Percy Lancaster stands as a notable figure in the landscape of early twentieth-century British art. Born in Manchester in 1878 and passing away in 1951, his career spanned a period of significant change and development in the art world. Primarily celebrated for his evocative landscapes rendered in watercolour and oil, Lancaster was also a highly accomplished etcher, contributing significantly to the printmaking traditions of his time. His work found favour within established art institutions, leading to a successful exhibiting career and recognition from prestigious societies.
Early Life and Artistic Foundations
Born into the bustling industrial hub of Manchester, Percy Lancaster's initial professional path seemed destined for architecture. This early training likely provided him with a strong foundation in draughtsmanship, structure, and composition, elements that would subtly inform his later artistic endeavours. However, the allure of fine art proved stronger, prompting a shift in focus. He pursued formal art education, studying diligently at both the Southport School of Art and the Manchester School of Art.
These institutions would have exposed him to the prevailing artistic currents of the late Victorian and Edwardian eras. Manchester, despite its industrial character, possessed a growing cultural scene, and its art school was a significant regional centre. Here, Lancaster would have honed his skills, likely studying drawing from life, perspective, and the techniques of oil and watercolour painting, preparing him for a professional career as an artist. His decision to move from architecture to painting marks him as an individual dedicated to the expressive potential of the visual arts.
The Landscape Painter: Oils and Watercolours
Lancaster quickly established himself as a painter of landscapes. This genre held a powerful place in British art history, tracing its lineage back to masters like J.M.W. Turner and John Constable. In Lancaster's time, landscape painting continued to thrive, albeit with diverse stylistic approaches ranging from the academic tradition to influences stemming from French Impressionism and Post-Impressionism, as seen in the work of artists like Philip Wilson Steer and George Clausen.
Lancaster demonstrated proficiency in both oil and watercolour. Watercolour, in particular, has a rich heritage in Britain, celebrated for its luminosity and immediacy. Artists like Thomas Girtin and later, William Russell Flint, excelled in this medium. Lancaster's engagement with watercolour placed him within this esteemed tradition. His works often captured the specific moods and atmospheres of the British countryside, focusing on pastoral scenes, waterways, and rural architecture.
His watercolour River Landscape (date unknown) and the later Green Pastures (1935) exemplify his commitment to this genre. While detailed stylistic analysis without viewing numerous works is difficult, paintings from this period often balanced topographical accuracy with atmospheric effect. Lancaster likely employed fluid washes, careful drawing, and an understanding of light to convey the tranquil beauty of the scenes he depicted. His skill was recognized by his peers and exhibiting bodies, solidifying his reputation primarily as a landscape artist.
Master of the Etched Line
Beyond his work in paint, Percy Lancaster was a highly skilled and respected etcher. He emerged during a period often referred to as the British Etching Revival, a movement that had gained momentum in the latter half of the nineteenth century with figures like James McNeill Whistler and Sir Francis Seymour Haden, and continued strongly into the early twentieth century with artists such as Muirhead Bone, James McBey, and Frank Brangwyn. This revival celebrated etching not just as a reproductive technique but as an original expressive medium.
Lancaster embraced the possibilities of etching, using the incised line and tonal variations achievable through acid biting and ink application to translate his landscape and architectural interests into print. His election as an Associate of the Royal Society of Painter-Etchers and Engravers (ARE) in 1910 is a testament to his standing within the printmaking community. This prestigious society was central to the Etching Revival, promoting high standards of craftsmanship and artistry.
His known etchings, such as Bridge on a Moor and Old Houses, Barnard Castle, suggest a focus on picturesque and architectural subjects, common themes among etchers of the period. The Miller's Bridge, another notable etching, further underscores his interest in the interplay of structure and nature. These works likely showcased his fine draughtsmanship and his ability to capture texture, light, and shadow through the demanding etching process. His contributions place him firmly within the lineage of important British printmakers like Edmund Blampied and Gerald Brockhurst, who also explored similar themes.
