Stephen Elmer (1717-1796) stands as a significant figure in the landscape of eighteenth-century British art. An accomplished English painter, Elmer carved a distinct niche for himself, primarily focusing on the genres of still life and animal painting, with a particular emphasis on depictions of dead game. His work, admired for its technical proficiency and vibrant realism, offers a fascinating window into the artistic tastes and cultural preoccupations of his time. Though perhaps less universally known today than some of his contemporaries who dominated portraiture or landscape, Elmer's contribution to the British school, especially in his chosen specialisms, remains noteworthy.
Born and largely based in the market town of Farnham, Surrey, Elmer's life and art were deeply intertwined with his local environment. His detailed observations of the natural world, from the intricate plumage of game birds to the textures of fruit and fur, formed the bedrock of his artistic practice. He navigated the burgeoning London art scene from his provincial base, achieving recognition through exhibitions and affiliations with key artistic societies, including the prestigious Royal Academy of Arts.
From Maltster to Painter: Early Life in Farnham
Stephen Elmer entered the world in Farnham, Surrey, in 1717. His origins were not initially steeped in the fine arts; early records indicate that he was involved in the family business as a maltster. This practical, trade-based background was not uncommon for artists emerging outside the established academic pathways in the eighteenth century. It suggests a degree of self-motivation and perhaps informal training in his journey towards becoming a professional painter.
Details surrounding his artistic education are scarce, leading many to believe he was largely self-taught or received rudimentary instruction locally. Farnham, while a prosperous town, was not a major artistic centre like London. Elmer's decision to pursue painting, particularly the less academically lauded genres of still life and animal subjects, reflects a personal inclination and likely a response to the interests of the local gentry and burgeoning middle class who appreciated scenes related to rural life, sport, and domesticity.
His deep connection to Farnham would persist throughout his life. Unlike many aspiring artists who gravitated permanently to the capital, Elmer maintained his residence and studio in his hometown. This enduring link to Farnham provided him with constant access to the subjects he favoured – the flora and fauna of the Surrey countryside – and shaped the authentic, closely observed character of his work. His transition from maltster to painter marks the beginning of a dedicated artistic career that would span several decades.
The Development of a Distinctive Style
Stephen Elmer's artistic style is often characterized by its directness, vigour, and meticulous attention to detail. Critics and contemporaries frequently described his manner as "bold" and "free," yet this was coupled with a remarkable ability to render textures and surfaces with convincing realism. Whether depicting the soft feathers of a pheasant, the gleaming scales of a fish, or the downy skin of a peach, Elmer demonstrated considerable technical skill.
His approach was significantly informed by the traditions of Dutch and Flemish Baroque still life painting. The influence of artists like Jan Fyt, a Flemish master known for his dynamic hunting scenes and still lifes with dead game, is particularly evident. Like Fyt and other masters such as Frans Snyders and Jan Weenix, Elmer excelled in arranging complex compositions of animals, birds, and inanimate objects, capturing their forms and textures with accuracy and often a sense of tactile presence.
Elmer's palette was typically rich and vibrant, contributing to the lifelike quality of his subjects. He employed clear, decisive brushwork that defined forms effectively without becoming overly laboured or fussy. While his primary focus was on achieving a high degree of naturalism, his compositions were carefully constructed, often balancing the central subjects with subtle background details or atmospheric effects. This combination of robust realism and compositional awareness became a hallmark of his work.
Compared to the dominant trends in high art promoted by the Royal Academy, such as historical painting or the Grand Manner portraiture championed by figures like Sir Joshua Reynolds and Thomas Gainsborough, Elmer's style was less concerned with idealization or classical allusion. Instead, it celebrated the tangible reality of the natural world, appealing to patrons who valued verisimilitude and subjects drawn from everyday life and country pursuits.
Subjects of Choice: The Natural World Observed
The core of Stephen Elmer's artistic output revolved around the careful observation and depiction of the natural world, particularly animals and still life elements. His most renowned works fall into the category of 'dead game' pictures. These paintings typically featured arrangements of recently hunted birds – partridges, pheasants, woodcocks – often accompanied by hunting dogs, fish, or elements like game bags and firearms. Such subjects were popular in Britain, reflecting the importance of field sports in the culture of the landed gentry and rural society.
Elmer's skill in rendering the varied textures of feathers and fur was exceptional. He captured the specific characteristics of different species with an accuracy that suggests close study from life (or, in the case of dead game, very recently deceased specimens). His depictions went beyond mere anatomical correctness; they often conveyed a sense of the weight and physicality of the animals, lending pathos and realism to the scenes.
