Thomas Uwins (1782-1857) stands as a notable figure in the landscape of British art during the first half of the 19th century. A versatile artist, he navigated the worlds of watercolour, oil painting, illustration, and arts administration with considerable success. His career reflects the shifting tastes and expanding opportunities for artists in a period of significant cultural and social change in Britain. From his early days as an engraver's apprentice to his esteemed position as a Royal Academician and Keeper of the National Gallery, Uwins's life and work offer a fascinating window into the artistic milieu of his time.
Early Life and Artistic Formation
Born in Pentonville, London, in 1782, Thomas Uwins embarked on his artistic journey at a young age. He was initially apprenticed to the engraver Benjamin Smith, an experience that undoubtedly honed his skills in draughtsmanship and composition. However, Uwins's aspirations extended beyond the confines of engraving. He sought formal artistic training and enrolled as a student at the prestigious Royal Academy Schools. This period would have exposed him to the foundational principles of academic art, emphasizing drawing from the antique and the life model, and studying the works of Old Masters.
His early career was marked by a strong leaning towards watercolour painting and illustration. Uwins became an active member of the Society of Painters in Water Colours (often referred to as the Old Watercolour Society), a crucial institution for artists specializing in this medium. He joined the society in 1809 as an associate, became a full member in 1810, and served as its secretary from 1813 to 1818. This involvement indicates his early prominence and dedication to the watercolour medium, which was gaining increasing respect and popularity in Britain, championed by artists like J.M.W. Turner and John Varley.
Illustrator and Watercolourist
During these formative years, Uwins established himself as a prolific illustrator for books and periodicals. His work frequently appeared in publications such as Rudolph Ackermann's Repository of Arts, a highly influential fashion and society magazine. Ackermann was a key figure in popularizing illustrated books and prints, and Uwins's contributions would have reached a wide audience. His illustrations were known for their charm and delicacy, often depicting scenes of contemporary life, fashion, and literary subjects.
One notable series of illustrations he created was for Effigies Poeticae: or, The Portraits of the British Poets, Illustrated by Notes, Biographical, Critical, and Poetical. These illustrations were subsequently engraved by James Fittler, a well-regarded engraver of the period. This project demonstrates Uwins's engagement with literary themes and his ability to translate poetic sentiment into visual form. His watercolours from this era, sometimes described as "pretty faces" or charming genre scenes, were praised for their clarity, bright colouring, and appealing subject matter. These works catered to a growing middle-class market for accessible and decorative art.
The Italian Sojourn: A Turning Point
A significant turning point in Uwins's career came with his extended visit to Italy, which lasted from 1824 to 1831. Like many British artists of his generation, including his contemporaries Charles Lock Eastlake and Joseph Severn who also spent considerable time in Rome, Uwins was drawn to Italy for its rich artistic heritage, picturesque landscapes, and vibrant local culture. Initially, he travelled for health reasons, but the experience profoundly impacted his artistic direction.
He spent much of his time in Naples and Rome, immersing himself in the study of Italian life and art. This period saw a gradual shift in his focus from watercolour to oil painting, and from primarily illustrative work to more ambitious subject pictures. In Italy, Uwins found a wealth of inspiration in the everyday lives of the local people. He produced numerous sketches and studies of peasants, fishermen, and religious festivals, capturing the colour and character of Italian folk life. These Italian genre scenes would become a hallmark of his mature work.
While in Italy, Uwins also undertook portrait commissions to support himself. He painted portraits of notable figures, including Sir Richard Acton and his wife, and the Austrian ambassador and his spouse. These commissions demonstrate his skill in capturing a likeness and his ability to adapt to the demands of formal portraiture. The Italian experience not only provided him with new subject matter but also refined his technique, particularly in the use of colour and light, influenced by the Italian climate and the works of Italian masters.
Return to England and Academic Recognition
Upon his return to England in 1831, Uwins brought with him a portfolio of Italian subjects that quickly gained him acclaim. He began exhibiting these works at the Royal Academy and the British Institution, where they were well-received for their novelty and picturesque charm. One of his most successful paintings from this period was The Saint Manufactory (also known as A Neapolitan Saint Manufactory or The Neapolitan Image Seller's Shop). This work, depicting a lively scene in a Neapolitan workshop producing religious icons, was exhibited at the British Institution in 1832 and later at the Royal Academy. It exemplified his ability to combine detailed observation with engaging storytelling, a quality shared with other popular genre painters of the era like Sir David Wilkie.
His success with Italian genre scenes led to his election as an Associate of the Royal Academy (ARA) in 1833. Full academician status (RA) followed in 1838. Notably, Uwins's diploma as a Royal Academician was the first to be signed by Queen Victoria, who had ascended to the throne the previous year. This royal endorsement marked a significant moment in his career, solidifying his position within the British art establishment. Other prominent Royal Academicians at the time included J.M.W. Turner, John Constable, and Sir Edwin Landseer, highlighting the distinguished company Uwins now kept.
Key Works and Thematic Concerns
Throughout his career, Thomas Uwins explored a variety of subjects, but he is perhaps best remembered for his Italian genre scenes and his portraits.
Italian Genre Scenes: Works like The Saint Manufactory, Italian Peasants Returning from a Festa, A Neapolitan Boy Decorating the Head of His Innamorata, and Vintage in the Claret Vineyards, South of France (though not strictly Italian, it shares the continental peasant theme) were highly popular. They offered British audiences an exotic yet relatable glimpse into foreign customs and ways of life. These paintings were characterized by their bright colours, detailed rendering, and often sentimental or anecdotal narratives. They tapped into the Romantic fascination with the picturesque and the "primitive" charm of peasant cultures.
