William Edward Atkins (1842-1910) stands as a notable, if sometimes overlooked, figure in the rich tradition of British maritime art. Born in the bustling naval hub of Portsmouth, England, his life and work were inextricably linked to the sea and the majestic vessels that sailed upon it. As an artist who came of age during Queen Victoria's reign, a period of unprecedented British naval dominance and global maritime trade, Atkins dedicated his talents to capturing the power, romance, and intricate reality of ships and seascapes. His contributions, primarily through watercolour and illustrative work, offer a valuable visual record of a pivotal era in naval history.
Early Life and Artistic Inheritance
William Edward Atkins was born into an environment steeped in both art and the maritime world. His birthplace, Portsmouth, was not merely a coastal town but the premier port of the Royal Navy, a constant theatre of naval activity, ship construction, and the comings and goings of vessels from across the globe. This vibrant backdrop undoubtedly provided an early and profound inspiration for the young Atkins.
His artistic inclinations were also nurtured by his family. He was the youngest of four children born to George Henry Atkins (1811-1872) and his wife. George Henry Atkins was himself an artist of local repute and also served as an organist, suggesting a household where creative pursuits were valued. Active professionally from 1811 to 1872, the elder Atkins would have provided his son William with an initial grounding in artistic techniques and an understanding of the life of a practising artist. This familial artistic lineage was not uncommon in the 19th century, where skills and trades were often passed down through generations.
While specific details of William Edward Atkins's formal art education are not extensively documented in the provided materials, it is highly probable that he received instruction from his father. He may also have attended local art schools or apprenticed with other established artists, a common path for aspiring painters of his time. Regardless of the specifics, he developed a proficiency that allowed him to pursue a career as a professional artist, specializing in the demanding genre of marine painting.
The Artist's Craft: Style and Medium
William Edward Atkins became particularly known for his skill in watercolour. This medium, with its capacity for both delicate washes and precise detail, was well-suited to capturing the ephemeral qualities of sea and sky, as well as the intricate rigging and construction of naval vessels. His works often exhibit a keen eye for accuracy in depicting ships, a quality highly valued in marine art, particularly when documenting specific vessels or naval events.
Beyond standalone watercolours, Atkins also worked as a naval correspondent, likely for illustrated newspapers or journals. The Graphic, a prominent illustrated weekly newspaper founded in 1869, is mentioned as a publication he worked for. Such publications were immensely popular in the Victorian era, providing the public with visual accounts of news and events from around the world before the widespread adoption of photography in print. Artists like Atkins played a crucial role in this, translating sketches made on location, or detailed knowledge, into compelling images for mass consumption. This work would have demanded speed, accuracy, and the ability to convey dramatic or significant moments effectively.
His style, as seen in his known works, reflects the prevailing tastes of the Victorian era for realism and narrative content. While not perhaps as overtly romantic or atmospheric as the earlier generation of marine painters like J.M.W. Turner (1775-1851), whose dramatic seascapes had redefined the genre, Atkins's work possessed a clarity and documentary quality. He was a contemporary of other notable British marine painters such as William Lionel Wyllie (1851-1931), who was renowned for his atmospheric depictions of the Thames and naval scenes, and Charles Napier Hemy (1841-1917), known for his vigorous portrayals of coastal life and fishing boats. Atkins's focus appears to have been more aligned with the precise representation of naval power and activity.
The use of "tinted lithographs" is also associated with the period and potentially with Atkins's output, especially in the context of prints for wider distribution. Lithography allowed for the reproduction of images, and tinting – adding colour by hand or through additional lithographic stones – made these prints more attractive and informative.
Key Themes and Subjects
The primary focus of William Edward Atkins's oeuvre was the Royal Navy and the broader maritime world. His paintings and illustrations often featured:
Naval Vessels: From majestic first-rate ships-of-the-line (though by his active period, these were largely being superseded by steam and iron) to the cutting-edge steam-powered warships of his own time, Atkins meticulously documented the vessels of the Royal Navy. His work provides a visual catalogue of naval architecture and its evolution during a period of significant technological change.
