Martin Archer Shee stands as a significant, if sometimes overlooked, figure in the annals of British and Irish art history. An accomplished portrait painter, a published poet and art theorist, and a long-serving President of the Royal Academy of Arts in London, Shee navigated the vibrant and competitive art world of the late 18th and early 19th centuries with considerable skill and diplomacy. His life and career offer a fascinating insight into the artistic, social, and institutional dynamics of his era.
Early Life and Artistic Awakening in Dublin
Born in Dublin on December 23, 1769, Martin Archer Shee hailed from an old, respectable, but not affluent, Irish Catholic family. His father, George Shee, was a merchant who, reflecting the societal views of the time for a family with gentle aspirations, initially considered the profession of a painter to be an unsuitable and precarious path for his son. This paternal disapproval, however, did little to dampen the young Shee's burgeoning artistic inclinations.
Legend has it that Shee's artistic spark was ignited by the sight of biblical scenes depicted on Dutch tiles adorning a fireplace in a friend's house. These images captivated him, and he began to copy them, revealing an early aptitude for drawing. Despite his father's reservations, Shee's passion for art was undeniable. He pursued his foundational artistic education at the drawing schools of the Royal Dublin Society, a vital institution for nurturing Irish talent. Here, he quickly distinguished himself, winning several prizes for his work, including accolades for landscape and portrait sketches, demonstrating a versatility even at this nascent stage of his career. By the age of sixteen, he had already established a modest practice as a portraitist in pastels in Dublin.
The Move to London and Early Struggles
In 1788, at the age of nineteen and armed with ambition and letters of introduction, Shee made the pivotal decision to move to London, the bustling epicentre of the British art world. One crucial introduction came from the famed Irish statesman and philosopher Edmund Burke, who facilitated a meeting with the towering figure of British art, Sir Joshua Reynolds, then President of the Royal Academy. Reynolds, known for his generally supportive attitude towards aspiring artists, offered Shee encouragement and advice, recommending that he enroll in the Royal Academy Schools.
Shee followed this counsel and became a student at the RA Schools, immersing himself in the rigorous academic training of the day, which emphasized drawing from casts of classical sculptures and from life models. It is noted that he initially found entry into the more competitive oil painting sections of the RA Schools challenging, a testament perhaps to the high standards and fierce competition among young artists. However, his perseverance paid off. In 1789, he made his debut at the Royal Academy's annual exhibition, showing two works, "Head of an Old Man" and a "Portrait of a Gentleman," signaling his official entry into the professional art scene.
The early years in London were not without their challenges. Establishing a reputation and securing consistent patronage in a city teeming with talent required tenacity. Shee worked diligently, honing his skills, particularly in portraiture, which was the most lucrative genre for artists. His Irish charm and articulate manner likely aided him in navigating social circles. By 1792, he exhibited seven new works at the Royal Academy, a significant increase that indicated his growing confidence and the beginnings of a steady stream of commissions. These works helped to further establish his reputation as a capable and reliable portrait painter.
Ascension within the Royal Academy
Shee's career trajectory within the Royal Academy, the most prestigious art institution in Britain, was steady and impressive. His talent and professionalism did not go unnoticed by his peers. In 1798, a decade after his arrival in London, he was elected an Associate of the Royal Academy (ARA). This was a significant step, marking him as an artist of recognized merit and potential.
Just two years later, in 1800, he achieved the coveted status of full Royal Academician (RA). This honor solidified his position within the artistic establishment and brought with it increased prestige and opportunities. As an RA, he had the right to exhibit a certain number of works at the annual exhibition without prior submission to the selection committee, and he participated in the governance and teaching activities of the Academy.
Throughout this period, Shee was a consistent exhibitor at the Royal Academy. While primarily known for his conventional portraits, he also ventured into "dramatic" or "fancy" portraits – compositions that often depicted sitters in theatrical roles or allegorical guises. He continued to exhibit such works almost annually until 1821, showcasing a desire to engage with more imaginative forms of portraiture, perhaps influenced by artists like Reynolds or Thomas Gainsborough, who often imbued their portraits with narrative or poetic qualities. His portraits were generally well-received for their competent execution, good likenesses, and elegant presentation, appealing to a clientele that valued dignified representation.
