Newton Smith Limbird Fielding (1799-1856) stands as a notable, if sometimes overlooked, figure in the landscape of early nineteenth-century British and French art. A painter and printmaker of considerable skill, he carved a niche for himself primarily through his evocative animal subjects and his mastery of watercolour and various printmaking techniques. His career was characterized by a significant engagement with the Parisian art scene, close associations with prominent artists of his day, and a dedication to both creating and teaching art. This exploration delves into his life, artistic style, key collaborations, and lasting, albeit modest, legacy.
Early Life and Artistic Lineage
Born in London in 1799, Newton Fielding was a scion of an artistically inclined family. He was the son of Nathan Theodore Fielding, himself a painter, who instilled an early appreciation for the arts in his children. Perhaps more famously, Newton was the younger brother of Anthony Vandyke Copley Fielding (1787-1855), a distinguished watercolourist and one-time President of the Society of Painters in Water Colours. Another brother, Thales Fielding (1793-1837), also pursued an artistic career, primarily as a watercolour painter. This familial environment undoubtedly nurtured Newton's burgeoning talents and provided a supportive framework for his artistic development.
The early nineteenth century in Britain was a fertile period for watercolour painting, with artists like J.M.W. Turner and John Constable elevating landscape painting to new heights, and specialists like David Cox, Peter De Wint, and Samuel Prout solidifying watercolour as a respected medium. While Newton Fielding's primary focus would become animal subjects, he was certainly a product of this rich British watercolour tradition, which emphasized keen observation of nature and atmospheric effects. His initial forays into the art world saw him exhibiting watercolours as early as 1815, and by 1818, he was showcasing works featuring cattle, an early indication of his thematic preference.
The Parisian Nexus: Business, Teaching, and Artistic Exchange
A significant portion of Newton Fielding's professional life was spent in Paris, a city that was then a vibrant hub of artistic innovation, particularly with the rise of Romanticism. From 1827 to 1830, he managed the family's engraving business in the French capital, a venture he undertook in partnership with the English watercolourist William Callow (1812-1908). Callow, who would later become a prominent artist in his own right, gained valuable experience during this period. This business undertaking highlights the Fieldings' entrepreneurial spirit and their engagement with the burgeoning market for prints.
Fielding's presence in Paris was not solely commercial. He became deeply integrated into the city's artistic circles and was highly regarded for his skills. His talents were recognized to the extent that he was engaged to teach painting to the children of King Louis-Philippe I, a testament to his reputation and pedagogical abilities. This royal connection would have provided him with a degree of stability and prestige within French society. He resided in Paris for most of his adult life, only briefly returning to England, and ultimately passed away in the French capital on January 12, 1856.
Artistic Style and Thematic Specialization
Newton Fielding's artistic output was characterized by a meticulous attention to detail, a sensitive rendering of animal anatomy and behaviour, and a proficient use of various media. He was particularly celebrated for his animal studies, which ranged from domestic creatures to wildlife, often depicted within naturalistic landscape settings. His approach combined the precision required for accurate representation with an ability to imbue his subjects with a sense of life and character.
In watercolour, his preferred medium for painting, Fielding demonstrated a delicate touch and a keen understanding of light and colour. His works often combined watercolour washes with the use of pencil for definition and bodycolour (gouache) for highlights and opaque passages, a mixed-media technique common among watercolourists of the period. Examples such as Birds by a Pond (1825) and Skiff and Ducks on the Waterfront (1825) showcase his ability to capture serene, natural moments with charm and technical finesse. Other notable paintings include Roe Deer near Loch Rannoch, Scotland and Woodcock feeding by a Stream, which further exemplify his skill in depicting animals in their habitats.
Beyond painting, Fielding was an accomplished printmaker, proficient in etching, aquatint, and lithography. Printmaking was a crucial medium in the 19th century for disseminating images to a wider audience, and Fielding utilized these techniques to reproduce his own designs and collaborate with others. His skill in these areas allowed him to reach a broader public and contribute to the illustrated book market, which was flourishing at the time. His work in printmaking often mirrored his painted subjects, focusing on animals and picturesque landscapes. This versatility across different artistic forms was a hallmark of his career.
Key Works and Didactic Publications
Fielding's oeuvre includes several significant series and publications that cemented his reputation. Between 1821 and 1826, he produced watercolours and etchings for Sicilian Scenery, a picturesque travel book published by J.-F. d’Ostervald. This was followed by a similar project, Tour of the Coast and Harbours of Normandy (1823-1825), also for d’Ostervald. These publications catered to the contemporary taste for travelogues and picturesque views, and Fielding's contributions would have showcased his abilities in both landscape and topographical art, likely incorporating animal life where appropriate.
In 1829, he published two collections of his animal studies: Sketches by Newton Fielding and Animals Drawn from Nature. These volumes would have served as showcases of his specialized skill and likely found an audience among fellow artists, students, and collectors interested in animal portraiture. Such collections were common in the era, serving both as artistic statements and as potential source material for others.
