William Traies (1789-1872) stands as a notable, if sometimes overlooked, figure in the rich tapestry of early nineteenth-century British landscape painting. An artist deeply rooted in the county of Devon, his work captured the particular charm, atmospheric nuances, and picturesque beauty of its countryside. Often dubbed "The Devonshire Claude" for his ability to imbue his scenes with a classical, idealized grace reminiscent of the French Baroque master Claude Lorrain, Traies developed a distinctive style that blended meticulous observation with a romantic sensibility. His life and career offer a fascinating glimpse into the regional art scenes of England during a period of profound artistic and social change.
Early Life and Artistic Awakening
Born in Crediton, Devon, in 1789 (though some earlier sources erroneously suggested 1799), William Traies's path to becoming a professional artist was not immediate. His initial foray into the working world saw him engaged as a manufacturer. Subsequently, he found employment with the British Post Office, a position that, while providing stability, likely offered little outlet for the artistic inclinations that were beginning to stir within him.
A pivotal moment in his artistic development appears to have come through the encouragement and recognition of the Reverend Gayer Patch. Patch, who served as a minister at Exeter Cathedral, was himself connected to the art world, being the nephew of the notable painter and caricaturist Thomas Patch. This connection may have provided Traies with initial validation and perhaps guidance. Further mentorship or at least significant contact came from Joseph Farington RA, a prominent landscape painter and influential diarist whose writings provide invaluable insights into the London art world of the time. Farington's advice and network would have been beneficial for any aspiring artist.
This period of nascent artistic exploration culminated in Traies dedicating himself more fully to painting. His deep affection for his native Devon, with its rolling hills, lush river valleys, and dramatic coastline, became the central focus of his artistic output.
The Devonshire Claude: Style and Influences
The moniker "The Devonshire Claude" speaks volumes about Traies's artistic aspirations and the perception of his work by his contemporaries. Claude Lorrain (c. 1600-1682) was revered for his idealized landscapes, often featuring mythological or biblical scenes set within harmonious compositions bathed in a soft, golden light. These works epitomized the classical landscape tradition, emphasizing order, beauty, and a poetic interpretation of nature.
Traies, while working over a century later and in a distinctly English context, sought a similar lyrical quality in his depictions of Devon. His paintings are characterized by their "accurate, vivid, and engaging" qualities, as noted in contemporary accounts. He possessed an intimate knowledge of the Devonshire terrain, gained through countless hours sketching and observing directly from nature. This commitment to accuracy provided a solid foundation for his more idealized and atmospheric compositions.
His style can be seen as a confluence of late eighteenth-century picturesque sensibilities and the burgeoning Romantic movement. The picturesque, popularized by theorists like William Gilpin, emphasized variety, irregularity, and a certain rustic charm in landscape. Romanticism, on the other hand, brought a greater emphasis on emotion, the sublime power of nature, and individual expression. Traies's work often finds a harmonious balance, presenting recognizable Devon locales with an enhanced sense of tranquility, grandeur, or poetic melancholy. He was less interested in the raw, untamed wilderness depicted by some Romantics, and more in the cultivated beauty and gentle undulations of his home county, often framed by carefully arranged trees and suffused with a soft, unifying light.
While Claude Lorrain was a clear spiritual predecessor, Traies also operated within a vibrant British landscape tradition. He would have been aware of the pioneering work of Richard Wilson, often called the "father of British landscape painting," who himself was deeply influenced by Claude. Closer to his own time, the towering figures of J.M.W. Turner and John Constable were revolutionizing landscape art. While Traies's style was generally more serene and less overtly dramatic than Turner's, or less concerned with the scientific observation of fleeting atmospheric effects than Constable's, he shared their profound love for the British countryside and the desire to elevate landscape painting to a higher status.
A Studio in Chudleigh and a Partnership with Gendall
For a remarkable forty years, William Traies maintained a studio in Chudleigh, a small town on the eastern edge of Dartmoor. This long tenure underscores his deep attachment to the region and provided him with a consistent base from which to explore the surrounding landscapes. Whiteway House in Chudleigh is specifically mentioned as a location where he spent considerable time painting.