The Presidency of the Royal Academy
The pinnacle of Martin Archer Shee's institutional career arrived in 1830. Following the death of the celebrated and flamboyant portraitist Sir Thomas Lawrence, who had succeeded Benjamin West as President, the Royal Academicians elected Shee as their new leader. This was a remarkable achievement for an artist of Irish Catholic background in a predominantly English Protestant establishment. Upon his election, he was, as was customary for the PRA, knighted by King William IV, becoming Sir Martin Archer Shee.
Shee's presidency, which lasted for two decades until his death, was characterized by diligent administration and a staunch defense of the Royal Academy's privileges and importance. He inherited the role at a time when the Academy was facing increasing public scrutiny and calls for reform. One of the most significant challenges during his tenure was a parliamentary inquiry into the workings of the Royal Academy in the mid-1830s. Shee represented the Academy with considerable skill and eloquence, successfully defending its structure, educational role, and its management of the annual exhibitions against criticisms.
He was known for his articulate speeches at the Academy's annual banquets, events that were important social and cultural occasions, attended by leading figures from politics, society, and the arts. While perhaps not possessing the artistic genius of his predecessor Lawrence, or the foundational influence of Reynolds, Shee proved to be a capable and respected administrator, guiding the Academy through a period of transition and external pressure. He was instrumental in overseeing the Academy's move from Somerset House to new premises in Trafalgar Square (sharing with the National Gallery) in 1837.
Artistic Style and Notable Works
Sir Martin Archer Shee's artistic output primarily consisted of portraits, the bread and butter of many successful artists of his time. His style can be characterized as elegant, refined, and competent, very much in the tradition of late 18th and early 19th-century British portraiture. He was adept at capturing a good likeness and conveying the social status and character of his sitters, who included royalty, aristocracy, military figures, fellow artists, and members of the burgeoning middle class.
While his early work in Dublin included pastels, in London he worked predominantly in oils. His compositions were generally well-structured, and his handling of paint was smooth and accomplished, though critics and art historians have often noted that his work, while always professional, sometimes lacked the dazzling brushwork of Lawrence, the psychological depth of Reynolds, or the poetic sensibility of Gainsborough. Nevertheless, he produced a substantial body of work that was highly valued by his contemporaries.
Among his notable sitters were King William IV and Queen Adelaide, whose coronation portraits he painted. He also painted numerous military and naval heroes, such as the Duke of Clarence (before he became William IV) and various admirals and generals. His portrait of the Irish poet and musician Thomas Moore is often cited as one of his finest works, capturing the sitter's intellectual vivacity. Another well-regarded work is his theatrical portrait of the actor William Thomas Lewis as the Marquis de Grand Chateau in the play 'The Blind Bargain'. His self-portraits also offer insight into his dignified and thoughtful persona. His work can be found in major collections, including the National Portrait Gallery in London, the National Gallery of Ireland, and the Royal Collection.
Shee's approach was often described as sound and reliable rather than brilliantly innovative. He provided his patrons with what they desired: dignified, well-crafted likenesses that adhered to the prevailing conventions of taste. In this, he was a true professional, consistently delivering work of a high standard.
Literary Pursuits and Intellectual Life
Beyond his achievements as a painter and an arts administrator, Martin Archer Shee also possessed literary talents. He was a published poet and writer on art. In 1805, he published "Rhymes on Art," a didactic poem in the style of Augustan verse, which offered advice to young artists and defended the status of the arts. This was followed by "Elements of Art" in 1809, a more extensive poem in six cantos, which further elaborated on his theories of art and art education.
These publications demonstrate Shee's intellectual engagement with his profession and his desire to elevate its status. He believed strongly in the importance of academic training and the civilizing influence of the arts. His writings, though perhaps not widely read today, were respected in their time and contributed to contemporary discourses on art. He also wrote a novel, "Oldcourt" (1829), and a play, "Alasco" (1824), though the latter was refused a license for performance due to its perceived political sentiments, much to Shee's frustration. His literary endeavors reveal a man of broad intellectual interests and a commitment to the cultural life of his nation.
