William Logsdail

The Ninth of November 1888 by William Logsdail, Guildhall Gallery, London

William Logsdail (25 May 1859 – 3 September 1944) was a prolific English landscape, portrait, and genre painter. He exhibited at the Royal Academy, the Royal Society of British Artists, the Grosvenor Gallery, the New Gallery (London), and others.[1] He is notable for his realistic London and Venice scenes and his plein air style.

Early life

He was born in the Close of Lincoln Cathedral, in Lincoln, England, May 1859. He was one of seven children, six boys and one girl. His father was a verger at the cathedral.[2] As a boy, William attended Lincoln School (now Lincoln Christ's Hospital School), and also earned money by guiding visitors up the central tower of the cathedral.[2]

Training

Logsdail attended the Lincoln School of Art, where he initially showed an aptitude for architecture, but with the encouragement of his art master, Edward R. Taylor, (who was also Head of the School) he took to painting.[2] While there, he won the Gold Medal for his work in competition with students at other English art schools.[3] He went on to study in Antwerp,[1] at the École des Beaux-Arts, under Michel Marie Charles Verlat.[4] While there, he became the first Englishman to win first prize at the School.[5][6] One of his works from this period, The Fish Market (1880), was bought on behalf of Queen Victoria for Osborne House.,[6] When told of this, Logsdail supposedly commented, 'Shows her Majesty's good sense'.[4]

Career

In the autumn of 1880, Logsdail visited Venice where he was to remain, with occasional visits to England, the Balkans, Egypt and the Middle East, until 1900.[3] During this early period in his career, he gravitated towards architectural and subject paintings. His The Piazza of St. Mark's, Venice, painted in 1883, was judged by the Royal Academy to be the 'picture of the year' when it was exhibited in London[7] although he appears to have been dissatisfied by it, and seriously considered cutting the painting up during its composition.[4]

He also painted some sixty-nine small paintings for the Fine Art Society on the subject of the French and Italian Riviera.[6] Seven of these were sold to the Duke of Westminster.[6] In 1893, Logsdail was awarded a medal for oil painting at the World's Columbian Exposition (also known as the Chicago World's Fair).[8]

After spending two years in Taormina and Sicily, he and his family returned to England, settling in West Kensington, London, where his The Early Victorian (1906) (a costume portrait of his daughter Mary) was well received. This marked the beginning of a period of portrait painting for Logsdail, who was offered so many commissions that he was able to pick and choose his sitter at will.[6]

In 1912, he was elected as a member of the Royal Society of Portrait Painters. As his career progressed, he turned to flower studies.

Personal life and death

In 1892 Logsdail meet Mary Ashman of Necton, near Swaffham in Norfolk, marrying her in May of the same year.[3] With her, he had three children.

In 1922, he and his family moved to Noke, near Islip, Oxfordshire,[3] where Logsdail would remain until his death at age 85.

Relations with other painters

Logsdail was a friend of Frank Bramley, who also attended Lincoln School of Art and went on to co-found the Newlyn School and be elected to the Royal Academy.

While Logsdail was still studying, the art critic John Ruskin saw his painting of Lincoln Cathedral's south porch and expressed a favourable opinion of the work,[2] later writing to him and suggesting that he go to Verona once his studies had reached a conclusion,[4] advice the young artist ignored.

While in Venice, Logsdail moved in a social circle that included Harper Pennington, Robert Frederick Blum, Martin Rico y Ortega, Frank Duveneck, James McNeill Whistler and John Singer Sargent,[9] the latter of whom inscribed a picture to Logsdail.[10]

While not inclined to openly criticise other artists, Logsdail did, in his memoirs, relate a story concerning Walter Sickert. As he worked on his Ponte della Paglia (1898), Sickert arrived and set up his easel nearby. He then 'began to caper like a master of fence, backing and lunging with sudden stabs at his canvas'. An American passing by noticed a button on the pavement, retrieved it and, offering it to Sickert, said, 'Excuse me, sir, but I think this has worked loose!'.[11]

Style

St. Martin's-in-the-Fields

Logsdail cultivated a tight objective and realistic style,[11] although his later portraiture and the works painted while in Sicily demonstrate a relaxation of this style.

