Percy Robert Craft (1856-1934) stands as a significant, if sometimes overlooked, figure in the narrative of late Victorian and Edwardian British art. A painter of considerable sensitivity and skill, Craft was not only a dedicated artist but also a vibrant personality who played an integral role in the formation and social fabric of the Newlyn School, one of Britain's most influential regional art colonies. His work, characterized by its atmospheric depth and honest depiction of coastal life, alongside his multifaceted contributions to the artistic community, marks him as a noteworthy talent whose legacy merits continued appreciation.
Early Life and Artistic Awakening
Born in the county of Kent, England, in 1856, Percy Robert Craft's early life and education were rooted in his native region. Unlike many of his contemporaries who sought artistic validation and training on the Continent, particularly in Paris or Antwerp, Craft's formal art education took place entirely within England. He honed his skills at prestigious London institutions, including the Heatherley School of Fine Art and the Slade School of Fine Art. These schools, renowned for their rigorous academic training, would have provided him with a solid foundation in draughtsmanship and traditional painting techniques.
Heatherley's, in particular, was known for its less formal atmosphere compared to the Royal Academy Schools, attracting students who sought a more independent path. The Slade, under figures like Alphonse Legros, was instrumental in introducing a more modern, French-influenced realism to British art education. This environment likely exposed Craft to emerging artistic currents, even if he did not travel abroad to experience them firsthand. His decision to remain in England for his studies suggests a confidence in the native artistic tradition, or perhaps a personal inclination that kept him closer to home. This formative period equipped him with the technical proficiency and artistic sensibilities that would later define his contributions to the Newlyn School.
The Call of Cornwall: Journey to Newlyn
The late 19th century witnessed a significant movement among artists away from the industrialised urban centres towards rural and coastal communities. This was driven by a desire for authentic subject matter, the unique quality of natural light found in these locales, and often a more affordable cost of living. The small fishing village of Newlyn, situated on the coast of Cornwall in England's far southwest, became a powerful magnet for such artists. Its rugged coastline, the ever-changing sea and sky, and the daily lives of its fishing community offered a wealth of inspiration.
In 1885, Percy Robert Craft, accompanied by his wife, made the pivotal decision to settle in Newlyn. This move placed him among the early wave of artists who would come to define the Newlyn School. He joined a burgeoning community that included pioneering figures like Stanhope Forbes, who is often considered the "father" of the Newlyn School, and Walter Langley, one of the very first artists to settle there. The decision to relocate to such a relatively remote village underscores Craft's commitment to the ideals of naturalism and plein air (open-air) painting that were central to the Newlyn ethos.
The Newlyn School: A Community of Visionaries
The Newlyn School was not a formal institution with a defined manifesto, but rather an informal colony of artists drawn together by shared artistic aims and a common environment. They were profoundly influenced by French realist painters such as Jules Bastien-Lepage and the Barbizon School, who championed direct observation from nature and the depiction of rural peasant life with honesty and dignity. The Newlyn painters adapted these principles to the Cornish landscape and its inhabitants, particularly the fisherfolk whose lives were inextricably linked to the sea.
Key figures who formed the core of this community alongside Craft, Stanhope Forbes, and Walter Langley included Frank Bramley, whose painting "A Hopeless Dawn" became an iconic image of the school; Elizabeth Forbes (née Armstrong), a highly talented painter and wife of Stanhope Forbes; Thomas Cooper Gotch, who later moved towards symbolism but was an important early member; Henry Scott Tuke, famed for his depictions of nude boys and sailing ships; and Norman Garstin, an Irish artist and intellectual who also played a significant role in the St Ives art colony nearby. Other notable artists associated with the broader Cornish art scene, and whose paths would have crossed with Craft's, include Lamorna Birch, Alfred Munnings (before his fame as an equestrian painter), and later, Laura Knight and Harold Knight.
The Newlyn artists were known for their commitment to painting outdoors, directly from the subject, to capture the fleeting effects of light and atmosphere. Their subject matter often focused on the everyday heroism, hardships, and communal life of the fishing village. Craft fully embraced this approach, and his presence contributed to the vibrant, collaborative spirit of the colony.
