Paul Jacob Naftel stands as one of the most distinguished artists to emerge from the Channel Islands in the 19th century. A largely self-taught master of the watercolour medium, his life and work offer a fascinating glimpse into the Victorian art world, the enduring allure of landscape painting, and the unique cultural tapestry of his native Guernsey. His meticulous renderings of natural beauty, both at home and abroad, coupled with his dedication to teaching and even his foray into scientific illustration, paint a portrait of a versatile and deeply observant artist.
Early Life and Artistic Awakening in Guernsey
Born in Guernsey in 1817, Paul Jacob Naftel's artistic journey began amidst the picturesque landscapes that would become a cornerstone of his oeuvre. Unlike many of his contemporaries who benefited from formal academic training in London or Paris, Naftel's talents were primarily nurtured by his own keen observation and diligent practice. The rugged coastlines, serene bays, and verdant interiors of Guernsey provided an inexhaustible source of inspiration. He developed an intimate understanding of the island's unique light and atmosphere, which he would later translate into his delicate and evocative watercolours.
His early development was marked by a commitment to capturing the specific character of his surroundings. This dedication to local scenery was a hallmark of many Victorian landscape artists, who found in the particularities of place a profound connection to nature and national identity. While artists like John Constable had earlier championed the beauty of the English countryside, Naftel focused his initial energies on the distinct charm of his island home.
The Lure of the Local: Guernsey's Muse
Naftel became renowned for his depictions of Guernsey's natural splendours and recognizable landmarks. His works were not mere topographical records; they were imbued with a romantic sensibility that captured the spirit of the place. One of his most celebrated paintings, "The View from the Lover's Chair," exemplifies this. The painting depicts a scenic vantage point on Guernsey, a natural rock formation offering panoramic views. The site itself was steeped in local lore, associated with a romantic tale of a young woman and her lover of a lower social standing who met there in secret.
This connection to local narrative and specific sites resonated with the Victorian public's growing interest in regional identity and picturesque travel. Naftel’s first wife, Elizabeth Robilliard, who hailed from the nearby island of Alderney, is said to have been an inspiration for this particular piece, adding a personal dimension to its romantic associations. Many of Naftel's early Guernsey scenes were reproduced as lithographs, a popular medium for disseminating images at the time, making his views accessible to a wider audience, including the burgeoning tourist market. This practice was common among artists like David Roberts, whose lithographs of the Near East were immensely popular.
Artistic Style: Victorian Precision and Luminous Colour
Naftel's artistic style is firmly rooted in the traditions of 19th-century British watercolour painting. The Victorian era saw a flourishing of this medium, with artists striving for both accuracy in depiction and evocative atmospheric effects. Naftel excelled in capturing the intricate details of foliage, the subtle gradations of light on water, and the textures of rock and earth. His palette was often bright and clear, reflecting the luminous quality of coastal light.
His technique involved careful layering of washes to build up depth and transparency, a method perfected by earlier watercolour masters such as J.M.W. Turner and Thomas Girtin, whose innovations had elevated the status of watercolour painting. While Naftel may not have shared Turner's radical experimentation with abstraction, he certainly inherited the tradition of meticulous observation and the pursuit of atmospheric truth. His work often displays a Pre-Raphaelite attention to detail, though without the overt symbolism or moralizing narratives associated with figures like John Everett Millais or William Holman Hunt. Instead, Naftel’s focus remained on the inherent beauty of the natural world.
Family Life and Artistic Progeny
Paul Jacob Naftel's personal life was intertwined with his artistic pursuits. His first marriage was to Elizabeth Robilliard (1809-1847). After her passing, he married Isabel (Elizabeth) Oakley (1825-1869), a member of the Oakley family. This union produced four children, and significantly, the artistic inclination continued into the next generation.