Contemporaries: A Landscape of Talent and Rivalry
Martin Archer Shee's career unfolded against the backdrop of a remarkably rich period in British art. He was a contemporary of, and often in competition with, some of the era's most distinguished painters. Sir Joshua Reynolds was an early mentor figure. The dominant force in portraiture during much of Shee's rise was Sir Thomas Lawrence, whose brilliant technique and fashionable appeal set a high bar for all competitors. Other notable portraitists of the time included John Hoppner, Sir William Beechey, and the Scottish master Sir Henry Raeburn, each with their own distinct style and clientele. George Romney had also been a major figure, though his peak was slightly earlier.
The Royal Academy itself was a vibrant institution peopled by diverse talents. Benjamin West, Lawrence's predecessor as PRA, was known for his grand historical paintings. The iconoclastic Irish artist James Barry, a fellow countryman of Shee's, was a professor of painting at the RA, known for his ambitious allegorical works and often contentious relationship with the institution. Henry Fuseli, another RA professor, captivated and sometimes shocked audiences with his dramatic, often dark, literary and mythological subjects.
The landscape and genre painters were also making significant strides. J.M.W. Turner and John Constable, younger contemporaries, were revolutionizing landscape painting, though their full impact was perhaps more keenly felt later in Shee's presidency. Sir David Wilkie was highly celebrated for his detailed and anecdotal genre scenes. Figures like Angelica Kauffman, a founding RA member, had also left her mark on the previous generation. Gilbert Stuart, the American portraitist, also spent significant periods working in London and Dublin during Shee's formative years. Shee's ability to navigate this competitive environment and rise to the leadership of the RA speaks volumes about his skill, diplomacy, and resilience.
Later Years, Legacy, and Family
Sir Martin Archer Shee continued to paint and preside over the Royal Academy into his later years, though his health began to decline in his seventies. He suffered from illness that increasingly limited his activities. In 1845, he requested to resign from the presidency due to ill health, but the Academicians, valuing his leadership, persuaded him to remain, offering him leave of absence. He largely retired from active painting around this time.
His personal life saw its share of sorrows. His wife, Mary Power, with whom he had several children, predeceased him. It is noted that her death in 1846 was a significant blow. Sir Martin Archer Shee passed away on August 13, 1850, in Brighton, where he had retired for his health, at the age of 80 (not 81 as sometimes stated, given his birth in late December 1769).
He left behind a family that pursued different paths. Three of his sons became successful lawyers, choosing professions perhaps deemed more stable than their father's artistic calling. A notable, if indirect, part of his family legacy involves his grandson, George Archer-Shee. George was the central figure in the famous "Winslow Boy" case of 1908-1910, where he was wrongly accused of stealing a postal order while a naval cadet at Osborne. The case, which became a cause célèbre, was later dramatized by Terence Rattigan in his play "The Winslow Boy," bringing the Archer-Shee name to wider public attention in a different context.
Conclusion: Shee's Enduring Place in Art History
Sir Martin Archer Shee's legacy is multifaceted. As a painter, he was a highly competent and respected portraitist who produced a significant body of work that captured the likenesses of many prominent figures of his age. While not generally ranked among the absolute titans of British art like Reynolds, Gainsborough, or Lawrence, his contributions to portraiture were substantial and valued.
As President of the Royal Academy, he provided stable and effective leadership for two decades during a period of change and challenge. He was a staunch defender of the institution and a respected voice for the arts in public life. His writings on art, though perhaps of their time, reflect a thoughtful engagement with the principles and practice of his profession.
He was a man who overcame initial disadvantages of background and religion to rise to the highest echelons of the British art establishment. His career demonstrates the possibilities for talent and perseverance in the art world of Georgian and early Victorian Britain. Sir Martin Archer Shee remains an important figure for understanding the artistic culture of his era, a testament to Irish talent on the British stage, and a dedicated servant to the Royal Academy of Arts.