Craft's Artistic Style: Realism, Atmosphere, and Light
Percy Robert Craft's artistic style evolved under the influence of his English training, the prevailing trends of French-inspired realism, and the unique environment of Newlyn. While he did not study abroad, the impact of French art, possibly filtered through his teachers at the Slade and his interactions with fellow Newlyn artists who had continental experience, is discernible in his work. He also reportedly admired the atmospheric effects achieved by J.M.W. Turner, a master of British landscape painting, and the tonal subtleties of James McNeill Whistler.
Initially, his work may have possessed more overtly sentimental characteristics, a common trait in Victorian genre painting. However, his mature style, developed in Newlyn, shows a move towards a more objective, yet deeply felt, realism. He became particularly adept at capturing the specific tonalities and atmosphere of the Cornish coast, especially the soft, diffused light of dusk or overcast days. His paintings often convey a quiet dignity and a profound sense of place.
Craft's commitment to realism meant depicting the often harsh realities of life in a fishing community, but without overt melodrama. He focused on the truth of the scene, the textures of worn clothing, the dampness of the air, and the stoicism of the figures. His palette, while capable of capturing the greys and blues of the sea and sky, could also incorporate warmer tones, especially in interior scenes or moments of gentle light. He shared with his Newlyn colleagues a dedication to accurate draughtsmanship and a solid compositional structure, ensuring his paintings were both evocative and well-constructed.
Representative Works: Capturing the Essence of Newlyn
Among Percy Robert Craft's notable works, two particularly stand out as representative of his style and thematic concerns:
"Tucking a School of Pilchards" (1897): This painting is a quintessential Newlyn School subject, depicting the intense and laborious process of hauling in a large catch of pilchards. The scene is filled with figures of fishermen, clad in heavy, oilskin-like waterproofs, working together with a sense of urgency and practiced skill. Craft masterfully conveys the physicality of their toil and the challenging conditions at sea. The composition is dynamic, capturing the movement of the men and the teeming mass of fish. The painting is a testament to the Newlyn School's focus on the dignity of labour and the everyday lives of the local community. It showcases Craft's ability to handle complex figure compositions and to render the textures and atmosphere of a working maritime environment.
"Shipping by an English pier at dusk" (also referred to as "Shipping by an hour's dusk"): This work highlights Craft's skill in capturing specific light conditions and moods. The subject of ships near a pier at twilight allows for a play of silhouettes and muted colours, creating a poetic and evocative scene. The fading light would have presented a technical challenge that Craft evidently embraced, focusing on the overall tonal harmony and the quiet atmosphere of the harbour as day transitions into night. Such paintings demonstrate his sensitivity to the nuances of the coastal environment and his ability to imbue a seemingly simple scene with a quiet emotional resonance.
These works, and others like them, illustrate Craft's dedication to the principles of the Newlyn School: direct observation, realistic depiction of contemporary life, and a focus on the interplay of light and atmosphere. His paintings contribute significantly to our understanding of the artistic output of this important group.
Beyond the Easel: Craft's Multifaceted Community Role
Percy Robert Craft was more than just a painter within the Newlyn community; he was a dynamic and engaging personality who contributed significantly to its social and cultural life. His talents extended beyond the visual arts. He was known to be an excellent singer, often participating in or organizing concerts, and was also reputed to write poetry and compose music. This artistic versatility made him a lively and popular figure.
One of his most notable contributions was his involvement with the Newlyn Artists' Dramatic Society. He was described as an organizer, an inspiration, and a director for this informal theatrical group, and was himself an accomplished actor. These theatrical productions would have provided entertainment and a creative outlet for the artists, fostering a sense of camaraderie and shared experience within the colony. Such activities were vital in a relatively isolated community, helping to bind its members together.
Furthermore, Craft was actively involved in what was known as the Newlyn Industrial Class. He collaborated with figures like John D. Mackenzie and W.F. Boudillion in running the "Fisherman's Rest." This initiative likely aimed to provide support, education, or recreational facilities for the local fishing community, reflecting a social conscience that was present among many Newlyn artists. His participation demonstrates a genuine engagement with the local people whose lives so often featured in his paintings, moving beyond a purely artistic interest to a more holistic community involvement.
