Robert Morley (1857-1941) was a distinguished British artist whose career spanned the late Victorian and Edwardian eras, extending into the early decades of the twentieth century. Primarily celebrated for his sensitive and skilfully rendered depictions of animals, Morley also produced accomplished landscapes and occasional figure subjects. Though perhaps not as widely known today as some of his more revolutionary contemporaries, he was a respected figure in his time, exhibiting regularly and contributing to the rich tapestry of British art during a period of significant artistic evolution. His work reflects both the enduring traditions of British animal painting and the subtle shifts in artistic sensibilities occurring around the turn of the century.
Early Life and Artistic Formation
Robert Morley was born in Kensal Green, London, on November 19, 1857. He was the second son of Professor Henry Morley, a notable figure in English literature and academia, and Mary Anne Staggall. Growing up in an environment that valued intellectual and cultural pursuits likely provided a supportive backdrop for his artistic inclinations. His father, Henry Morley (1822-1894), was a highly respected academic, best known for his tenure as Professor of English Language and Literature at University College London, and for his extensive writings and edited volumes which made literature accessible to a wider public. This familial connection to the world of letters and education underscores a cultured upbringing.
Morley's formal artistic training commenced at the prestigious Slade School of Fine Art in London. The Slade, established in 1871, quickly became a vital center for art education in Britain, offering a more liberal alternative to the rigid curriculum of the Royal Academy Schools. During his time there, Morley studied under Alphonse Legros, a French-born painter, sculptor, and etcher who had a profound impact on a generation of British artists. Legros, himself a pupil of Horace Lecoq de Boisbaudran, emphasized rigorous draughtsmanship, direct observation, and a respect for the Old Masters. His teaching methods encouraged students to develop strong foundational skills, which would have been invaluable for an artist like Morley, who specialized in the accurate depiction of animal anatomy and natural forms.
Morley's talent was recognized during his student years; he distinguished himself as a Slade Scholar and was awarded a painting medal, testaments to his dedication and skill. To further broaden his artistic horizons and refine his technique, he pursued additional studies in continental Europe, spending time in Munich and Rome. Munich, at that time, was a significant art center, known for its academy and its promotion of a dark, tonal realism. Rome, with its unparalleled access to classical antiquity and Renaissance masterpieces, offered a different, but equally important, set of influences. This combination of rigorous British training and exposure to European artistic traditions equipped Morley with a versatile skill set.
Artistic Focus and Stylistic Characteristics
Robert Morley's oeuvre is primarily characterized by his specialization in animal painting and landscapes. While he did produce some figure subjects, it was his depictions of the animal kingdom and the natural world that formed the core of his artistic identity. In this, he followed a strong tradition in British art, which had seen animal painting flourish since the 18th century with artists like George Stubbs, and continue through the 19th century with figures such as Sir Edwin Landseer.
Morley's animal paintings are noted for their anatomical accuracy, sympathetic portrayal, and often, a quiet, observational quality. He painted a variety of animals, with a particular fondness for dogs, as evidenced by works like "With Mouse Puppies Spaniel" (circa 1910). His approach avoided the overt sentimentality or grandiloquent narratives that sometimes characterized Victorian animal art, opting instead for more naturalistic and intimate portrayals. His skill lay in capturing the characteristic forms and textures of his subjects, whether it was the soft fur of a spaniel or the alert posture of a working dog.
His landscape work, such as "Surrey Landscape" (1911), demonstrates a keen eye for the nuances of the British countryside. These paintings often convey a sense of atmosphere and place, rendered with a technique that, while rooted in realism, could also show an appreciation for the effects of light and colour, possibly absorbing some of the more subtle influences of Impressionism that were gradually permeating British art. His later career saw an increasing focus on these two genres – animals and landscapes – suggesting a deep and abiding connection to the natural world. He often depicted scenes from the English countryside, particularly Surrey, where he later resided, capturing its gentle hills, woodlands, and rural life.
Exhibitions and Professional Recognition
Throughout his career, Robert Morley was an active participant in the London art scene, regularly submitting his works to major exhibitions. He achieved significant professional recognition, most notably through his association with the Royal Society of British Artists (RBA). Founded in 1823 as an alternative to the Royal Academy, the RBA provided an important platform for many artists. Morley was elected a member of the RBA in 1889, a mark of esteem from his peers. He continued to exhibit there frequently, contributing to the society's diverse shows.
Beyond the RBA, Morley's paintings were also accepted for exhibition at the prestigious Royal Academy of Arts (RA). The RA's Summer Exhibition was, and remains, a key event in the British art calendar, and having work selected for display there was a significant achievement. His exhibited works at the RA included titles such as "No Thoroughfare" and "A Waif," suggesting narrative or genre elements within his animal subjects. He also showed his work at other notable venues, including the Royal Institute of Oil Painters (ROI) and various galleries in London and the provinces. This consistent exhibition record indicates a steady output and a sustained level of quality that kept his work in the public eye and affirmed his status as a professional artist. His paintings found their way into private collections, appreciated for their technical skill and appealing subject matter.