His daughter, Maud Naftel (1856-1890), followed in her father's footsteps, becoming an accomplished watercolour artist and art teacher in her own right. Maud specialized in flower painting, a popular genre for female artists in the Victorian era, and even published a book on the subject, "Flowers and How to Paint Them." This familial continuation of artistic practice was not uncommon; one thinks of the Landseer family or the Redgrave family, where artistic talent was passed down and nurtured. Maud's success underscores the supportive artistic environment Paul Jacob Naftel likely fostered within his home.
Broadening Horizons: Travels in Europe
While Guernsey remained a constant source of inspiration, Naftel, like many Victorian artists, sought new subjects and experiences through travel. He journeyed extensively across Europe, visiting Switzerland, Italy, and Spain. These expeditions provided him with a fresh palette of landscapes, from the majestic Alps to the sun-drenched Mediterranean coast. His European works demonstrate his adaptability and his consistent ability to capture the essence of diverse environments.
One such work, "The Ochsenstrasse, near Lucerne," now housed in the Guernsey Museum, showcases his skill in rendering the dramatic scenery of the Swiss Alps. These travels placed him in a tradition of British artists venturing abroad, a practice popularized by the Grand Tour in the 18th century and continued by Victorian painters seeking the picturesque or the historically resonant. Artists like Samuel Prout and John Frederick Lewis also built significant reputations based on their depictions of continental European and more exotic locales. Naftel’s European scenes added an important dimension to his portfolio, demonstrating his versatility beyond the familiar Channel Island views.
A Dedicated Educator: Teaching in Guernsey and London
Beyond his personal artistic practice, Paul Jacob Naftel was a committed and influential art teacher. He held the position of art master at Elizabeth College in Guernsey for an impressive thirteen years, shaping the artistic sensibilities of many young students. His dedication to education extended beyond this formal role, as he also taught at various other schools on the island.
Later in his career, Naftel moved to London, where he continued to teach painting. It was in his London studio that he notably trained the Irish watercolourist Rose Barton (1856-1929). Barton would go on to become a significant artist in her own right, known for her atmospheric depictions of London and Irish life. Naftel's role as a mentor highlights his contribution to the broader art community and his willingness to share his expertise. This pedagogical aspect of his career was shared by other prominent artists of the time, such as William Dyce, who was heavily involved in art education reform.
Art Meets Science: The 1870 Solar Eclipse Expedition
A particularly fascinating episode in Naftel's career was his involvement in a scientific expedition organized by the Royal Astronomical Society. In 1870, he was invited to travel to Cádiz in southern Spain to document the total solar eclipse that occurred on December 22nd of that year. In an era before widespread photographic capabilities for such events, artists were often included in scientific voyages to provide accurate visual records.
Naftel's task was to capture the fleeting and ethereal phenomena of the eclipse, including the solar corona and the dramatic changes in light and atmosphere. His resulting drawings and watercolours provided valuable visual data for astronomers and also stand as unique artistic creations. This intersection of art and science was not unprecedented; artists had long accompanied voyages of exploration, such as Sydney Parkinson with Captain Cook. Naftel's participation underscores his reputation for accurate observation and his willingness to apply his skills in novel contexts. His eclipse drawings would have been of great interest to a public fascinated by scientific discovery and celestial events.
Recognition and Exhibitions: The Society of Painters in Water Colours
Paul Jacob Naftel's talent did not go unnoticed by the wider art establishment. A significant milestone in his career was his election as an Associate of the prestigious Society of Painters in Water Colours (often known as the Old Watercolour Society or OWS) in 1856, becoming a full Member in 1859. This society was the premier institution for watercolourists in Britain, and membership was a mark of high distinction. Its ranks included many of the leading watercolour artists of the day, such as Myles Birket Foster, known for his charming rural scenes, and Helen Allingham, celebrated for her idyllic cottage paintings.
