Robert Home (1752-1834) stands as a fascinating figure in late 18th and early 19th-century art, a British painter and designer whose career uniquely bridged the artistic worlds of Europe and colonial India. His life was one of movement and adaptation, from the established art centres of London and Rome to the burgeoning colonial society of Dublin and, most significantly, the opulent courts of India. Home's legacy is built upon his adeptness in portraiture and historical scenes, capturing the likenesses of European gentry, British officials, and Indian nobility, as well as documenting the landscapes and pivotal moments of his time.
Early Life and Artistic Foundations
Born in Kingston upon Hull, England, in 1752, Robert Home was the third son of Robert Home, a respected surgeon, and his wife, Mary (née Hutchinson). This familial connection to the medical world would prove influential, as his early artistic inclinations were nurtured by his cousin, the eminent anatomist John Hunter. Hunter's interest in precise observation and documentation may well have subtly shaped Home's own approach to art.
Recognizing his talent, Home embarked on formal artistic training at the relatively young age of seventeen. In 1769, he was admitted to the prestigious Royal Academy Schools in London. This institution, founded just a year earlier under the presidency of Sir Joshua Reynolds, was the epicentre of artistic education in Britain, promoting a curriculum based on classical ideals and the study of Old Masters.
During his time at the Royal Academy, Home studied under Angelica Kauffmann (1741-1807), a Swiss-born painter who was one of only two female founding members of the Royal Academy. Kauffmann, a celebrated Neoclassical artist known for her historical paintings, portraits, and decorative schemes, played a significant role in Home's development. It was reportedly on her encouragement that Home decided to further his studies in Italy.
The Italian Sojourn and Irish Interlude
Between 1773 and 1779, Robert Home resided in Rome, the quintessential destination for aspiring artists undertaking the Grand Tour. Rome offered unparalleled opportunities to study classical antiquities and Renaissance masterpieces firsthand. This period would have exposed him to the works of Italian masters and the international community of artists then active in the city, further refining his technique and broadening his artistic horizons. While specific details of his Roman studies are not extensively documented, the experience undoubtedly deepened his understanding of composition, anatomy, and classical aesthetics, influences that would be visible in his later work.
Upon his return from Italy, Home did not immediately settle in London. Instead, by the early 1780s, he had established himself in Dublin, Ireland. At this time, Dublin was a vibrant city with a growing demand for portraiture among its affluent Anglo-Irish society. Home sought to build his career there as a portrait painter. He found a competitive environment, notably with established figures like Robert Hunter (c.1715/1720–1803), who had been a leading portraitist in Dublin for several decades. Home contributed to exhibitions organized by the Dublin Society of Artists, showcasing his talents to a new audience. His time in Dublin, lasting until around 1789, allowed him to hone his skills in portraiture, a genre that would remain central to his career.
The Call of India: A New Chapter
In 1789, Robert Home returned to London, but his sights were soon set on a more distant and, for many artists of the period, more lucrative prospect: India. The British presence in India was expanding, creating opportunities for artists to document the landscape, its people, and the activities of the East India Company and colonial administration. Artists like Tilly Kettle (1735-1786) and later Johan Zoffany (1733-1810) had already found success painting portraits of British officials and Indian rulers.
Home arrived in Madras (now Chennai) in 1791. This marked the beginning of a long and defining phase of his career. India offered a rich tapestry of new subjects, vibrant colours, and complex cultural interactions. From Madras, he travelled, eventually reaching Delhi and, significantly, Lucknow, the capital of the wealthy kingdom of Oudh (Awadh).
Court Painter in Lucknow
Lucknow, under the rule of the Nawabs of Oudh, was a major centre of arts and culture. It was here that Robert Home achieved perhaps his most prominent position. For thirteen years, he served as the court painter to Ghazi-ud-Din Haider (reigned 1814-1827), the seventh Nawab Wazir and later the first King of Oudh. This extended period of royal patronage provided Home with stability and a platform for significant artistic production.
As court painter, Home's responsibilities were diverse. He was tasked with creating numerous portraits of the Nawab, including formal state portraits depicting Ghazi-ud-Din Haider with symbols of his authority, such as his crown and ornate throne. These works were crucial for projecting the ruler's power and prestige. Beyond portraiture, Home's role extended to design; he was reportedly the principal designer for royal regalia and other ceremonial accoutrements, showcasing his versatility. His painting, also titled Ghazi-ud-din Haider, now in the National Portrait Gallery, London, is a significant work from this period, potentially depicting the artist himself in his role within the court.
During his time in India, Home also produced landscapes, such as views of Bangalore, and even created military plans for the British army, demonstrating a practical application of his draughtsmanship skills. His work captured both the grandeur of Indian courts and the strategic interests of the British colonial enterprise.
Artistic Style and Notable Works
Robert Home's artistic style was primarily rooted in the British portraiture tradition of the late 18th century, characterized by a focus on likeness, attention to detail in costume and setting, and a certain dignified composure in his sitters. He worked predominantly in oils.
His portraits often feature a careful rendering of textures, particularly fabrics, and a considered use of light and shadow to model forms. A common feature in some of his works is the use of relatively dark or subdued backgrounds, which served to emphasize the sitter's face and attire, lending a sense of gravity and focus to the composition. This can be observed in descriptions of works like John Hunter and his painters, where the dark background highlights the subject's facial expression and clothing details.