Portsmouth Harbour: Given his origins, it is natural that Portsmouth and its surrounding waters, including the Solent and Spithead, featured prominently in his work. These locations were ideal for depicting ships at anchor, under sail or steam, and participating in naval reviews or exercises.
Naval Exercises and Salutes: Paintings often depicted ships engaged in manoeuvres, firing salutes, or as part of larger fleet formations. These scenes conveyed the discipline, power, and ceremonial aspects of naval life.
Historical and Commemorative Scenes: Some works commemorated specific ships or events, serving as historical records. The transition from sail to steam was a major theme of the era, and artists like Atkins were there to document it.
His role as a naval correspondent would have placed him in a position to witness significant naval events or to have access to information and sketches that would allow him to reconstruct them accurately. This journalistic aspect of his work underscores the importance of visual reporting in the 19th century.
Notable Works
While a comprehensive catalogue of his works is not readily available in the provided summary, two specific pieces are highlighted, offering insight into his artistic output:
1. "H.M.S. 'Captain', Under Steam off Portsmouth at Dusk" (1870): This watercolour is particularly significant. HMS Captain was an experimental turret ship with a low freeboard, designed by Captain Cowper Phipps Coles. Tragically, the ship capsized and sank in a gale off Cape Finisterre on the night of September 6-7, 1870, with the loss of nearly 500 lives, including Captain Coles himself. Atkins's depiction, dated 1870, captures the vessel under steam in the fading light off Portsmouth. It is a poignant image, perhaps created shortly before or around the time of the disaster, or as a commemorative piece. The mention that it was "presented by Commander J.B. Vivian, R.N." suggests its value as a contemporary record. The dusk setting would have allowed Atkins to explore subtle lighting effects on the water and the silhouette of the warship.
2. "Mixed Shipping Firing a Salute by The Citadel Portsmouth; Fifth Rates of The Royal Navy Exercise Off Portsmouth": This title suggests a dynamic and complex scene. The inclusion of "mixed shipping" implies a variety of vessel types, showcasing the bustling maritime traffic around a major port. The "firing a salute" element adds action and ceremonial importance, while the "Fifth Rates of The Royal Navy Exercise Off Portsmouth" points to the ongoing training and readiness of the fleet. The dimensions given, 9½ x 28½ inches (approximately 25 x 72.5 cm), indicate a panoramic format, well-suited for capturing a broad expanse of sea and multiple vessels. The use of "watercolour and bodycolour" (gouache) would allow for both transparent washes and opaque highlights, adding depth and vibrancy to the scene.
These works demonstrate Atkins's commitment to naval subjects, his ability to handle complex compositions, and his skill in the watercolour medium. His paintings are noted for their "delicate details and vivid colours," characteristics that would have appealed to Victorian sensibilities and remain appreciated by collectors and historians today.
The Victorian Maritime Art Scene and Contemporaries
William Edward Atkins worked within a flourishing tradition of marine painting in Britain. The 19th century saw continued public fascination with the sea, fueled by Britain's imperial expansion, its reliance on maritime trade, and the celebrated prowess of the Royal Navy. This interest created a strong market for maritime art.
Atkins was a contemporary of several distinguished marine artists. Beyond William Lionel Wyllie and Charles Napier Hemy already mentioned, others included:
Thomas Jacques Somerscales (1842-1927): Born in the same year as Atkins, Somerscales was known for his dramatic paintings of sailing ships in heavy seas, often drawing on his experiences as a naval schoolmaster in the Pacific.
Edward William Cooke (1811-1880): From an earlier generation but whose influence persisted, Cooke was celebrated for his meticulous and scientific approach to depicting ships and coastal scenes.
Clarkson Stanfield (1793-1867): Another influential figure from the preceding generation, Stanfield was a master of marine and landscape painting, known for his dramatic compositions and technical skill. His work set a high bar for marine artists.
John Wilson Carmichael (1800-1868): Known for his depictions of shipping on the Tyne and naval battles, his detailed style would have been familiar.
Henry Moore (1831-1895) (not to be confused with the later sculptor): A prominent marine painter, elected to the Royal Academy, known for his open sea subjects and studies of wave forms.