His Venice-based works exhibit a high degree of draughtsmanship described as beautiful and nearly photographic.[12] There is a cool proficiency in his architectural work and street scenes that express what was actually there before him. For example, in the winter in which he came to paint his St. Martin's-in-the-Fields (1888), he hoped for a snow scene, but when faced with only rain and sleet, Logsdail, with his feet buried in straw to keep them warm, painted the scene without snow.[13]

Contemporary criticism

The Times, in its review of the Royal Academy's 1881 exhibition, called Logsdail's work technically almost faultless, resembling a first-rate mosaic, rather than possessing those qualities understood by artists as painting and lacking 'delicacy of gradation'.[14] The Standard, in their review of the Royal Academy's 1883 exhibition described his The Piazza of St. Mark's, Venice as possessing a 'vivacity of characterisation' and a 'brilliancy of painting'.[15]

In its review of London art exhibitions in 1887, The Times commented that his 'eastern' works, such as Arch of the Khalif - Cairo and Doorway of a Mosque, painted while in Egypt, were admirable and suited his talents as a colourist.[16] Commenting on his The Ninth of November (The Lord Mayor's Procession, London, 1888) (1890), the Birmingham Daily Post pointed out its success in its accurate portrayal of the 'vigour, variety, humour, and incident of a London crowd'.[17]

The Morning Post, in its review of the Royal Academy's 1897 exhibition, highlighted the 'sincerity' and 'judicious combination' of colour hues demonstrated in his Bronze Horses of St. Mark's, Venice (1897).[18]

Posthumous sales

The record auction price is for a picture of The Bank and the Royal Exchange which made £420,000 at Duke's auctions. A version of St Martin in the Fields made £50,000 at Sotheby's in 2004. His portrait of his daughter "An Early Victorian" which launched his career as a portraitist made £30,000 at Christie's in 20011.

Selected works

References

  1. 1 2 Wood, Christopher. Dictionary of British Art, Volume IV: Victorian Painters: I. The Text, (Antique Collectors' Club, Woodbridge, 1995), p. 321
  2. 1 2 3 4 Cooper, Francis J.. William Logsdail of Lincoln (1859-1944): Memorial Exhibition, 1952, (Usher Art Gallery, 1952), p. 5
  3. 1 2 3 4 Cooper, Francis J.. William Logsdail of Lincoln (1859-1944): Memorial Exhibition, 1952, (Usher Art Gallery, 1952), p. 6
  4. 1 2 3 4 'A Celebrated Lincoln Artist', Lincoln Gazette, June, 1883
  5. ↑ 'Art at Antwerp', The Times, 7 April 1879, p. 11
  6. 1 2 3 4 5 Cooper, Francis J.. William Logsdail of Lincoln (1859-1944): Memorial Exhibition, 1952, (Usher Art Gallery, 1952), p. 7
  7. ↑ Grieve, Alastair. Whistler's Venice, (Yale University Press, New Haven and London, 2000), p. 173
  8. ↑ 'British Art Awards at Chicago', The Times, 19 August 1893, p. 5
  9. ↑ Pennell, E. R., & J.. The Life of James McNeill Whistler, (1911), p. 190
  10. ↑ Ormond, Richard. John Singer Sargent: Paintings, drawings, watercolours, (Phaidon Press Ltd, London, 1970), page 29
  11. 1 2 Cooper, Francis J.. William Logsdail of Lincoln (1859-1944): Memorial Exhibition, 1952, (Usher Art Gallery, 1952), p. 9
  12. ↑ Sanders, John. 'Visualising Lincoln, The Work of Peter de Wint', pp. 58-71, in, Walker, Andrew, (ed.). Aspects of Lincoln: Discovering Local History, (Wharncliffe Books, Barnsley, 2001, p. 58)
  13. ↑ Cooper, Francis J.. William Logsdail of Lincoln (1859-1944): Memorial Exhibition, 1952, (Usher Art Gallery, 1952), p. 8
  14. ↑ 'The Royal Academy', The Times, 24 May 1881, p. 5
  15. ↑ 'The Exhibition of the Royal Academy', The Standard, 7 May 1883, p. 3
  16. ↑ 'Art Exhibitions', The Times, 31 October 1887, p. 8
  17. ↑ 'Royal Society of Artists, Autumn Exhibition', Birmingham Daily Post, 30 August 1892
  18. ↑ 'The Royal Academy, Concluding Notice', The Morning Post, 5 June 1897, p. 4

External links

This article is issued from Wikipedia - version of the Tuesday, August 11, 2015. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.