Over his association with the OWS, Naftel exhibited an impressive 689 works, showcasing the breadth and depth of his output. His paintings were also shown at other prominent London venues, including the Grosvenor Gallery and the Dudley Gallery. The Grosvenor Gallery, in particular, was known for its association with the Aesthetic Movement and artists like Edward Burne-Jones and James McNeill Whistler, indicating Naftel exhibited alongside a diverse range of contemporary artistic styles. His consistent presence in these exhibitions solidified his reputation and brought his work to a discerning audience.
Contemporaries and the Victorian Art Milieu
Naftel operated within a vibrant and diverse Victorian art world. The period was characterized by a multitude of artistic movements and a public keenly interested in art. While Naftel's primary focus was landscape, he would have been aware of the narrative paintings of the Pre-Raphaelites, the classical subjects favored by academicians like Lord Frederic Leighton, and the emerging social realism of artists like Luke Fildes.
His contemporary in marine and coastal painting, Edward Duncan RWS (1803-1882), also a member of the Old Watercolour Society, provides an interesting point of comparison. It is noted that both Naftel and Duncan painted views of Whitecliff Bay on the Isle of Wight around 1841, suggesting shared interests in picturesque coastal scenery, a popular subject for many Victorian artists. The detailed naturalism evident in Naftel's work also aligns with the broader Victorian fascination with science and the natural world, a spirit also captured in the intricate works of artists like William Henry Hunt, known for his still lifes of fruit and birds' nests.
Naftel's travels and exhibitions would have brought him into contact, or at least into shared spaces, with a wide array of artists. The London art scene was a melting pot of styles and personalities, from the established figures of the Royal Academy to those exploring more avant-garde approaches. His consistent exhibition record demonstrates his ability to maintain a respected position within this competitive environment.
Lithography and Reaching a Wider Audience
The practice of having his early Guernsey works reproduced as lithographs was a savvy move that broadened Naftel's reach considerably. Lithography, a relatively new printing technique in the early 19th century, allowed for the mass production of images at a lower cost than engraving. This democratization of art meant that people of more modest means could afford to own representations of picturesque scenes.
For artists like Naftel, whose subjects often appealed to tourists and those with a fondness for specific locales, lithography was an ideal way to capitalize on this interest. It ensured his views of Guernsey were widely disseminated, contributing to the island's image and his own reputation. This practice was common among landscape artists; for instance, the works of Thomas Shotter Boys, known for his picturesque architectural views of European cities, were also widely circulated through lithography.
Legacy and Enduring Appeal
Paul Jacob Naftel passed away in 1891, leaving behind a significant body of work that continues to be admired for its technical skill, its faithful depiction of nature, and its evocative charm. His paintings are held in public collections, including the Guernsey Museum and Art Gallery, which houses important examples of his Channel Island and European scenes, and the Victoria and Albert Museum in London.
His legacy extends beyond his canvases. As an educator, he influenced a generation of students, including his daughter Maud and the notable Rose Barton. His participation in the 1870 eclipse expedition also marks a unique contribution to the interplay between art and science. The enduring appeal of his work lies in its ability to transport the viewer to the specific places he depicted, capturing the light, atmosphere, and character of Guernsey, the Swiss Alps, or the Spanish coast with a quiet and assured mastery. He remains a key figure in the history of Channel Islands art and a respected exponent of the Victorian watercolour tradition. His work was featured in exhibitions like "Our Lives in Watercolour," which showcased watercolours depicting royal life, indicating the continued relevance and historical importance of his contributions.
A Master of Light and Place
Paul Jacob Naftel's career is a testament to the power of dedicated observation and a deep connection to place. From his early, intimate portrayals of Guernsey to his broader European vistas and his unique scientific illustrations, he consistently demonstrated a refined sensibility and a masterful command of the watercolour medium. He navigated the Victorian art world with success, gaining recognition from prestigious institutions and contributing to the artistic education of others. His paintings remain a cherished visual record of the landscapes he loved, rendered with a clarity and sensitivity that continue to captivate viewers today, securing his place as a significant, if sometimes overlooked, figure in the rich tapestry of 19th-century British art.
