William Tomkins (1730-1792) stands as a significant, if sometimes overlooked, figure in the development of British landscape art during the 18th century. A founding member of the Royal Academy of Arts, Tomkins carved a niche for himself with his meticulously detailed and often panoramic depictions of English estates and countryside. His work, characterized by its topographical accuracy and distinctive "bird's-eye" perspectives, offers invaluable visual records of the Georgian era landscape, largely unembellished by the burgeoning Romantic sensibilities that would later transform the genre.
Early Life and Artistic Emergence
Born in London around 1730, William Tomkins emerged as an artist during a period when landscape painting in Britain was beginning to gain serious recognition as an independent genre. Previously, landscape often served merely as a backdrop for portraiture or historical scenes. However, the increasing wealth of the landed gentry, coupled with a growing national pride and an appreciation for the picturesque qualities of the British countryside, created a demand for accurate and aesthetically pleasing representations of their estates and the wider environment.
While specific details about Tomkins's earliest training are somewhat scarce, his eventual status as a founding member of the Royal Academy in 1768 (elected an Associate (ARA) in 1771) indicates a recognized proficiency and standing within the London art world from a relatively early stage in his career. The Royal Academy, under its first president Sir Joshua Reynolds, aimed to elevate the status of art and artists in Britain, providing a crucial platform for exhibition and discourse. Tomkins's involvement from its inception places him among the key figures shaping the institutional landscape of British art.
His artistic development occurred alongside prominent figures who were also exploring landscape. Richard Wilson, often dubbed "the father of British landscape painting," was a contemporary who brought a classical, Italianate sensibility to British scenes, influenced by masters like Claude Lorrain and Nicolas Poussin. In contrast, Tomkins's approach was generally more rooted in empirical observation and the tradition of estate portraiture, which demanded a faithful rendering of property and its surroundings.
The Distinctive Style of William Tomkins
The hallmark of William Tomkins's art is its unwavering commitment to topographical accuracy. Unlike some of his contemporaries who might idealize or rearrange elements of a scene for picturesque effect, Tomkins sought to provide a precise and recognizable depiction of a given location. This precision made his work particularly appealing to landowners who wished to have a faithful record of their holdings. His paintings often serve as historical documents, allowing us to see these estates as they appeared in the 18th century.
A key characteristic of his style is the adoption of an elevated, or "bird's-eye," perspective. This viewpoint allowed for a comprehensive overview of an estate, showcasing its layout, architectural features, gardens, and the surrounding terrain. This tradition had roots in earlier cartographic and illustrative practices, but Tomkins adapted it with painterly skill, creating compositions that were both informative and aesthetically pleasing. This approach differed significantly from the more intimate, ground-level views favored by artists like Thomas Gainsborough in his more naturalistic landscape compositions, or the sublime, dramatic vistas sought by followers of Salvator Rosa.
Tomkins's palette was generally naturalistic, reflecting the cool, verdant tones of the English countryside. His handling of paint was typically smooth and detailed, particularly in the rendering of architecture and foliage. While his work predates the full flowering of the Romantic movement, with its emphasis on emotional expression and the sublime power of nature, Tomkins's landscapes often possess a serene and ordered quality, reflecting the Enlightenment era's appreciation for harmony and reason. They depict a well-managed, prosperous land, often bathed in a calm, even light.
His focus was primarily on the English countryside, with a particular concentration on estates in the West of England. Places like Plymouth in Devon and Tapeley Park, also in Devon, feature in his oeuvre. This regional focus suggests a network of patronage among the gentry and aristocracy of that area.
Notable Works and Commissions
Among Tomkins's most recognized works is "A View of Audley End from the Temple of Concord, with Saffron Walden Church in the distance" (1789). This painting exemplifies his characteristic style: the elevated viewpoint provides a sweeping panorama of the magnificent Jacobean house and its extensive parkland, designed in part by Lancelot "Capability" Brown. The meticulous detail in the architecture and the carefully laid out grounds are evident, as is the inclusion of human figures and animals to animate the scene and provide a sense of scale. The distant view of Saffron Walden church grounds the estate within its wider geographical context.
His services were sought by prominent landowners, including Lord Clifford of Chudleigh and the Earl of Lisburne. Such patronage was crucial for artists in the 18th century, providing financial stability and opportunities for significant commissions. These "house portraits" or "estate views" were statements of wealth, status, and pride in one's ancestral lands. Tomkins's ability to deliver accurate and impressive representations made him a favored choice for such commissions.
While primarily a painter, Tomkins also engaged in other artistic activities. The provided information notes his involvement as a printmaker and draughtsman, including creating illustrations for a deluxe edition of James Thomson's influential poem, The Seasons. This project, possibly undertaken in collaboration with his brother, Francis Tomkins, who was also an artist, demonstrates a versatility and engagement with the burgeoning print market, which made art accessible to a wider audience. The Seasons was a popular subject for illustration, with artists like William Kent also having provided designs for earlier editions.
Exhibitions and Recognition
William Tomkins was a regular exhibitor at the major London venues of his time. He showed his works at the Society of Artists, an important exhibiting body that predated the Royal Academy, and continued to exhibit at the Royal Academy throughout much of his career. This consistent public presence helped to solidify his reputation and attract further commissions. His membership in the Royal Academy, even as an Associate, lent him considerable prestige.