Beyond game, Elmer also painted other animals, notably dogs, which often appeared as faithful companions in his sporting pieces or as subjects in their own right. His still lifes frequently incorporated arrangements of fruit and flowers, showcasing his versatility in handling different textures and colours. These works continued the tradition of still life painting, sometimes carrying subtle vanitas undertones (reminders of mortality) inherent in the depiction of perishable items like fruit, flowers, and dead animals.
While George Stubbs reigned supreme in the field of large-scale animal portraiture, particularly horses, Elmer carved out his own territory in the more intimate and domestically scaled genre of dead game and related still lifes. His focus provided a different perspective on the relationship between humans and the natural world, emphasizing the bounty of the hunt and the quiet beauty of natural forms. His work also finds resonance with the rustic scenes of artists like George Morland, though Elmer's focus remained more tightly on the still life elements themselves.
Engagement with the London Art World
Despite being based primarily in Farnham, Stephen Elmer actively participated in the burgeoning London art scene, seeking exhibition opportunities and professional recognition. His engagement began notably with the Society of Artists of Great Britain. He became a member in 1763 and was a prolific contributor to their exhibitions, showcasing numerous works over the following decade. This society provided a crucial platform for artists working outside the traditional academic structures.
Elmer was also associated with the Free Society of Artists, serving as its joint chairman in 1768. His involvement with these competing societies highlights the dynamic and sometimes fractious nature of the London art world before the consolidation of power under the Royal Academy. Through these exhibitions, Elmer brought his specialized genre paintings to the attention of a wider metropolitan audience and potential patrons.
The establishment of the Royal Academy of Arts in 1768 marked a significant shift in the British art landscape. Elmer sought recognition from this new, prestigious institution and achieved it in 1772 when he was elected an Associate of the Royal Academy (A.R.A.). This was a significant honour, placing him within the ranks of the nation's officially sanctioned artistic body, alongside founding members like Benjamin West, Angelica Kauffman, and its first president, Sir Joshua Reynolds.
His election as an A.R.A. acknowledged his skill and reputation within his specific field. He continued to exhibit works at the Royal Academy's annual exhibitions for many years, further solidifying his professional standing. This connection to the Academy, even as an Associate rather than a full Academician, provided validation and helped ensure his work remained visible within the mainstream art world, bridging the gap between his provincial base and the London centre.
Significant Works and Commissions
While a comprehensive catalogue of Stephen Elmer's oeuvre is complex to assemble, several works and types of commissions stand out. His paintings of dead game remain his most characteristic and widely recognized contributions. A specific example often cited is Dead Partridge, held by the Museum of Farnham. Such works exemplify his mastery in depicting feathered game with lifelike accuracy and sensitive handling of light and texture. These were the bread and butter of his output, likely finding a ready market among local landowners and enthusiasts of country sports.
Elmer also undertook portraiture, although it was not his primary focus. The Portrait of William Elmer, depicting his nephew at the age of ten, is also housed in the Museum of Farnham. This work demonstrates his competence in capturing a likeness, though perhaps without the fashionable flair of dedicated London portraitists like Allan Ramsay or the conversation pieces of Arthur Devis.
Some sources mention a Portrait of Fletcher Harper as a significant work by Elmer, citing collections in prominent American institutions like New York City Hall and the Pennsylvania State Library. However, this attribution requires careful consideration. Fletcher Harper was a prominent 19th-century American publisher, making it chronologically challenging for the 18th-century British painter Stephen Elmer to have painted his portrait in this manner. It is possible there is confusion with another artist or subject, and this specific attribution remains uncertain within Elmer's documented work.
A notable commission undertaken by Elmer was an altarpiece for his local church, St Andrew's in Farnham. Sources suggest this work depicted The Last Supper. It's crucial to distinguish this from the world-famous fresco by Leonardo da Vinci. Elmer's version would have been executed in his own style and context. Anecdotally, this altarpiece was sometimes included in a special exhibition of his works, referred to as "Elmer's sporting exhibition," which he reportedly held in London's Great Room, showcasing the breadth of his output, from religious subjects to his more typical sporting and still life scenes.
Elmer in the Context of 18th-Century British Painting
Stephen Elmer practiced his art during a transformative period for British painting. The eighteenth century witnessed the decline of foreign dominance and the rise of a confident, native school of artists. Institutions like the Society of Artists and, most importantly, the Royal Academy, provided platforms for exhibition, education, and professionalization. Elmer's career trajectory reflects this changing landscape – a provincial artist gaining national recognition through these new structures.