Exhibitions, Recognition, and the Royal British Colonial Society of Artists
Like his Newlyn contemporaries, Percy Robert Craft sought recognition for his work through exhibitions in London and other major centres. He exhibited at the prestigious Royal Academy of Arts, the principal venue for established and aspiring artists in Britain. His works were seen there over a period, indicating a consistent level of quality and acceptance by the art establishment.
Craft also played a significant role in the Royal British Colonial Society of Artists (RBCSA), which later became the Royal Society of British Artists (RBA). He was a prominent member of this society and actively encouraged other Newlyn artists to join and exhibit with them. This provided an alternative and important platform for the Newlyn painters to showcase their work to a wider audience, beyond the confines of the Royal Academy. His efforts in this regard highlight his commitment to promoting the Newlyn School and supporting his fellow artists. His own style, while rooted in Newlyn realism, was also seen to evolve, perhaps moving away from some of the more overtly "sentimental" aspects sometimes associated with genre painting, towards a greater emphasis on the craft and formal qualities of his work, aligning with his interest in the RBCSA.
His involvement with such societies and his regular exhibition record underscore his professional standing and his active participation in the broader British art world, even while based in relatively remote Cornwall.
Craft and His Contemporaries: A Network of Influence
Percy Robert Craft's artistic journey was interwoven with those of his Newlyn colleagues. His closest artistic associates were undoubtedly the core members of the Newlyn School. The daily interactions, shared critiques, and collective pursuit of similar artistic goals with Stanhope Forbes, Elizabeth Forbes, Walter Langley, and Frank Bramley would have created a fertile environment for artistic development. They learned from each other, challenged each other, and collectively forged the distinctive character of Newlyn painting.
The influence of French Naturalism, particularly artists like Jules Bastien-Lepage and Jean-François Millet (a key Barbizon figure), was pervasive in Newlyn, and Craft's work reflects this, even without direct study in France. He would have absorbed these influences through discussions, reproductions, and the work of his peers. Similarly, the broader trends in British art, such as the social realism of artists like Hubert von Herkomer or Luke Fildes, provided a context for the Newlyn painters' focus on working-class life.
Craft's encouragement of Newlyn artists to exhibit with the RBCSA suggests a proactive role in building networks and creating opportunities. His own artistic development, with its emphasis on tonal harmony and atmospheric effect, also shows an awareness of contemporary aesthetic debates, possibly engaging with the ideas of Whistler and his followers, who prioritized "art for art's sake" and the abstract qualities of painting. While firmly a realist, Craft's sensitivity to mood and atmosphere suggests an appreciation for these more aesthetic concerns.
Later Years and Enduring Legacy
Percy Robert Craft continued to paint and remain active in artistic circles throughout his life. He reportedly last exhibited at the Royal Academy in 1937, though this date seems to extend beyond his death in 1934 and might refer to a posthumous exhibition or a different artist; typically, his exhibition period at the RA is cited as concluding earlier. He passed away in 1934, leaving behind a body of work that captures the spirit of a unique time and place in British art history.
His legacy is primarily tied to his contribution to the Newlyn School. As one of its committed early members, he helped to establish its reputation and define its characteristic style. His paintings of Cornish coastal life, particularly works like "Tucking a School of Pilchards," remain important documents of both the fishing industry and the artistic preoccupations of the era.
Beyond his canvases, Craft's role as a community builder, theatrical enthusiast, and supporter of his fellow artists adds another dimension to his significance. He was part of the social glue that held the Newlyn colony together, fostering an environment where creativity could flourish. While names like Stanhope Forbes or Walter Langley might be more widely recognized today, Percy Robert Craft was an indispensable part of the Newlyn story. His dedication to his art, his keen observation of the world around him, and his vibrant engagement with his community ensure his place as an enduring and respected figure in the annals of British painting. His work continues to be appreciated for its honesty, its atmospheric beauty, and its heartfelt depiction of a way of life that has largely vanished.