Among his known works, several stand out:
Portraits of Ghazi-ud-Din Haider: These were central to his role in Lucknow and would have been among his most important commissions.
"Dr. William Drennan": This portrait, now housed in the Ulster Museum, Belfast, represents his work from his Irish period or a commission related to Irish sitters.
"J. King ESQ": An oil painting on an oval canvas, noted for its fine portraiture, indicative of his skill in capturing individual character.
"Portrait of a Young Man": Attributed to Home and possibly depicting a family member in uniform, this work (associated with Bonhams auction house) shows his engagement with military portraiture.
Landscapes of Bangalore: These works demonstrate his interest in capturing the Indian environment, a pursuit shared by other European artists in India like Thomas Daniell (1749-1840) and his nephew William Daniell (1769-1837), who were famed for their aquatints of Indian scenery.
Military Plans: While not purely artistic, these illustrate his technical drawing skills and his service to British military interests.
While a specific count of "15 works" has been mentioned in some contexts, this likely refers to a particular collection or study, as his output over a long career would have been considerably larger. His style combined the meticulous detail valued by patrons with an ability to convey the status and personality of his subjects, whether they were British officials, Irish gentry, or Indian royalty.
Contemporaries and Artistic Milieu
Robert Home's career spanned a dynamic period in art history, and he operated within a network of influential contemporaries.
In London, his formative years at the Royal Academy placed him in the orbit of its first president, Sir Joshua Reynolds (1723-1792), whose grand manner portraiture set the standard. Other leading portraitists in Britain at the time included Thomas Gainsborough (1727-1788), known for his elegant and fluid style, and George Romney (1734-1802), a popular rival to Reynolds. The historical painter Benjamin West (1738-1820), an American who succeeded Reynolds as President of the Royal Academy, was another major figure.
His teacher, Angelica Kauffmann, was a significant artist in her own right, navigating the male-dominated art world with considerable success. Her husband, the decorative painter Antonio Zucchi (1726-1795), was also part of this artistic circle.
In Dublin, Home's main competitor was Robert Hunter. The Irish art scene also included figures like Nathaniel Hone the Elder (1718-1784), a portraitist and miniaturist, and later, Hugh Douglas Hamilton (c.1740-1808), who returned to Dublin from Italy around the same time Home was leaving for India.
In India, Home joined a growing community of European artists. Tilly Kettle was one of the earliest British portraitists to find success there. Johan Zoffany created celebrated conversation pieces and portraits in India, including depictions of the court of Oudh before Home's tenure. The aforementioned Thomas Daniell and William Daniell undertook extensive travels, producing a vast visual record of Indian landscapes and architecture. George Chinnery (1774-1852) was another prominent British artist who worked extensively in India and later in China. These artists collectively shaped the European visual understanding of India.
Personal Life, Later Years, and Unusual Legacy
Robert Home was married twice. His first wife's identity is sometimes confused, but historical records indicate he was a student of Angelica Kauffmann, not her husband. He had two daughters from his first marriage. His second marriage was to Anne Alicia Paterson, with whom he had no children.
Home spent the latter part of his life in India, a testament to the opportunities he found there. He passed away in Cawnpore (now Kanpur), India, in 1834, at the advanced age of 82.
An unusual and rather macabre aspect of Home's legacy is the preservation of one of his kidneys. This specimen is held in the Hunterian Museum at the Royal College of Surgeons in London. This connection likely stems from his family ties to John Hunter, the museum's founder, and reflects the 19th-century scientific interest in anatomy and pathology, even extending to the remains of notable individuals.
There is also mention of a diary kept by Robert Home, covering the period from June 1834 to September 1837. If these dates are accurate and pertain to this Robert Home, it presents a chronological puzzle given his death in 1834. It's possible the diary entries were made by a family member or there's a discrepancy in the dating or attribution. However, the existence of personal papers suggests that further details of his life and observations might yet be gleaned by researchers. (It is important to distinguish this from records of another, younger Robert Home who later emigrated to Canada and whose diaries on agriculture and emigration are also archived).
Enduring Significance
Robert Home's career is significant for several reasons. He was a competent and successful portrait painter who adapted his skills to diverse cultural contexts, from the drawing-rooms of Dublin to the courts of Indian Nawabs. His work in India provides valuable visual documentation of a pivotal period of colonial history, capturing the likenesses of key figures, both British and Indian.
His long service as a court painter in Lucknow highlights the complex cultural exchanges that occurred during this era, where European artistic conventions were employed to represent Indian rulers. He, along with other European artists in India, played a role in shaping both Indian and European perceptions of the subcontinent. His paintings are not just artistic creations; they are historical documents that offer insights into the social, political, and cultural dynamics of his time.
While perhaps not reaching the towering fame of a Reynolds or Gainsborough in the annals of British art, Robert Home carved out a unique and noteworthy career. His journey from Hull to Cawnpore, via London, Rome, Dublin, and Lucknow, reflects the ambitions and opportunities available to British artists in an age of expanding global connections. His works continue to be studied for their artistic merit and their historical importance, offering a window into the intertwined worlds he inhabited.