During this period, he formed a close friendship and artistic partnership with John Gendall (1790-1865). Gendall, also a Devon-based artist, shared Traies's passion for landscape. The two frequently embarked on sketching expeditions together throughout the Devon countryside. These collaborative ventures were undoubtedly mutually beneficial, allowing for the exchange of ideas, techniques, and encouragement. It is noted that Gendall's own understanding of landscape was deepened through his association with Traies, contributing to the "accurate, atmospheric, and expressive" qualities for which Gendall himself became known.
Such partnerships were not uncommon among artists of the period. The shared experience of working en plein air, or directly from nature, fostered camaraderie and artistic growth. The landscapes of the Teign Valley, Dartmoor's fringes, and the Exe estuary likely featured prominently in their shared explorations.
Notable Works and Exhibitions
While many of Traies's works are titled simply "Landscape," their consistent focus was the scenery of Devon. His exhibition record indicates a steady output and a presence in both local and national art circles.
One of his earliest documented exhibitions was at the prestigious Royal Academy of Arts in London, where he showed a "Landscape" in 1817. He continued to exhibit at the Royal Academy sporadically. However, a significant portion of his works was shown closer to home, at venues like the Exeter and Devonshire Fine Arts Association. This suggests a strong regional following and an artist who was deeply embedded in his local community.
Specific works mentioned include:
"Landscape" (1817, Royal Academy): His debut at the RA, marking his entry into the wider art world.
"Landscape" (1822 and 1823, Devon exhibitions): Indicating his continued productivity and local recognition.
"Landscape" (1845 and 1846, Devon exhibitions): Showing his sustained commitment to his craft later in his career.
A particularly interesting work is "A Limekiln, Chudleigh," held by the Royal Albert Memorial Museum (RAMM) in Exeter. Limekilns were a common feature in the 19th-century landscape, essential for producing lime for agriculture and construction. While some artists, like Théodore Géricault in France with his powerful "The Lime Kiln" (1822-23), depicted such industrial scenes with a raw, almost unsettling realism, Traies's approach to such a subject would likely have been more integrated into the picturesque or classical framework of his broader landscape vision. The Chudleigh limekiln, situated within his familiar territory, would have offered a subject that combined human industry with the natural environment.
The RAMM in Exeter holds a significant collection of his works, making it a key repository for understanding his artistic contribution. Other institutions and private collections also house examples of his paintings, often depicting serene river views, wooded glades, distant tors, and pastoral scenes, all rendered with his characteristic blend of careful detail and atmospheric softness.
Contemporaries and the Wider Artistic Milieu
William Traies operated within a flourishing period for British art, particularly landscape painting. Beyond his close collaborator John Gendall, he was part of a broader network of artists. His mentor, Joseph Farington, connected him to the London art establishment.
The "Devon School" of painters, though not a formally constituted group like the Norwich School (which included artists like John Crome and John Sell Cotman), refers to the notable concentration of artistic talent working in or inspired by Devon. Earlier figures like Francis Towne and John White Abbott had already established a tradition of depicting Devon's unique scenery, often in watercolour. Traies and Gendall continued this tradition into the 19th century.
Other landscape painters active during Traies's lifetime, whose work he would likely have known, include:
John Varley: A highly influential watercolourist and teacher, whose pupils included David Cox, Peter De Wint, and William Turner of Oxford (no direct relation to J.M.W. Turner).
David Cox and Peter De Wint: Masters of the British watercolour school, celebrated for their fresh and direct depictions of the countryside.
Samuel Palmer: Known for his intensely personal, visionary landscapes of Shoreham, Kent, imbued with a mystical quality.
Francis Danby: An artist associated with the Bristol School, known for his romantic and often apocalyptic landscapes.
Richard Parkes Bonington: A brilliant but short-lived artist whose sparkling landscapes and coastal scenes, influenced by French art, were highly admired.