William McTaggart (1835-1910): A Scottish painter renowned for his expressive and impressionistic depictions of the sea and coastal life, offering a different stylistic approach to marine subjects.
Thomas Bush Hardy (1842-1897): Another exact contemporary, Hardy was a prolific watercolourist specializing in coastal and shipping scenes, known for his atmospheric effects.
Charles Dixon (1872-1934): A later contemporary, but part of the continuing tradition, Dixon was known for his vibrant watercolours of shipping and historical naval events.
Norman Wilkinson (1878-1971): Though his main work came after Atkins, Wilkinson was a significant marine painter and illustrator, also famous for inventing Dazzle Camouflage during World War I.
The Royal Academy exhibitions in London were a key venue for artists to display their work and gain recognition. Marine paintings were regularly featured, reflecting their popularity. Illustrated journals, like The Graphic and the Illustrated London News, also provided significant platforms for marine artists, bringing their work to a vast audience. Atkins's involvement with The Graphic places him directly within this important Victorian media landscape.
Career, Recognition, and Legacy
The information available suggests William Edward Atkins established himself as a professional artist specializing in a popular and respected genre. His role as a "naval correspondent" indicates a level of trust and access, allowing him to document naval affairs with authority.
The fact that his works are held in significant public collections is a testament to their perceived quality and historical value. These include:
The Royal Naval Museum (now part of the National Museum of the Royal Navy, Portsmouth): It is fitting that his work is preserved in his home city, in an institution dedicated to the history of the Royal Navy.
The National Maritime Museum (Greenwich, London): This prestigious museum holds one of the world's foremost collections of maritime art and artefacts, and the inclusion of Atkins's work here signifies its national importance.
Portsmouth City Museum and Art Gallery: Local collections often provide a rich seam of work by artists connected to the area, and this institution's holdings further cement Atkins's connection to his native Portsmouth.
While the provided text does not detail specific exhibitions (beyond the general context of his profession) or contemporary critical reviews of Atkins's work, the survival of his paintings in these collections, and their continued appearance in art markets, indicates an enduring appreciation.
It is important to distinguish William Edward Atkins (1842-1910), the marine painter, from other individuals named Atkins mentioned in the source material. For instance, references to an Ed Atkins (born 1982), a contemporary digital artist, or a William Atkins involved in teaching at Reading University in 1965, or controversies related to the American Revolution, clearly pertain to different individuals and different historical periods. Similarly, the author William Atkins who wrote books like "The Moor" is a contemporary writer, not the 19th-century painter. Such distinctions are crucial for accurate art historical assessment.
William Edward Atkins's specific contribution lies in his dedicated portrayal of the Royal Navy during a period of transition and continued global influence. His watercolours serve as both artistic creations and historical documents, offering insights into the ships, seamanship, and maritime atmosphere of the late Victorian era. He captured the pride and power of the Navy, from individual ship portraits to broader fleet manoeuvres.
His art provides a window into how the Victorians saw their navy and their relationship with the sea. For naval historians, his work can offer valuable details on ship design, rigging, and operational practices. For art enthusiasts, his paintings demonstrate the enduring appeal of marine subjects and the specific charm of Victorian watercolour painting.
Conclusion: Charting a Course in Maritime Art
William Edward Atkins navigated his artistic career with a clear focus on the maritime world that surrounded him from birth. He inherited an artistic tradition from his father and applied his skills to a genre that held immense appeal for his contemporaries. In an age before photography dominated visual culture, artists like Atkins were essential chroniclers, their hands and eyes capturing the essence of naval power, the beauty of ships, and the ever-changing moods of the sea.
His works, preserved in national and local collections, continue to speak of an era when Britain's identity was profoundly shaped by its maritime capabilities. While he may not have achieved the same level of fame as some of his more flamboyant contemporaries, William Edward Atkins made a solid and lasting contribution to British marine art. His detailed and evocative watercolours remain a valuable legacy, offering us a glimpse into the majestic and vital world of Victorian seafaring, rendered with the skill and dedication of a true Portsmouth artist. His paintings are more than just depictions of ships; they are historical documents and works of art that capture the spirit of an age defined by its command of the waves.
