Lionel Percy Smythe stands as a significant, if sometimes overlooked, figure in the landscape of Victorian art. A painter renowned for his evocative watercolours and oil paintings, Smythe captured the rustic charm and bucolic beauty of English and French country life. His career spanned a period of immense artistic change, yet he remained dedicated to a vision that celebrated the pastoral, the idyllic, and the gentle rhythms of nature and human existence within it. His life, marked by both artistic triumphs and personal challenges, offers a fascinating glimpse into the world of a late 19th and early 20th-century artist.
Early Life and Formative Influences
Lionel Percy Smythe was born in London on April 9, 1839. His parentage was notable: his father was William Percy Sydney Smythe, the 6th Viscount Strangford, and his mother was Catherine Benham, a singer. Despite the family's general assertion of his legitimate birth, Lionel was, in fact, one of three illegitimate children from this union. This somewhat unconventional start did not impede his early exposure to culture and art. A significant portion of his childhood was spent in France, where he received part of his education in Paris. This early immersion in French culture and landscape would prove to be a lasting influence on his artistic sensibilities.
Upon the family's return to London, they resided in Glen Street, Covent Garden. It was in this bustling metropolitan environment, contrasting with his French upbringing, that Smythe began to formally pursue his artistic inclinations. His familial connections to the art world were also strong; his younger brothers, William Lionel Wyllie and Charles Wyllie, would also become respected painters, with William Lionel achieving particular fame as a marine artist. Lionel is said to have encouraged his brothers in their artistic pursuits, fostering a creative atmosphere within the family.
Artistic Development and Career Trajectory
Smythe's formal entry into the British art scene began in 1863 when he started exhibiting his works at the prestigious Royal Academy of Arts in London. This marked the beginning of a long and fruitful relationship with the institution. His talent was recognized, and he steadily built a reputation as a skilled painter of landscapes and genre scenes. His subjects often revolved around rural life, depicting agricultural workers, tranquil country settings, and the gentle interplay of light and atmosphere.
A significant aspect of Smythe's career was his mastery of watercolour. He became associated with the Royal Society of Painters in Water Colours (often referred to as the "Old Watercolour Society" or RWS), a key institution for watercolourists. He was elected an associate of the RWS in 1880 and became a full member in 1892, though some accounts suggest he later shifted his allegiance towards the Royal Institute of Painters in Water Colours (RI). His dedication to the watercolour medium contributed significantly to its continued appreciation during the Victorian era. His commitment and skill eventually led to him being elected a full member of the Royal Academy in 1911, a testament to his standing in the British art world.
Smythe and his wife, Alice Gunyon, with whom he had three children including a daughter named Minnie, chose to make their home primarily in France. They initially settled in Wimereux, a coastal commune in Normandy, around 1879. The picturesque landscapes and the agrarian lifestyle of this region provided ample inspiration for his work. In 1882, the family moved further inland to the Château d'Honvault, near Wimereux. This continued immersion in the French countryside deeply informed his artistic output, lending an authentic and often tender quality to his depictions of rural existence.
Artistic Style, Themes, and Influences
Lionel Percy Smythe is often associated with the "Idyllic School" or "Pastoral" painters, a group of artists who focused on romanticized and sentimental depictions of rural life and landscape. This movement, which included figures like Frederick Walker, George John Pinwell, and John William North, sought to evoke a sense of nostalgia and harmony, often in contrast to the rapid industrialization of the Victorian era. Smythe's work shares this affinity for the picturesque and the poetic, capturing moments of quiet labour, leisure, and natural beauty.
His style is characterized by a delicate touch, a keen observation of natural detail, and a subtle use of colour and light. In his watercolours, he demonstrated a fluid technique, capable of rendering both broad atmospheric effects and fine details with equal skill. His oil paintings, while perhaps less numerous than his watercolours, also convey a similar sensitivity to his subject matter. He was adept at portraying figures within the landscape, not merely as accessories, but as integral parts of the scene, their activities and postures reflecting the rhythms of rural life.
The influence of French art is palpable in Smythe's work. While distinct from the Impressionists who were his contemporaries, his time in France exposed him to a rich artistic environment. His focus on peasant life and rural labour echoes themes explored by French Realist painters like Jean-François Millet, though Smythe's interpretations were generally less stark and more imbued with a gentle romanticism. He also maintained a connection with the British art scene, and his work shows an awareness of prevailing trends, yet he carved out a distinct niche for himself. He was reportedly influenced by the artist Charles James Lewis, with whom he is said to have collaborated on at least one watercolour depicting girls at work.
Representative Works
Throughout his long career, Lionel Percy Smythe produced a considerable body of work, with many pieces exhibited at major institutions. Some of his notable paintings include:
"The Arabian Nights" (1865): An early work, exhibited at the British Institution, this painting likely depicted a scene of storytelling, showcasing his burgeoning skill in figure composition and narrative. The title suggests an orientalist theme, popular at the time, perhaps showing a lady reading to children.
"Fancy Free" (1868): Exhibited at the Royal Glasgow Institute of the Fine Arts, this title suggests a light-hearted, perhaps pastoral scene, in line with his developing interest in idyllic themes.
"Boulogne Shrimpers" (1882): Reflecting his time in Normandy, this work would have captured the coastal life and labour of the region, a theme also explored by his brother William Lionel Wyllie in marine contexts.
"Reflections at the Spring" (1884): This title evokes a tranquil, contemplative scene, likely featuring a figure in a natural setting, characteristic of his pastoral idylls.
"Gleaners": This painting, for which he reportedly won a Gold Medal at a Paris Exhibition, directly aligns him with the tradition of depicting rural labour, famously treated by Jean-François Millet. Smythe's version would likely have possessed his signature gentle and picturesque style.