The Artistic Milieu: Britain in the Late 19th and Early 20th Centuries
Robert Morley's career unfolded during a dynamic and transformative period in British art. The late Victorian era was still largely dominated by the academic tradition championed by the Royal Academy, with artists like Lord Frederic Leighton, Sir Lawrence Alma-Tadema, and Sir Edward Poynter producing grand historical, mythological, and classical scenes. Their work was characterized by meticulous finish, elaborate detail, and often, a strong narrative component. While Morley's realism shared a concern for accurate representation, his subject matter and scale were generally more modest and aligned with different traditions.
The world of animal painting itself had a rich heritage. The legacy of Sir Edwin Landseer loomed large, his works celebrated for their technical brilliance and often anthropomorphic portrayal of animals, imbuing them with human-like emotions and placing them in dramatic or sentimental scenarios. Morley’s contemporaries in animal painting included figures like Briton Rivière, who often combined animal subjects with historical or biblical narratives, and John Emms, known for his vigorous and characterful paintings of hounds and terriers. Maud Earl and Lucy Kemp-Welch were also notable female animal painters of the period, the latter particularly famous for her depictions of horses. Morley's work can be seen as part of this continuing interest in animal subjects, perhaps offering a less theatrical, more directly observational approach compared to some of his predecessors.
However, the late 19th century also witnessed the rise of new artistic currents challenging the academic establishment. The influence of French Impressionism, with its emphasis on capturing fleeting moments, the effects of light and atmosphere, and painting en plein air, began to be felt in Britain. Artists associated with the New English Art Club (NEAC), founded in 1886 as a more progressive alternative to the RA, included figures like Philip Wilson Steer, Walter Sickert, and George Clausen. These artists explored Impressionist and Post-Impressionist ideas, bringing a new vibrancy and modernity to British painting. While Morley was not an avant-garde artist in this vein, the broader artistic climate, with its increasing appreciation for atmospheric effects and naturalism, likely informed his landscape work.
The early 20th century, the Edwardian era and beyond, saw further artistic diversification. The impact of Post-Impressionism was dramatically showcased in London with Roger Fry's exhibitions "Manet and the Post-Impressionists" in 1910 and "Second Post-Impressionist Exhibition" in 1912. These shows, featuring works by artists like Paul Cézanne, Vincent van Gogh, Paul Gauguin, and Henri Matisse, were controversial but profoundly influential, paving the way for modern art movements in Britain. While Morley's style remained largely consistent with his earlier training, he would have been aware of these shifts. His continued focus on representational animal and landscape painting catered to a persistent taste for these genres, even as more radical forms of art were emerging. Other prominent figures of this broader period included the brilliant society portraitist John Singer Sargent, whose dazzling brushwork set him apart, and later, artists like Augustus John and William Orpen, who brought a robust modern sensibility to portraiture and figure painting. The Scottish Colourists, including Samuel Peploe and F.C.B. Cadell, were also making their mark with their bold, vibrant works influenced by French Fauvism.
Later Life and Legacy
In his later years, Robert Morley moved from St John's Wood in London, a popular residential area for artists, to Tilford in Surrey. This move to the countryside would have provided him with ample subject matter for his landscape and animal paintings, allowing for direct observation of the rural environment he so often depicted. He continued to paint and exhibit, maintaining his presence in the art world. Robert Morley passed away in 1941, his life and career having spanned a remarkable period of change in British society and art.
Assessing Robert Morley's legacy, he is best understood as a skilled and dedicated practitioner within established genres, particularly animal painting. He was part of a lineage of British artists who found inspiration in the natural world and its creatures. While he may not have been an innovator in the mould of the Impressionists or Post-Impressionists, his work possessed a quiet integrity and technical proficiency that earned him respect during his lifetime. His paintings offer a valuable glimpse into the artistic tastes and sensibilities of the late Victorian and Edwardian periods, reflecting a love for nature and a commitment to representational art.
His contribution lies in the consistent quality of his output and his dedication to his chosen subjects. In an era that saw the rise of photography and the beginnings of abstraction, Morley, like many of his contemporaries such as John William Godward or Arthur Hacker in their respective fields, remained committed to the craft of painting and the depiction of the visible world. His works can be found in various collections, and they continue to appeal to those who appreciate traditional animal and landscape art. While art history often focuses on the avant-garde, artists like Robert Morley played an essential role in the broader artistic ecosystem, satisfying a public demand for well-executed, accessible, and engaging works of art. His paintings serve as a reminder of the diversity of artistic practice and the enduring appeal of nature as a subject for artists.
In conclusion, Robert Morley (1857-1941) carved out a niche for himself as a specialist in animal and landscape painting. Trained at the Slade under Legros and further educated on the continent, he developed a style characterized by careful observation, anatomical accuracy, and a sympathetic understanding of his subjects. As a member of the Royal Society of British Artists and a regular exhibitor at the Royal Academy and other institutions, he was a recognized professional in the bustling art world of late 19th and early 20th century Britain. His work, while not revolutionary, represents a significant strand of British art that valued technical skill and the depiction of the natural world, providing a lasting contribution to these enduring genres.