Professional Recognition and Affiliations
Lancaster's talent did not go unnoticed by the established art institutions of Great Britain. Membership in the leading art societies was a crucial marker of success and professional standing for artists of his generation. These societies provided vital platforms for exhibition and networking, connecting artists with patrons, critics, and the public.
His election as an Associate of the Royal Society of Painter-Etchers and Engravers (ARE) in 1910 marked his entry into the upper echelons of the printmaking world. Four years later, in 1914, he achieved further recognition with his election to the Royal Society of British Artists (RBA). The RBA, with a history stretching back to 1823, had seen periods of great influence, notably when James McNeill Whistler served as its president. Membership signified acceptance within a broad church of British art.
In 1921, Lancaster was elected to the Royal Institute of Painters in Water Colours (RI). This was a particularly significant honour, placing him among the leading watercolourists of the day. The RI, like the RBA and RE, held annual exhibitions that were important events in the London art calendar. Achieving membership in these three distinct societies – focusing on etching, general British art, and watercolour respectively – highlights Lancaster's versatility and the high regard in which his work was held across different media.
A Prolific Exhibitor
Percy Lancaster maintained a remarkably active exhibiting career throughout his life. The records indicate a prolific output and widespread acceptance by major galleries and institutions across Britain. His consistent presence in key exhibitions demonstrates his sustained engagement with the art world and the continued appeal of his work to selection committees and the public.
He exhibited frequently at the annual shows of the societies he belonged to, including a substantial sixty works at the Royal Institute of Painters in Water Colours (RI). His association with the Royal Society of British Artists (RBA) also saw his work displayed regularly. Furthermore, he submitted works to the prestigious Royal Academy of Arts (RA) in London, the pinnacle of the British art establishment, exhibiting around twenty pieces there over the years.
His reach extended beyond the capital. He was a significant exhibitor at regional centres, showing an impressive 123 works at the Walker Art Gallery in Liverpool, a major institution with a strong collection of British art. He also exhibited forty-two works with the Royal Birmingham Society of Artists (RBSA), indicating connections with the art scene in the Midlands. This extensive exhibition history underscores his productivity and his national reputation during his lifetime.
Notable Works and Representation
Several specific works stand out in discussions of Percy Lancaster's oeuvre, helping to illustrate his artistic concerns and skills.
Green Pastures (Watercolour, 1935): The title suggests a classic pastoral landscape, likely depicting rolling fields and perhaps grazing animals, rendered with the characteristic transparency and light of watercolour. Its date places it firmly in the mature phase of his career.
River Landscape (Watercolour, date unknown): Another quintessential landscape subject, this work likely focused on the depiction of water, reflections, and riverside vegetation, themes beloved by British watercolourists.
The Miller's Bridge (Etching): This print was significant enough to be exhibited internationally in 1925. It combines architectural interest (the bridge, possibly a mill) with a natural setting, showcasing his skill in etching structure and landscape elements. Its selection for international display highlights its perceived quality.
Bridge on a Moor (Etching): This title evokes a sense of wilder, perhaps more rugged scenery compared to pastoral landscapes. Moors were a popular subject for artists seeking dramatic atmosphere, suggesting Lancaster explored varied British terrains.
Old Houses, Barnard Castle (Etching): This work points to his interest in architectural subjects and the picturesque quality of historic towns. Barnard Castle, with its medieval fortress and traditional buildings, provided rich material for an etcher skilled in depicting texture and form.
Beyond individual works, Lancaster's art found a place in public collections, most notably the Victoria and Albert Museum (V&A) in London. The V&A holds extensive collections of prints and drawings, and the inclusion of Lancaster's work signifies its importance within the context of British graphic art. His presence in other city art galleries further cemented his legacy.
The Blandford Hotel Murals: An Artistic Anecdote
An intriguing, though perhaps apocryphal, story attaches itself to Percy Lancaster's career, concerning murals painted at the Blandford Hotel. According to the tale, Lancaster undertook the commission, possibly decorating a dining room or public space, because he was unable to settle his bill at the establishment. Whether strictly true or embellished over time, the anecdote adds a touch of bohemian colour to his biography.