Later in his career, Fielding also turned his attention to art instruction, reflecting his experience as a teacher. He authored Subjects after Nature, published in London in 1836. More significantly, perhaps, was his How to Sketch from Nature, or, Perspective and its Application, published in 1856, the year of his death. This work suggests a desire to codify and share his knowledge of drawing techniques and the principles of perspective, essential skills for any aspiring artist, particularly those interested in landscape and naturalistic representation.
Collaborations and Contemporary Connections
Newton Fielding's time in Paris facilitated close relationships with some of the leading figures of the French Romantic movement. Most notably, he shared a close friendship and professional association with Eugène Delacroix (1798-1863), one of the titans of French Romantic painting. They reportedly shared a studio for a time, and their mutual respect is evidenced by Delacroix painting the background for a portrait of Fielding. Furthermore, Delacroix is known to have created three portraits of Fielding, underscoring their personal and artistic bond. This connection with Delacroix, known for his dynamic animal paintings (such as his famous lion hunts) and his embrace of English artistic influences, particularly those of Constable and Bonington, places Fielding at an interesting intersection of British and French artistic currents.
Indeed, Richard Parkes Bonington (1802-1828), another brilliant English artist who spent much of his short but influential career in France, was also part of this circle. Bonington, like Fielding, was admired for his watercolour technique and his ability to bridge English and French artistic sensibilities. The interactions between Fielding, Bonington, and Delacroix highlight a period of fertile Anglo-French artistic exchange. Théodore Géricault (1791-1824), another pioneer of French Romanticism with a penchant for powerful animal imagery (most famously horses), was also active during Fielding's early years in Paris, contributing to the artistic ferment of the city.
Fielding's collaborative spirit extended to specific projects. He worked with Delacroix on an Animal Book, for which Delacroix provided illustrations based on the fables of La Fontaine. Fielding's role in this project involved leveraging his expertise in printing and watercolour techniques, likely in the preparation of the plates or the hand-colouring of prints. This collaboration on La Fontaine's fables, a classic of French literature rich in animal characters, was a natural fit for both artists.
Another documented collaboration was with H. Gauguin (possibly Henri Gauguin, a journalist and publisher, and father of the more famous Paul Gauguin, though the latter would have been a child at this time). Together, they produced A Collection of Animals: Subjects taken from the fables of La Fontaine, drawn and lithographed by Newton Fielding. This again points to Fielding's specialization in animal subjects and his engagement with the publishing world, using lithography to bring these images to life. The specific division of labor with H. Gauguin isn't entirely clear from the provided information, but Fielding's role as the artist who drew and lithographed the subjects is explicitly stated.
The French "animalier" tradition was also gaining prominence during this period, with sculptors and painters like Antoine-Louis Barye (1795-1875) dedicating their careers to the depiction of animals with anatomical accuracy and dramatic flair. While Fielding's style might have been more aligned with the picturesque and detailed approach of British animal painters like Thomas Bewick (an earlier engraver whose influence was profound) or later, Edwin Landseer, his presence in Paris placed him in proximity to these French developments.
Exhibitions, Recognition, and Later Years
Throughout his career, Newton Fielding sought recognition through public exhibitions. He exhibited at the Society of Painters in Water Colours in London, showing watercolours in 1815 and works depicting cattle in 1818. His works also appeared at auctions, indicating a market for his art. One such example is a watercolour depicting wild deer near Lochnagar, Scotland, which showcases his interest in capturing animals in their rugged, natural environments.
His reputation as a skilled animal painter and watercolourist was solid during his lifetime, particularly within the circles he frequented in London and Paris. The commission to teach the royal children in France is a significant indicator of the esteem in which he was held. His instructional books further suggest a recognized authority in his field.
Despite these successes, Newton Fielding's fame did not endure to the same extent as some of his more celebrated contemporaries like Delacroix or Turner. This is not uncommon for artists who, while highly skilled and respected in their time, may not have been radical innovators or whose work fell out of fashion with later generations. However, his contributions, particularly his charming animal studies, his technical proficiency in watercolour and printmaking, and his role as a conduit in Anglo-French artistic exchange, remain of interest to art historians.
Legacy and Historical Evaluation
Newton Smith Limbird Fielding is remembered as a talented exponent of the British school of animal painting and watercolour, who successfully navigated the artistic worlds of both London and Paris. His style, characterized by careful observation, delicate execution, and a sympathetic portrayal of animal life, found favour with the tastes of his time. His works provide a delightful window into the 19th-century appreciation for nature, picturesque travel, and the art of illustration.
He is considered an important representative of 19th-century British watercolour art, contributing to the rich tradition of the medium. His engagement with printmaking also highlights the importance of reproductive media in disseminating art and knowledge during this period. While perhaps not a revolutionary figure, his consistent output, his teaching, and his collaborations, especially with a luminary like Delacroix, secure his place in the annals of art history. His animal subjects, rendered with both accuracy and charm, continue to appeal to those who appreciate the enduring beauty of the natural world as captured by a skilled and sensitive artistic hand. His life and work exemplify the interconnectedness of European art in the 19th century, a period of dynamic change and cross-cultural fertilization.