"Germinal": The title, possibly referencing Émile Zola's novel or simply the concept of budding life, suggests a theme of growth, spring, or new beginnings, fitting for a landscape and genre painter. This work was exhibited at the Royal Academy.
"Under the Greenwood Tree": Another work shown at the Royal Academy, the title, reminiscent of Shakespeare and pastoral literature, clearly indicates a scene set in a woodland idyll, likely featuring figures enjoying nature.
"The Cornfield" (1893) and "The Ripening Corn" (1893): These paintings exemplify his focus on agricultural landscapes and the changing seasons. They would have depicted the beauty and bounty of the harvest, a recurring motif in pastoral art.
These works, among many others, demonstrate Smythe's consistent engagement with themes of rural life, nature, and the gentle human presence within it. His paintings are often characterized by their serene atmosphere and meticulous execution.
Relationships with Contemporaries
Lionel Percy Smythe was an active participant in the art world of his time and naturally formed relationships with other artists. His closest artistic connections were undoubtedly with his brothers, William Lionel Wyllie and Charles Wyllie. They shared a common upbringing and artistic encouragement, and William, in particular, achieved great renown.
A significant friendship was with the American-born artist James McNeill Whistler. Whistler, a towering and often controversial figure in the London art scene, held Smythe in high enough regard to recommend him for honorary membership of the Royal Academy in 1894. This indicates a mutual respect and a connection that transcended stylistic differences, as Whistler's aestheticism and avant-garde approach differed considerably from Smythe's more traditional pastoralism.
Smythe's association with the "Idyllic School" placed him in the company of artists like Frederick Walker, George John Pinwell, and John William North. While not a formal "school" with a manifesto, these artists shared a common sensibility and often depicted similar subjects. He would also have been aware of, and exhibited alongside, many other prominent Victorian artists at the Royal Academy and other venues. These would have included leading figures such as Sir John Everett Millais, Lord Frederic Leighton, and Sir Lawrence Alma-Tadema, whose grand historical and classical subjects dominated the RA, as well as fellow landscape and genre painters.
Other contemporaries in the watercolour tradition included Myles Birket Foster, known for his highly popular and detailed rustic scenes, and Helen Allingham, who also specialized in charming depictions of English cottages and country life. While their styles varied, they all contributed to the rich tapestry of Victorian art that celebrated the British landscape and its inhabitants. Smythe and his brothers were also involved in an attempt to reform the Royal Academy's treatment of non-members, a move that, though ultimately unsuccessful, shows their engagement with the politics of the art world. His interactions also extended to artists like Charles James Lewis, with whom he collaborated.
Personal Life, Challenges, and Later Years
Smythe's personal life was centered around his family and his art. His marriage to Alice Gunyon provided companionship and a family, though it was also marked by sorrow. Their daughter, Nora, tragically died from consumption (tuberculosis), a common and devastating illness of the era. Later, Smythe would also face the loss of his wife Alice due to her own health problems. These personal losses undoubtedly cast shadows on his life, though he continued to paint with dedication.
Financially, Smythe experienced periods of difficulty. Like many artists, a steady income was not always guaranteed, and he reportedly undertook work in England at times to support his family. His financial situation saw some improvement following an inheritance received through his wife, Alice.
The outbreak of the First World War in 1914 brought profound changes and hardships to life in France, where Smythe was residing. The proximity of Normandy to the Western Front meant increased military activity, and the war led to widespread privations, including food shortages. Despite these challenging circumstances and the anxieties of wartime, Smythe continued to find solace and purpose in his art, painting through these tumultuous years.
Lionel Percy Smythe passed away on October 7, 1918, just a month before the Armistice that ended the Great War. He died in a military hospital in Blois, France, suggesting that the war's impact may have directly touched his final days, perhaps due to illness exacerbated by wartime conditions or an inability to access normal civilian care. He was buried in the Wimille Communal Cemetery, near his home at the Château d'Honvault.
Legacy and Art Historical Evaluation
In the context of Victorian art, Lionel Percy Smythe was a respected and accomplished painter. His work was regularly exhibited and collected, and his election to the Royal Academy signified his peers' esteem. He contributed significantly to the tradition of British landscape and genre painting, particularly in the medium of watercolour. His depictions of rural life, imbued with a gentle poetry and keen observation, resonated with a Victorian audience that often idealized the countryside as an antidote to the perceived ills of industrialization and urban growth.
His association with the "Idyllic School" places him within a specific trend in Victorian art that emphasized sentiment, beauty, and harmony in rural subjects. While perhaps not as revolutionary as some of his contemporaries like the Pre-Raphaelites (e.g., Dante Gabriel Rossetti, William Holman Hunt) or the more avant-garde Whistler, Smythe's art possessed a quiet integrity and a consistent vision that found appreciation.
In the decades following his death, like many Victorian academic painters, Smythe's reputation somewhat faded as new artistic movements like Modernism came to dominate critical discourse. The taste for sentimental pastoral scenes waned, and artists of his ilk were often overshadowed. However, in more recent times, there has been a renewed interest in Victorian art, leading to a re-evaluation of figures like Smythe.
His works are held in public collections, including the Tate Britain and the Royal Academy of Arts in London, ensuring that his artistic contributions are preserved and accessible. These collections testify to the quality and enduring appeal of his paintings. While he may not be a household name in the same way as some of his more famous contemporaries, Lionel Percy Smythe remains an important artist for understanding the nuances of Victorian visual culture, particularly its deep-seated affection for the pastoral ideal and the refined art of watercolour painting. His dedication to capturing the fleeting beauty of the countryside and the dignity of rural life provides a valuable and charming window into a bygone era. His art continues to speak to a desire for tranquility and a connection with the natural world.
