on "High Art" would have been a dominant part of the academic discourse.
Cristall also had a connection to the literary world through his sister, Annetta Brent Cristall (c. 1768–1830s), a poet. He reportedly provided illustrations for her volume of poems published in 1795, showcasing an early instance of his figurative work and his engagement with narrative.
The mention of John Samuel Hayward (fl. 1798-1819) suggests collaboration on panoramas, a popular form of entertainment and visual spectacle in the early 19th century. This indicates Cristall's willingness to engage with different artistic formats and collaborative projects.
Later Life, Goodrich, and Legacy
In 1822, due to ill health, Joshua Cristall relocated from London to Goodrich in Herefordshire, near the Welsh border. He had married a French émigré, Madame de la Pierre, and the move to the countryside was perhaps beneficial for both his health and his artistic focus on pastoral themes. He continued to paint and exhibit, sending works to the P.O.W.S. exhibitions in London.
His home, Grantston Manor (or Granton House) in Goodrich, became his primary residence and studio for the remainder of his life. The surrounding Wye Valley and the picturesque ruins of Goodrich Castle provided ample inspiration. He remained active in the P.O.W.S., resuming the presidency for a final term in 1831.
Joshua Cristall passed away on October 18, 1847, at his home in Goodrich and was buried nearby. He left behind a significant body of work that reflects a lifelong dedication to the art of watercolour.
His legacy is that of a pioneer and a stalwart of the English watercolour school. He was instrumental in establishing watercolour as an independent and respected medium through his work with the P.O.W.S. His art, characterized by its gentle lyricism, its honest depiction of rural life, and its sensitive rendering of landscape, holds an important place in the narrative of British Romantic art.
His works are held in major public collections, including the Victoria and Albert Museum in London, the British Museum, the Yale Center for British Art in New Haven, Connecticut, and The Metropolitan Museum of Art in New York, among others. These collections ensure that his contributions continue to be studied and appreciated.
Historical Significance and Conclusion
Joshua Cristall's position in art history is secured by several key contributions. Firstly, his role as a founding member and multiple-term president of the Society of Painters in Water-Colours was crucial in advocating for and elevating the status of the medium. He helped create a platform that allowed watercolourists to flourish and gain public recognition.
Secondly, his artistic output itself demonstrates the versatility and expressive potential of watercolour. From classical compositions to intimate genre scenes and evocative landscapes, Cristall showcased a broad range of subject matter and a consistently high level of technical skill. His emphasis on pure watercolour and direct observation from nature aligned him with progressive trends in landscape art.
Thirdly, his focus on rustic figures and pastoral themes contributed to a significant strand within British Romanticism that found beauty and meaning in the everyday life of the countryside. His figures are not mere staffage; they are often the emotional core of his compositions, treated with sympathy and respect.
While perhaps not as revolutionary as his contemporary J.M.W. Turner, or as dramatically impactful as Thomas Girtin in his brief career, Joshua Cristall was a highly accomplished and influential artist whose dedication, skill, and quiet integrity earned him the respect of his peers and a lasting place in the annals of British art. His paintings continue to charm and engage viewers with their luminous beauty and their heartfelt depiction of a world where humanity and nature coexist in gentle harmony. He remains a testament to the enduring power of watercolour and a significant figure in the rich tapestry of early nineteenth-century British art.
