William Westall (1781-1850) stands as a significant, if sometimes underappreciated, figure in the annals of British art, particularly noted for his contributions as an expeditionary artist. His meticulous landscapes and topographical views, born from extensive travels, offer invaluable visual records of regions largely unseen by European eyes at the dawn of the 19th century. Bridging the gap between scientific documentation and artistic interpretation, Westall's work provides a fascinating window into the age of exploration, the burgeoning Romantic sensibility, and the evolving representation of colonial frontiers.
Early Life and Artistic Foundations
Born in Hertford, England, in 1781, William Westall was immersed in an artistic environment from a young age. His elder brother, Richard Westall (1765-1836), was a well-regarded painter and illustrator, a member of the Royal Academy of Arts, known for his historical subjects and book illustrations. This familial connection undoubtedly nurtured William's nascent talents. He further honed his skills by enrolling at the prestigious Royal Academy Schools in London in 1799, at the age of eighteen. Here, he would have been exposed to the prevailing artistic theories and practices of the time, under the long-standing presidency of the American-born painter Benjamin West (no direct relation, though a dominant figure in British art). The curriculum would have emphasized drawing from casts, life drawing, and the study of Old Masters, providing a solid foundation in academic principles.
The late 18th and early 19th centuries were a period of great artistic ferment in Britain. The landscape tradition was gaining unprecedented prominence, moving beyond mere topographical record to encompass emotional and sublime interpretations of nature. Artists like J.M.W. Turner (1775-1851) and John Constable (1776-1837) were beginning to forge their revolutionary paths, while the legacy of earlier masters of the picturesque, such as Paul Sandby (1731-1809) and Thomas Girtin (1775-1802), still resonated. It was within this dynamic context that William Westall's artistic identity began to take shape.
The Investigator Expedition: A Voyage of Discovery
A pivotal moment in Westall's career arrived in 1801, when, at the remarkably young age of nineteen or twenty, he was appointed as the official landscape artist to Captain Matthew Flinders' (1774-1814) expedition aboard HMS Investigator. The mission's primary objective was the ambitious circumnavigation and charting of the Australian continent, then often referred to as New Holland. The inclusion of artists and scientists on such voyages was becoming standard practice, following the precedent set by Captain James Cook's expeditions, which had included artists like William Hodges (1744-1797) on the second voyage and John Webber (1751-1793) on the third. These artists were tasked with creating a visual record of new lands, peoples, flora, and fauna.
Westall's role was crucial. He was to document the coastal landscapes, geographical features, and any encounters with Indigenous populations. Accompanying him was the brilliant Austrian botanical artist Ferdinand Bauer (1760-1826), whose scientific illustrations of Australian flora are legendary. The Investigator set sail from England in July 1801, embarking on a journey that would profoundly shape Westall's art and legacy.
Documenting Terra Australis: Westall's Australian Views
Between 1801 and 1803, as the Investigator meticulously surveyed the Australian coastline, William Westall was diligently at work. He produced a vast number of sketches and watercolors, capturing the unique and often stark beauty of the Australian landscape. His works from this period are among the earliest European artistic depictions of many parts of the continent. He documented key locations such as King George's Sound in Western Australia, various points along the southern coast, and areas around Port Jackson (Sydney).
His depictions of Aboriginal Australians are particularly noteworthy. In works like his watercolor of Indigenous figures at King George's Sound, Westall often employed a style that, to some extent, idealized his subjects, sometimes casting them in a classical "noble savage" light, a common trope in European art of the period when encountering non-European cultures. However, his observations also recorded aspects of their daily lives, shelters, and interactions with the crew. He also made important copies of Aboriginal cave paintings, preserving images of this ancient art form. These visual records, while filtered through a European artistic lens, remain invaluable historical documents.
The conditions were often challenging. The Investigator itself was in poor condition, and the demands of constant travel and working in unfamiliar environments tested the resilience of all aboard. Westall's output under these circumstances is a testament to his dedication and skill. His Australian landscapes often convey a sense of vastness and sometimes a rugged, untamed quality, distinct from the cultivated landscapes of Britain.
Shipwreck, Sojourns in Asia, and Return
The Investigator's voyage was fraught with peril. In 1803, on the return journey, the ship HMS Porpoise, on which Westall and Flinders were travelling after the Investigator was condemned as unseaworthy, was wrecked on the Great Barrier Reef. Westall, along with Flinders and most of the crew, survived the ordeal, spending several weeks marooned on a sandbank before being rescued. This dramatic experience undoubtedly left a mark on the young artist.
Following the shipwreck, Westall's journey back to England took an extended route. He spent time in Canton (Guangzhou), China, and also visited India. These experiences further broadened his artistic horizons, exposing him to different cultures and landscapes. His sketches from China and India, though perhaps less numerous than his Australian works, added to his portfolio of exotic scenes. He finally returned to England in 1805, his mind and sketchbooks filled with images from the other side of the world.
