Robert Smirke RA (1752–1845) stands as a significant, if sometimes overlooked, figure in the landscape of British art during the late 18th and early 19th centuries. Primarily celebrated as a painter of genre scenes, literary subjects, and as a prolific illustrator, Smirke carved a distinct niche for himself with his characteristic humour, elegant draughtsmanship, and keen observational skills. His work often captured the spirit of his literary sources, bringing characters from Shakespeare, Cervantes, and Thomson to life with a unique blend of wit and charm.
Early Life and Artistic Formation
Born in Wigton, near Carlisle, Cumberland, in 1752 (some sources suggest 1753, but 1752 is more commonly cited), Robert Smirke's early life set him on a path towards the arts, albeit initially in a more craft-oriented discipline. His father was a multi-talented individual, described as a painter, musician, and schoolmaster, suggesting an environment where creative pursuits were valued. Around 1766, the young Smirke was sent to London and apprenticed to a heraldic painter, a field that demanded precision and a strong understanding of design, which would undoubtedly serve him well in his later artistic endeavours.
His ambition, however, extended beyond the confines of heraldry. In 1772, Smirke enrolled as a student at the prestigious Royal Academy Schools. This institution, founded only a few years prior in 1768 with Sir Joshua Reynolds as its first president, was the epicentre of artistic training and discourse in Britain. Here, Smirke would have been exposed to the prevailing academic theories, life drawing, and the works of established masters, honing his skills alongside other aspiring artists of his generation. He began exhibiting at the Royal Academy in 1786, marking his official entry into the professional art world of London.
Rise to Prominence: Literary Themes and Genre Painting
Smirke quickly gained recognition for his small-scale oil paintings, often executed in a monochromatic or grisaille style, which lent themselves well to reproduction as engravings. His subjects were frequently drawn from English literature, a popular source of inspiration for many artists of the period. He showed a particular affinity for the works of the poet James Thomson, known for "The Seasons." Paintings such as Narcissus and Sabrina, inspired by Thomson's verses, showcased Smirke's ability to translate poetic imagery into visual form with grace and sensitivity.
His talent for narrative and character depiction also made him a natural fit for illustrating the plays of William Shakespeare. Smirke became a key contributor to John Boydell's ambitious "Shakespeare Gallery," a commercial enterprise that commissioned leading artists of the day, including Henry Fuseli, James Northcote, John Opie, Benjamin West, and Angelica Kauffman, to create paintings based on Shakespeare's plays. These paintings were then engraved and published. Smirke's contributions, such as Katharina and Petruchio from "The Taming of the Shrew" and scenes from "As You Like It" (notably The Seven Ages of Man), were well-received for their lively compositions and humorous interpretations. He managed to capture the comedic and dramatic essence of Shakespeare's characters, often imbuing them with a relatable humanity.
Beyond Shakespeare, Smirke produced a significant body of illustrations for Miguel de Cervantes' "Don Quixote." His series of designs for this literary classic are considered among his finest achievements as an illustrator. He captured the pathos and absurdity of Don Quixote and the earthy pragmatism of Sancho Panza with remarkable insight, creating images that became iconic representations of these characters for generations of readers. These illustrations, often engraved by accomplished craftsmen like Anker Smith, Charles Heath, and Francis Engleheart, were widely disseminated and cemented his reputation.
Artistic Style and Characteristics
Robert Smirke's style is characterized by its elegance, clarity, and a pervasive sense of humour. His figures are often gracefully drawn, with expressive faces and gestures that convey emotion and narrative effectively. He possessed a strong sense of composition, arranging his figures and settings to create dynamic and engaging scenes, even within the confines of small-scale works.
His use of grisaille (shades of grey) or other monochromatic palettes was particularly effective for works intended for engraving, as it allowed the engraver to focus on tone and form without the complexities of translating colour. However, he was also a capable colourist when the commission demanded it. His oil paintings, while often modest in size, display a refined technique and a pleasing surface quality.
A defining feature of Smirke's art is its wit. He had a talent for gentle satire and for capturing the amusing aspects of human nature. This is evident not only in his literary illustrations but also in his genre scenes, which often depicted everyday life with a light-hearted touch. He was less biting in his satire than contemporaries like Thomas Rowlandson or James Gillray, preferring a more subtle and amiable form of humour. His approach was more akin to the gentle social commentary found in the works of Francis Wheatley or George Morland, though Smirke's focus was often more literary.
He also produced a satirical work titled Catalogues Raisonnés, which critiqued the prevailing system of art patronage in Britain, indicating a critical mind and a willingness to engage with the art world's politics, albeit with a characteristic touch of irony.
The Royal Academy and Professional Standing
Smirke's talent did not go unnoticed by his peers. He was elected an Associate of the Royal Academy (ARA) in 1791 and became a full Royal Academician (RA) in 1793. This was a significant honour, placing him among the leading artists of the country. He was an active member of the Academy, participating in its exhibitions and governance.