William Collins: Popular for his rustic genre scenes and coastal landscapes.
Clarkson Stanfield and David Roberts: Known for their marine paintings and topographical views, often of exotic locales, but also contributing to the broader landscape and picturesque traditions.
While Traies may not have achieved the international fame of Turner or Constable, his work contributed to the rich diversity of British landscape painting. His focus on a specific region allowed for a depth of understanding and a nuanced portrayal that resonated with local audiences and continues to offer valuable insights into the historical appearance and artistic interpretation of Devon.
Patronage, Personal Life, and Later Years
Traies found support among local patrons in Devon. Captain Parker of Chudleigh and a Mr. Saunders of Exeter are mentioned as clients. Mr. Saunders, in particular, was described as one of his most enthusiastic supporters, highly valuing Traies's work and reportedly refusing offers from dealers to purchase pieces from his collection. This local patronage was crucial for many regional artists, providing a steady source of income and encouragement.
In 1825, William Traies married Maria Richards Downman. The couple had three sons: John Francis Traies (born 1826), Henry Bradford Traies (born 1828), and a third son whose name is less frequently recorded. Family life would have formed the backdrop to his artistic endeavors in Chudleigh.
Details about his later years are less extensively documented than his active period of exhibition. However, his continued presence in Chudleigh for four decades suggests a life dedicated to his art and his chosen environment. He passed away in 1872, leaving behind a body of work that serves as a testament to his enduring affection for the Devonshire landscape.
Art Historical Evaluation and Modern Research
In the grand narrative of art history, William Traies occupies a more modest position compared to the titans of British Romantic landscape painting. He was not a radical innovator in the vein of Turner, nor did he pursue the intense naturalism of Constable with the same scientific rigor. However, his contribution is significant, particularly within the context of regional British art and the enduring appeal of the classical landscape tradition.
His designation as "The Devonshire Claude" is a useful, if somewhat simplifying, label. It highlights his success in capturing a serene, idealized beauty in his landscapes, a quality that appealed to the tastes of his time and continues to attract admirers. His works are valued for their topographical accuracy, which provides a historical record of Devon's landscapes, as well as for their artistic merit – the skillful compositions, delicate handling of light, and evocative atmospheres.
Modern research, often facilitated by museums like the Royal Albert Memorial Museum, continues to shed light on Traies and other regional artists. Exhibitions and scholarly publications help to reassess their contributions and place them within the broader currents of 19th-century art. His paintings are sought after by collectors of British landscapes, and his work is represented in public collections, ensuring its accessibility for study and appreciation.
The perceived idealism in his work, while sometimes critiqued, can also be seen as a strength. In an era of increasing industrialization and social change, Traies's paintings offered an image of rural tranquility and enduring natural beauty. They represent a particular vision of England, one that valued harmony, order, and the quiet poetry of the familiar countryside.
Legacy and Conclusion
William Traies's legacy is primarily that of a dedicated and skilled interpreter of the Devon landscape. He successfully translated the classical ideals of Claude Lorrain into a distinctly English, and specifically Devonshire, idiom. His long career, centered in Chudleigh, allowed him to develop an unparalleled intimacy with his subject matter, resulting in works that are both topographically faithful and artistically refined.
His collaboration with John Gendall highlights the supportive artistic community that could exist outside the major metropolitan centers. His consistent exhibition record, both locally and at the Royal Academy, demonstrates his professionalism and the esteem in which he was held.
While the art world often focuses on the most revolutionary figures, artists like William Traies play a vital role in fleshing out our understanding of a period's artistic culture. They represent the depth and breadth of talent that existed across the country, artists who found profound inspiration in their local environments and contributed to a rich national tradition of landscape painting. His works remain a gentle yet persuasive invitation to appreciate the enduring beauty of Devon, seen through the eyes of an artist who loved it deeply and depicted it with skill, sensitivity, and a touch of classical grace. His paintings are more than just views; they are evocations of a place and a time, rendered with an artist's discerning eye and a romantic heart.