Portraits: Uwins was a capable portraitist throughout his career. A significant example is his Portrait of Sir William Gell, the classical archaeologist and topographer. This portrait was based on a description in Gell's 1837 book and was engraved by Fennell Sears. The original painting is now housed in the Biblioteca Hertziana in Rome. His portraits, while perhaps not as innovative as those by contemporaries like Sir Thomas Lawrence, were competent and captured the character of his sitters.
Illustrative and Domestic Scenes: Earlier works like The Little Housewife showcase his skill in depicting charming domestic scenes, a popular genre in the early 19th century. His numerous book illustrations, though often ephemeral, contributed significantly to the visual culture of the period.
Historical and Ceremonial Subjects: Uwins also tackled historical and ceremonial subjects, such as The Coronation of George IV. While perhaps less central to his oeuvre than his Italian scenes, such works demonstrate his versatility and his ability to handle complex, multi-figure compositions, a requirement for ambitious academic painters.
Administrative Roles: Keeper of the National Gallery and Surveyor of the Queen's Pictures
Beyond his achievements as a painter, Thomas Uwins held important administrative positions in the British art world. In 1844, he was appointed Surveyor of the Queen's Pictures, succeeding Sir Augustus Wall Callcott. This prestigious role involved the care and management of the Royal Collection. His responsibilities would have included advising on acquisitions, restoration, and the display of artworks across the royal palaces.
Three years later, in 1847, Uwins was appointed Keeper of the National Gallery, succeeding Charles Lock Eastlake, who had resigned. The National Gallery was still a relatively young institution, and the role of Keeper was crucial for its development. Uwins held this post until 1855. His tenure was marked by the ongoing challenges of managing a growing collection, dealing with issues of conservation, and navigating the often-contentious politics of the art world. While his period as Keeper was not without its critics, particularly regarding picture cleaning controversies that also plagued Eastlake, Uwins contributed to the Gallery's consolidation. He was succeeded by Ralph Nicholson Wornum.
These roles placed Uwins at the heart of the British art establishment, giving him considerable influence over national art policy and the care of important collections. They also reflect the trust placed in his judgment and administrative abilities by his peers and by the Crown.
Anecdotes and Artistic Connections
Uwins's career was not without its interesting episodes. His involvement with the collection of the Duke of Buckingham is noteworthy. He is known to have painted a picture for the Duke's collection at Stowe House. This collection was famously dispersed in a grand auction in 1848, which lasted over forty days, due to the Duke's financial difficulties. The sale of the Stowe contents was a major event, and Uwins's work being part of this renowned collection speaks to his contemporary standing. While the specific subject of the painting for Buckingham is not always clearly identified in summary accounts, it's known that Uwins did depict social scenes, including tea-drinking, which were popular themes.
His long association with the Royal Academy brought him into contact with many of the leading artists of his day. Besides those already mentioned like Turner, Constable, Wilkie, Landseer, and Eastlake, he would have known figures such as Sir Martin Archer Shee (President of the Royal Academy for many years), William Etty, known for his nudes and historical paintings, and Clarkson Stanfield, the marine painter. His earlier involvement with the Society of Painters in Water Colours connected him with artists like David Cox and Peter De Wint, who were masters of the medium.
Artistic Style and Legacy
Thomas Uwins's artistic style evolved throughout his career. His early watercolours are characterized by their delicate lines, bright, clear washes, and charming subject matter. They align with the prevailing trends in British watercolour painting of the early 19th century, which emphasized topographical accuracy and picturesque effects.
His Italian period saw a shift towards richer colours, stronger contrasts of light and shadow, and more complex compositions, particularly as he increasingly worked in oils. His Italian genre scenes, while sometimes sentimental, are notable for their ethnographic detail and their attempt to capture the specific character of Italian life. In this, he can be seen as part of a broader European trend of artists seeking inspiration in peasant cultures and exotic locales.
Compared to some of his more revolutionary contemporaries like Turner or Constable, Uwins was a more conservative artist, working within established academic traditions. However, he was a skilled and versatile painter who achieved considerable success and recognition in his lifetime. His work appealed to Victorian tastes for narrative, picturesque detail, and morally uplifting or charming subjects.
The influence of Thomas Uwins on subsequent generations of artists may not have been as profound as that of some of his peers. However, his Italian genre scenes contributed to the popularity of this type of subject matter in British art. His administrative roles, particularly at the National Gallery and as Surveyor of the Queen's Pictures, also formed part of his legacy, contributing to the stewardship and development of Britain's national art treasures. His paintings are held in numerous public collections, including the Tate Britain, the Victoria and Albert Museum, and various regional galleries, ensuring his continued, if modest, presence in the narrative of British art.
Conclusion
Thomas Uwins R.A. was an artist who successfully navigated the diverse demands of the 19th-century British art world. From his early successes as a watercolourist and illustrator to his acclaimed Italian genre scenes in oil, and his later distinguished administrative career, Uwins demonstrated adaptability and a keen understanding of contemporary tastes. While perhaps not an innovator on the scale of Turner or Constable, he was a highly competent and respected artist who produced a body of work that delighted his contemporaries and continues to offer valuable insights into the artistic and cultural preoccupations of Victorian Britain. His journey from apprentice engraver to Royal Academician and Keeper of the National Gallery is a testament to his talent, diligence, and his significant contribution to the rich tapestry of British art.