However, his relationship with the establishment was not without its complexities. In 1804, Smirke was nominated to succeed Joseph Wilton as Keeper of the Royal Academy. The Keeper was a significant residential post responsible for the day-to-day running of the RA Schools and the supervision of students. Despite his suitability for the role, King George III famously refused to sign off on his appointment. The reason cited was Smirke's perceived "democratical" or revolutionary political views. In the wake of the French Revolution, such leanings were viewed with suspicion by the conservative establishment. This incident highlights the political undercurrents that could influence artistic careers in this period and underscores Smirke's independent-mindedness. The position eventually went to Henry Fuseli.
Despite this setback, Smirke continued to be a respected figure. His work was consistently sought after by publishers and collectors. He also painted some historical subjects, such as Lady Jane Grey Refusing the Crown and The Death of Cardinal Wolsey, demonstrating his versatility beyond humorous and literary themes.
Collaborations and Contemporaries
The art world of late 18th and early 19th-century London was a relatively close-knit community, and Smirke interacted with many of its key figures. His involvement with Boydell's Shakespeare Gallery brought him into contact with a wide circle of artists. He also collaborated directly with engravers who translated his designs into prints, a crucial partnership for any illustrator of the era.
He had a known working relationship with the painter and diarist Joseph Farington, another influential RA member. Farington's diaries provide invaluable insights into the art world of the time, and Smirke is mentioned within them. They are recorded as having collaborated on at least one piece, Shakespearean Scene: A Pilgrim.
Smirke also engaged in artistic discussions with contemporaries like James Northcote. One recorded conversation involved their differing opinions on the originality of Thomas Gainsborough, with Northcote championing Gainsborough as an original genius, while Smirke argued that Gainsborough's art was a clever synthesis derived from observing the works of earlier masters. Such debates were common and vital to the intellectual life of artists.
His work as an illustrator often placed him in a similar sphere to Thomas Stothard, another prolific and highly regarded illustrator of the period. While their styles differed – Stothard often favouring a more sentimental or gracefully classical approach – both artists significantly shaped the visual culture of books during their time.
There is also a suggestion that the great J.M.W. Turner may have been aware of Smirke's work, particularly a painting titled Halsewell, East Indiaman, depicting a shipwreck. Turner, known for his dramatic maritime scenes, would have been interested in such subjects.
The Smirke Family: A Legacy in Art and Architecture
Robert Smirke was the patriarch of a remarkably talented family. While he himself was a painter, several of his sons achieved considerable fame as architects, which sometimes leads to confusion. It is important to distinguish Robert Smirke the painter from his more famous architect son, Sir Robert Smirke (1780–1867).
Sir Robert Smirke was a leading figure of the Greek Revival movement in architecture, responsible for iconic buildings such as the main facade and colonnade of the British Museum, the Royal Opera House (Covent Garden Theatre), and the General Post Office. Another son, Sydney Smirke (1798–1877), was also a distinguished architect who often worked with his brother Sir Robert and later designed the iconic circular Reading Room at the British Museum. A third son, Richard Smirke (1778–1815), was an antiquarian draftsman, indicating that artistic talent ran strongly through the family. Edward Smirke, another son, pursued a legal career but was also known as an antiquary.
The artistic environment within the Smirke household must have been stimulating, with the father's painting practice and the sons' burgeoning architectural and antiquarian interests creating a dynamic intellectual milieu.
Later Years and Enduring Legacy
Robert Smirke continued to paint and illustrate into his later years, though his output may have lessened. He lived to the advanced age of 92 (or 93 by some accounts), passing away in London on January 5, 1845, at his home on Osnaburgh Street, Regent's Park. He was buried in Kensal Green Cemetery, a resting place for many notable figures of the Victorian era.
His legacy primarily rests on his contributions to book illustration and his charming genre paintings. While perhaps not as revolutionary as some of his contemporaries like William Blake or J.M.W. Turner, Smirke excelled in his chosen field. He brought a distinctive blend of elegance, humour, and narrative skill to his work, making literature accessible and engaging through his visual interpretations. His illustrations for Shakespeare and "Don Quixote" remained popular for many decades and influenced subsequent illustrators.
His paintings, though often small in scale, are prized for their technical accomplishment and delightful subject matter. Works like The Rival Brothers, The Fortune Teller, and numerous scenes from literature continue to be appreciated by collectors and art historians. He is remembered as a skilled draftsman, a keen observer of human nature, and an artist who brought a touch of levity and grace to the British art scene.
Conclusion: An Artist of Wit and Refinement
Robert Smirke RA was a highly accomplished and respected artist whose career spanned a transformative period in British art. He successfully navigated the demands of the art market, producing works that appealed to both popular taste and connoisseurial appreciation. His ability to capture the essence of literary characters with wit and charm, combined with his elegant draughtsmanship, secured his reputation as one of the foremost illustrators of his day.
While the grand architectural achievements of his sons, Sir Robert and Sydney Smirke, sometimes overshadow his own quieter contributions as a painter, Robert Smirke the elder holds a secure place in the annals of British art. He was a master of narrative, a purveyor of gentle humour, and an artist who enriched the visual culture of his time through his delightful paintings and enduring illustrations. His work offers a window into the literary and social preoccupations of Georgian and early Victorian Britain, rendered with a skill and sensibility that remain appealing to this day. He remains a testament to the diverse talents that flourished under the umbrella of the Royal Academy, contributing significantly to the rich tapestry of British artistic heritage.