Establishing a Career in England: Publications and Recognition
Upon his return, Westall began the process of translating his expedition sketches into finished works for publication and exhibition. The Admiralty commissioned him to produce oil paintings based on his Australian drawings for official records and publications related to Flinders' voyage. Nine of his Australian coastal views were engraved for Flinders' "A Voyage to Terra Australis" (published 1814). Westall also published his own set of engravings, "Views of Australian Scenery," in 1814, making his images accessible to a wider public.
His work was generally well-received, though some critics found his style somewhat stark or lacking the conventional picturesque qualities favored at the time. Nevertheless, the novelty and historical importance of his subjects ensured interest. He exhibited regularly at the Royal Academy and the British Institution.
Beyond his Australian subjects, Westall also capitalized on his experiences in other lands. He produced "Views of the Caves near Ingleton, Gordale Scar, and Malham Cove in Yorkshire" (1818), showcasing his ability to capture the dramatic and sublime aspects of the British landscape. He also contributed illustrations to numerous travel books and topographical series, a popular genre in the 19th century. One of his most extensive projects was "Great Britain Illustrated" (from 1830), for which he provided a large number of views engraved on steel, demonstrating his proficiency as a topographical artist. He also illustrated works on Madeira and India, drawing from his earlier travels. His depictions of Indian landscapes and architecture, like those of his contemporaries Thomas Daniell (1749-1840) and his nephew William Daniell (1769-1837), contributed to the British fascination with the East.
Artistic Style: Romanticism, Topography, and the Exotic
William Westall's artistic style is a blend of early Romantic sensibility and the precise demands of topographical art. His training at the Royal Academy would have instilled in him the principles of Neoclassicism, emphasizing clarity, order, and idealized forms. However, his experiences in wild and unfamiliar landscapes pushed his work towards the emerging Romantic interest in the sublime, the exotic, and the emotional power of nature.
His expeditionary art, by its very nature, required a degree of accuracy and fidelity to the subject. He was, in part, a visual chronicler. Yet, his compositions often show a keen artistic eye, selecting viewpoints and arranging elements to create engaging and sometimes dramatic scenes. His watercolors are characterized by a delicate touch and careful observation of light and atmosphere. In his finished oil paintings and engravings, there is often a greater degree of stylization, sometimes imbuing the landscapes with a more conventionally picturesque or sublime quality.
Compared to the more overtly dramatic and atmospheric works of Turner, or the deeply personal naturalism of Constable, Westall's landscapes might appear more restrained. However, his unique contribution lies in the breadth of his subject matter and his role as a visual pioneer in documenting distant lands. His work shares affinities with other travel artists of the period, such as Augustus Earle (1793-1838), who also painted in Australia, albeit later, and Conrad Martens (1801-1878), who became a significant landscape painter in colonial Sydney.
There is an interesting, though perhaps indirect, connection to the circle of Richard Parkes Bonington (1802-1828) and Eugène Delacroix (1798-1863). While Westall was of an earlier generation, Bonington, known for his luminous landscapes and historical scenes, reportedly sought Westall's assistance in researching sculpture and monuments. Bonington's close association with Delacroix, a leading figure of French Romanticism, highlights the interconnectedness of the European art world, where ideas and influences, even if not direct, could permeate.
Later Life and Enduring Legacy
Despite his significant contributions and regular exhibitions, William Westall was never elected a full member of the Royal Academy, though he was made an Associate (ARA) in 1812. This may have been a source of disappointment, especially given his brother's status as an RA. Financial success was also somewhat elusive throughout his career.
In his later years, Westall continued to work as an illustrator and painter. He maintained connections with literary figures, including the poet William Wordsworth, for whose "A Description of the Scenery of the Lakes in the North of England" he provided illustrations. He passed away in St John's Wood, London, on January 22, 1850.
William Westall's legacy is multifaceted. Firstly, his Australian works are of immense historical and cultural significance. They provide some of the earliest European visual records of the continent's landscapes and its Indigenous peoples, offering invaluable insights for historians, anthropologists, and art historians. His depictions helped shape European perceptions of Australia in the 19th century.
Secondly, he stands as an important figure in the tradition of British expeditionary art. His ability to work under challenging conditions and produce a substantial body of work set a high standard. He demonstrated how art could serve both scientific and aesthetic purposes, documenting new discoveries while also conveying the wonder and strangeness of unfamiliar worlds.
Thirdly, his topographical work in Britain, such as "Great Britain Illustrated," contributed to the rich genre of landscape illustration that flourished in the 19th century, making images of the nation's scenery widely accessible through engravings. While perhaps not reaching the artistic heights of a Turner or Constable, Westall's dedication, his pioneering spirit, and the sheer breadth of his visual documentation secure his place as a noteworthy artist of his time. His art continues to be studied for its historical content, its aesthetic qualities, and its reflection of the complex interplay between exploration, colonialism, and artistic representation in the early 19th century. His adventurous life, marked by voyages to distant shores and encounters with diverse cultures, is vividly captured in the landscapes he so diligently recorded for posterity.
