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Sir David Wilkie (1785-1841)
The
son of a minister, David Wilkie was born in Cults, Fife, on 18
November 1785. He attended the Trustees' Academy of Design in Edinburgh
from 1799 to 1804 and, upon completing his studies, moved to London
in 1805 and gained admission at the Royal Academy where his contemporaries
included Andrew Geddes. Here he encountered
almost immediate success when the first of his realistic portrayals
of rural life, The Village Politicians, was unveiled at
the Academy's 1806 exhibition. A string of equally acclaimed paintings
in the same vein followed, including The Blind Fiddler (1807), The
Card Players, The
Rent Day (both 1808), The Village Festival (1812), Blind
Man's Buff (1813), Distraining for Rent (1815), The
Scotch, or Penny Wedding (1818). The homely simplicity of
Wilkie's compositions stood in marked contrast to the artificial
and contrived nature of much contemporary genre painting and signalled
a turning-point in British Art. Together with Sir
Henry Raeburn, he was hailed as the founder of a new 'Scottish
School' of painting. Wilkie collaborated on popular print-versions
of his paintings with Abraham
Raimbach which brought both men considerable financial success.
Public acclaim was accompanied by professional recognition. Wilkie
was elected an Associate of the Royal Academy in 1809, when he
was only 24 years old, and a full member in 1812. Following the
death of Raeburn in 1823, he was appointed His Majesty's Limner
for Scotland.
Wilkie's always frail health was badly shaken
in 1825 by a series of family bereavements and by the financial
collapse of his printsellers Heath & Robinson. A long stay
in Italy permitted him to convalesce, followed by a visit to
Spain which would prove an artistic revelation. Velasquez and
Murillo now displaced the Dutch masters as his chief mentors
and in the Royal Academy's 1829 exhibition he unveiled eight
new works painted under their influence, including The
Maid of Saragossa, The Pifferari, and The
Guerrilla Council of War. The Spanish style continued
to inform his most important later works such as Preaching
of Knox before the Lords of the Congregation (1832), The
First Earring (1835), Napoleon and the Pope in Conference
at Fontainebleau (1836), and Sir David Baird Discovering
the Body of Tippoo Saib (1839). He succeeded Sir Thomas
Lawrence as Painter-in-Ordinary to the King in 1830 and was
knighted in 1836. In 1840 he travelled to Constantinople, Jerusalem,
and Alexandria (where he painted the Pacha Mehemet Ali). He
died suddenly on the return journey and was buried at sea near
Gibraltar, an event commemorated in one of J.M.W. Turner's
most celebrated paintings. |
Click on the
thumbnail to see a full-size image of an engraving
of Wilkie's Napoleon and the Pope in Conference
at Fontainebleau.
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Wilkie portrayed Scott in three paintings and one drawing. The
former include two group compositions The Abbotsford
Family (1817) and The
Entrance of King George IV at Holyrood (1829), and an
individual portrait (1824).
The latter is a sketch of Sir
Walter Scott Coursing. These are discussed on separate
pages which also provide details of Wilkie's relations with Scott.
In addition to the portraits, Wilkie painted a number of works
illustrative of or inspired by Scott's novels. In 1829, he agreed
to provide sketches to be engraved for the Magnum Opus edition
of the Waverley Novels. In a letter of thanks, Scott wrote that
'you, who are beset by the sin of modesty, will be least of all
men aware what a tower of strength your name must be in a work
of this nature, which, if successful, will go a great way to counterbalance
some very severe losses which I sustained, two or three years since,
by the failure of Constable's house, and Hurst and Robinson's,
in London' (Letters, XI, 73). He was anxious, however,
lest Wilkie jeopardize his health through working to a deadline.
Wilkie, in fact, may be supposed to have been peculiarly sympathetic
to Scott's plight (see Financial
Hardship) as he too had suffered by the collapse of Hurst & Robinson.
He assured Scott that he would be delighted to 'assist in the illustration
of the great work which we all hope may lighten or remove that
load of troubles by which your noble spirit is at this time beset'.
He was merely repaying 'a debt of obligation which you yourself
have laid upon me when, with an unseen hand in the Antiquary,
you took me up, and claimed me, the humble painter of domestic
sorrow, as your countryman' (Letter of 10 January 1829, The
Private Letter-Books of Sir Walter Scott, p. 250). Here Wilkie
is referring to a passage in chapter 10 of The
Antiquary (1816), where Steenie Mucklebackit's mourning
family present 'a scene which our Wilkie alone could have painted,
with that exquisite feeling of nature that characterises his enchanting
productions'. Wilkie added that he was already planning an illustration
of Henry Morton's arrest in Old
Mortality, which would permit him to depict Morton's man-servant
Cuddie Headrigg and his mother 'of all your creations my favourite'.

This illustration appeared in the Magnum Opus as Scene at
Milnwood (click on thumbnail, above) along with a title
page vignette for Old Mortality and illustrations of Henry
Wardon before the Sub-Prior for The
Monastery and Julian Peveril and Sir Geoffrey Hudson in
Newgate for Peveril
of the Peak. These were republished in the Abbotsford
Edition of the Waverley Novels (1842), together with two further
illustrations for Old Mortality (Tent Preaching
at Kilmartin and Cuddie Headrigg's Cottage: possibly
unused sketches for the Magnum Opus) and one for The
Abbot (Roland Graeme and Catherine Seton before
Queen Mary). The Abbotsford Edition also contained engravings
of Wilkie's The Abbotsford Family and Sir Walter
Scott Coursing and of four previously exhibited paintings
by Wilkie depicting people, places, or scenes featured in Scott's
novels: Gustavus Adolphus for A
Legend of Montrose, Dürrenstein on the Danube for Ivanhoe, The
Escape from Lochleven Castle for The Abbot, and The
Convent of the Holy Brethren and Distant View of the
Holy Sepulchre at Jerusalem for The
Talisman. Although these last were not originally designed
to illustrate a specific edition of Scott, they are likely to
have been inspired by a reading or recollection of Scott. It
has similarly been suggested that Wilkie's The Reading of
a Will (1820) and Napoleon and the Pope in Conference
at Fontainebleau (1836) were inspired by passages in Guy
Mannering and Scott's The
Life of Napoleon Buonaparte respectively.
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Click on the thumbnail
to see a full-size engraving of Henry Wardon before
the Sub-Prior.
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Bibliography
- Bryan, Michael. Dictionary of Painters
and Engravers: Biographical and Critical. New edn, rev.
and enl. by Robert Edmund Graves (London: G. Bell, 1886-1889)
- Dictionary of National Biography (London:
Oxford University Press, 1921)
- McEwan, Peter J. M. Dictionary
of Scottish Art & Architecture (Woodbridge, Suffolk:
Antique Collectors' Club, c1994)
- Partington, Wilfred (ed.). The
Private Letter-Books of Sir Walter Scott: Selections from
the Abbotsford Manuscripts (New York: Frederick A. Stokes,
1930)
- Redgrave, Samuel. A Dictionary
of Artists of the English School: Painters, Sculptors, Architects
with Notices of their Lives and Work (London: G. Bell,
1878)
- Russell, Francis. Portraits
of Sir Walter Scott: A Study of Romantic Portraiture (London:
The Author, 1987)
- Scott, Walter, Sir. The
Letters of Sir Walter Scott, ed. H. J. C. Grierson (London:
Constable, 1932-37)
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Last updated: 26-Apr-2005
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