Artistically, the era was dominated by portraiture (Reynolds, Gainsborough, Romney) and the burgeoning field of landscape painting (Richard Wilson, Gainsborough again). History painting, considered the highest genre according to academic theory, was promoted by the Academy but struggled to find consistent patronage (James Barry, Gavin Hamilton). Elmer operated within the less prestigious but highly popular genres of still life and sporting art.
His specialization placed him alongside other artists catering to the tastes of the landed gentry and those interested in rural life. His sporting scenes connect with the tradition of artists like John Wootton and Sawrey Gilpin, though Elmer's focus was often more on the results of the hunt (the dead game) than the action itself. His meticulous still lifes, while influenced by Dutch and Flemish precedents, were part of a British tradition that adapted these models for domestic settings.
Elmer's success demonstrates the diversification of the British art market. While the grand narratives of history painting and the elegance of society portraiture held sway in academic circles, there was a strong demand for works depicting the tangible world – animals, nature, the pursuits and pleasures of country life. Elmer skillfully met this demand, becoming one of the foremost practitioners in his chosen field in Georgian England. His work provides valuable insight into the broader spectrum of artistic production beyond the dominant genres.
Family Connections: William Elmer
The artistic inclination within the Elmer family extended beyond Stephen. His nephew, William Elmer (fl. 1783-1799), also pursued a career as a painter, following in his uncle's footsteps by specializing in still life. William achieved a measure of success, particularly noted for his work in Ireland before returning to exhibit in London.
William Elmer exhibited works at the Royal Academy between 1783 and 1799, indicating his acceptance within the established art community. Sources suggest his style bore a resemblance to that of his uncle, Stephen, indicating a likely influence or shared training environment. Like Stephen, William is noted as having been influenced by Dutch and Flemish still life painters, reinforcing this stylistic lineage within the family.
The presence of two successful still life painters named Elmer, working in similar styles and exhibiting at the same major institution, occasionally leads to confusion in attributions. However, William's career, though perhaps less extensively documented than Stephen's, confirms a familial engagement with the arts and specifically with the genre of still life painting during the latter part of the eighteenth century. This connection underscores the networks of influence and shared practice that often existed within artistic families.
Later Years and Enduring Legacy
Stephen Elmer continued to live and work in his beloved Farnham throughout his later years, remaining active as a painter well into his seventies. His long association with the town cemented his status as a local artistic luminary. He passed away in Farnham in 1796, at the respectable age of 79, leaving behind a substantial body of work.
His reputation during his lifetime was solid, particularly as a master of dead game and still life subjects. He was praised for his technical skill, the accuracy of his depictions, and the pleasing, naturalistic quality of his paintings. While perhaps not considered an innovator on the scale of some Royal Academy giants, he was highly respected within his specialized field, often regarded as one of the leading painters of game in England.
After his death, Elmer's work continued to be appreciated, particularly by collectors interested in sporting art and British still life. His paintings are represented in various public collections, most notably the Museum of Farnham, which holds several key examples reflecting his local ties. Works can also be found in other institutions, including the Spencer Museum of Art at the University of Kansas and Tate Britain, confirming his national significance.
His paintings occasionally appear at auction, demonstrating continued market interest. Records, such as sales at Christie's, sometimes list works "attributed to" Stephen Elmer, reflecting the ongoing process of connoisseurship and attribution for artists of his period. His enduring legacy lies in his contribution to the British still life tradition, his masterful depiction of the natural world, and his role as a successful provincial artist who engaged effectively with the national art scene of Georgian England.
Conclusion
Stephen Elmer occupies a distinct and respectable place in the history of British art. As a specialist in still life and sporting subjects, particularly dead game, he achieved a level of mastery that earned him recognition from his peers and patrons, including election as an Associate of the Royal Academy. Rooted in his hometown of Farnham, his work captured the textures, colours, and forms of the natural world with remarkable fidelity and a characteristic boldness.
Influenced by Dutch and Flemish masters yet developing his own robust style, Elmer catered to a significant segment of the art market interested in depictions of rural life, sport, and natural history. His career exemplifies the growing confidence and diversification of the British school in the eighteenth century, showcasing how artists outside the metropolitan elite and the most prestigious genres could build successful careers and contribute meaningfully to the national artistic landscape.
Though the vagaries of fame mean his name might not resonate as loudly as Reynolds or Gainsborough, Stephen Elmer's paintings remain compelling examples of eighteenth-century British genre art. They offer enduring visual pleasure through their technical accomplishment and provide valuable insight into the cultural life and artistic tastes of Georgian England. He remains a key figure for understanding the breadth and depth of painting in Britain during this formative period.