The subject matter of these alleged murals is specific: Napoleon Bonaparte's decision in 1805 to abandon his planned invasion of England. This historical theme, depicting a pivotal moment of national deliverance, would have been a suitably patriotic and engaging subject for a public space in Britain. If the story holds water, it suggests Lancaster was capable of tackling large-scale decorative work and historical subjects, expanding his repertoire beyond easel painting and printmaking. While perhaps a minor footnote in his overall career, the Blandford Hotel story offers a glimpse of the artist potentially navigating the practical challenges of life through his creative talents.
Context: The British Art Scene in Lancaster's Time
To fully appreciate Percy Lancaster's career, it's essential to understand the artistic environment in which he worked. The late nineteenth and early twentieth centuries were a dynamic period in British art. While Lancaster primarily operated within the more traditional streams, he worked alongside significant shifts and competing movements.
The legacy of Victorian art was still felt, but Impressionism and Post-Impressionism had made their impact, influencing artists like Walter Sickert and the Camden Town Group, who focused on modern urban life with a looser technique. Landscape remained dominant, but artists like Paul Nash began to imbue it with a more modern, sometimes unsettling sensibility, particularly after World War I.
Simultaneously, Modernism was making inroads. Roger Fry's influential Post-Impressionist exhibitions of 1910 and 1912 introduced radical European art to London, provoking controversy but inspiring younger artists. The Bloomsbury Group, including painters Vanessa Bell and Duncan Grant, explored Fauvist and Cubist ideas. Shortly after, the Vorticist movement, led by Wyndham Lewis, championed a harsh, mechanistic style reflecting the machine age.
Against this backdrop of emerging modernism, traditional institutions like the Royal Academy, the RBA, RI, and RE continued to uphold established standards of craftsmanship and representation. Artists like Lancaster, Sir Alfred Munnings (known for equestrian scenes), and Dame Laura Knight found success within these structures. The Etching Revival, to which Lancaster contributed, was itself a blend of traditional technique and renewed artistic expression. Lancaster's career thus unfolded within a complex ecosystem of competing styles and institutions, where traditional landscape and printmaking maintained significant popularity and prestige alongside avant-garde experiments.
Lancaster's Place and Legacy
Percy Lancaster carved out a successful and respected position within the British art world of his time. He was not an avant-garde revolutionary challenging artistic conventions; rather, he excelled within the established genres of landscape painting and etching, demonstrating considerable technical skill and aesthetic sensitivity. His work resonated with the tastes of the period, leading to widespread exhibition and acquisition by public collections.
His legacy lies in his contribution to the enduring tradition of British landscape art, particularly in watercolour, and his participation in the flourishing Etching Revival. The sheer volume of works exhibited across major venues attests to his diligence and the consistent quality perceived by his contemporaries. He represented a strand of British art that valued craftsmanship, observation, and the depiction of the natural and architectural heritage of the country.
While perhaps overshadowed in art historical narratives by the rise of Modernism, artists like Lancaster played a vital role in the cultural life of their time. They provided art that was accessible, relatable, and technically accomplished, finding favour with a broad audience and maintaining the vitality of long-established artistic practices. His work remains a valuable record of the British landscape as seen through the eyes of a skilled early twentieth-century artist.
Conclusion
Percy Lancaster (1878-1951) was a distinguished British artist whose career was built on the foundations of solid academic training and a deep appreciation for the landscape. A native of Manchester who initially studied architecture, he dedicated his life to painting and etching, achieving significant recognition through memberships in the Royal Society of British Artists, the Royal Institute of Painters in Water Colours, and the Royal Society of Painter-Etchers and Engravers. His prolific exhibition record across the UK, including at the Royal Academy and major regional galleries like the Walker Art Gallery, Liverpool, speaks to his productivity and acceptance. Remembered for his sensitive watercolours like Green Pastures and accomplished etchings such as The Miller's Bridge, Lancaster remains a notable representative of the strong traditions in British landscape art and printmaking during the first half of the twentieth century.