The art world of 18th-century London was a vibrant and competitive environment. Tomkins operated alongside a diverse group of artists. Beyond Wilson and Gainsborough, other landscape painters included Paul Sandby, a fellow founding member of the R.A. known for his topographical watercolours and aquatints, and George Barret Sr., another R.A. founder who specialized in idealized, often Claudian, landscapes. The influence of foreign artists working in Britain, such as Canaletto (Giovanni Antonio Canal), whose detailed views of London and country houses set a high standard for topographical painting, and Francesco Zuccarelli, whose charming, decorative landscapes were highly fashionable, also shaped the artistic climate. Tomkins's work, with its emphasis on British scenery and factual representation, catered to a specific, yet significant, segment of the market.
The Tomkins Artistic Family and Disambiguation
It is important to note that William Tomkins (1730-1792) was part of an artistic family, which can sometimes lead to confusion. His brother, Francis Tomkins, was an artist, and there was also Peltro William Tomkins (1759–1840), a distinguished engraver and draughtsman, who was likely William's son or nephew. Peltro William Tomkins studied under the celebrated Italian engraver Francesco Bartolozzi, who was a dominant figure in English printmaking and another founding member of the Royal Academy. Peltro William became Historical Engraver to Queen Charlotte and was known for his stipple engravings and book illustrations, including work after contemporary painters like Angelica Kauffman and William Hamilton.
The William Tomkins who is the subject of this article, the landscape painter (1730-1792), should not be confused with these relatives, nor with a much later William Tompkins (note the "p") associated with 20th-century aerospace and UFO theories – a completely unrelated individual whose life and claims fall far outside the realm of 18th-century art history. The slight discrepancy in birth year for our painter (sometimes cited as 1732) is less significant than distinguishing him clearly from other artists named Tomkins or Tompkins. The consensus leans towards 1730 as his birth year.
Artistic Context: The Rise of British Landscape
Tomkins worked during a transformative period for British landscape painting. The 17th century had seen the dominance of Dutch landscape artists like Jacob van Ruisdael and Meindert Hobbema, whose works were avidly collected in Britain. The Grand Tour, undertaken by many wealthy Britons, exposed them to the classical landscapes of Italy and the works of Claude Lorrain and Nicolas Poussin, fostering a taste for idealized, arcadian scenes.
However, the 18th century witnessed a growing interest in depicting Britain's own scenery. Early pioneers like George Lambert, who painted topographical views and classical compositions, and Samuel Scott, known for his views of London and marine subjects, helped lay the groundwork. William Tomkins built upon this foundation, contributing to the establishment of a distinctly British school of landscape painting. His detailed topographical approach provided an alternative to the more generalized or Italianate styles, meeting a demand for recognizable views of specific places.
His adherence to accuracy can be seen as a precursor to the more scientific and detailed naturalism that would later be championed by artists like John Constable in the early 19th century, although Constable's work would be imbued with a much greater sense of Romantic emotionalism and a focus on the fleeting effects of light and atmosphere. Tomkins's landscapes, by contrast, are more static and descriptive, their primary aim being to inform as much as to delight.
Legacy and Historical Importance
William Tomkins's legacy lies primarily in his contribution to the genre of topographical landscape painting in Britain. His works are valuable not only for their artistic merit but also as historical records of 18th-century English estates and countryside. They offer a window into the appearance of these places before the significant changes brought about by later agricultural and industrial developments, or further alterations in landscape gardening tastes.
While he may not have achieved the same level of fame as some of his more revolutionary contemporaries like Gainsborough or Wilson, or later masters like J.M.W. Turner, Tomkins played a vital role in satisfying a particular demand of his time. His "bird's-eye" views provided a unique perspective that combined comprehensiveness with aesthetic appeal, a style that was well-suited to the celebration of land ownership and rural prosperity.
His role as a founding member of the Royal Academy also underscores his significance. He was part of a generation of artists who worked to professionalize their field and establish a national school of art that could rival those on the Continent. His paintings, exhibited regularly, contributed to the growing appreciation for landscape as a serious and worthy genre.
In an era that was beginning to explore the philosophical concepts of the Beautiful, the Picturesque (popularized by theorists like William Gilpin), and the Sublime, Tomkins's work largely aligned with the values of clarity, order, and factual representation. He provided his patrons with elegant and accurate portrayals of their world, capturing the serene grandeur of the Georgian landscape.
Conclusion
William Tomkins (1730-1792) was a dedicated and skilled landscape painter who made a distinctive contribution to British art in the 18th century. His meticulously detailed topographical views, often taken from an elevated perspective, catered to the tastes of landed patrons and provide us today with invaluable visual documentation of Georgian England. As a founding member of the Royal Academy, he was part of the artistic establishment that helped to elevate the status of British art. While the grand narratives of Romanticism were yet to fully unfold, Tomkins's precise and composed landscapes represent an important facet of Enlightenment-era artistic production, celebrating the order, beauty, and prosperity of the British countryside with an observant eye and a skilled hand. His work remains a testament to the enduring appeal of place and the desire to capture its likeness for posterity.
