James Smetham

James Smetham (9 September 1821 – 5 February 1889) was an English Pre-Raphaelite painter and engraver, a follower of Dante Gabriel Rossetti. [Susan P. Casteras, "James Smetham: Artist, Author, Pre-Raphaelite Associate", Aldershot, U.K., Scholar Press, 1995.]

Smetham was born in Pateley Bridge, Yorkshire, and attended school in Leeds; he was originally apprenticed to an architect before deciding on an artistic career. He studied at the Royal Academy, beginning in 1843. His modest early success as a portrait painter was stifled by the development of photography (a problem shared by other artists of the time). In 1851 Smetham took a teaching position att the Wesleyan Normal College in Westminster; in 1854 he married Sarah Goble, a fellow teacher at the school. They would eventually have six children.

Smetham worked in a range of genres, including religious and literary themes as well as portraiture; but he is perhaps best known as a landscape painter. His "landscapes have a visionary quality" reminiscent of the work of William Blake, John Linnell, and Samuel Palmer. [Christopher Wood, "Victorian Painting", Boston, Little, Brown & Co., 1999; p. 126.] Out of a lifetime output of some 430 paintings and 50 etchings, woodcuts, and book illustrations, his 1856 painting "The Dream" is perhaps his best-known work.

He was also an essayist and art critic; an article on Blake (in the form of a review of Alexander Gilchrist's "Life of William Blake"), which appeared in the January 1869 issue of the "Quarterly Review", [Reprinted in: Alexander Gilchrist, "Life of William Blake", enlarged edition, Anne Burrows Gilchrist, ed., London, Macmillan, 1880; Vol. 2, pp. 309-51.] influenced and advanced recognition of Blake's artistic importance. Other Smetham articles for the "Review" were "Religious Art in England" (1861), "The Life and Times of Sir Joshua Reynolds" (1866), and "Alexander Smith" (1868). He also wrote some poetry.

Smetham was a devout Methodist, and after a mental breakdown in 1857, the second half of his life was marked by a growing religious mania and eventual insanity. "In one of his notebooks he attempted to illustrate every verse in the Bible." [Wood, p. 138.] (Smetham habitually created miniature, postage-stamp-sized pen-and-ink drawings, in a process he called "squaring." He produced thousands of these in his lifetime.) He suffered a final breakdown in 1877 and lived in seclusion until his death.

Smetham's letters, posthumously published by his widow, [James Smetham, "The Letters of James Smetham: With an Introductory Memoir", Sarah Smetham and William Davies, eds., London, Macmillan, 1892.] throw light upon Rossetti, John Ruskin, and other contemporaries, and have been praised for their literary and spiritual qualities. His surviving journals and notebooks show that Smetham practiced an almost stream of consciousness type of writing that he called "ventilating," as a method of religious self-analysis. These writings delineate the depression that came to dominate Smetham's outlook.

References

External links

* [http://www.npg.org.uk/live/search/portrait.asp?LinkID=mp04137&rNo=0&role=art A self-portrait.]
* [http://flowersinart.com/details.asp?stockID=247 Smetham's "Asleep and Awake".]
* [http://www.english.emory.edu/classes/Shakespeare_Illustrated/Smetham.Cymbeline.html His "Imogen and the Shepherds".]