G F Watts exhibition at the Guildhall art gallery

The English Michelangelo

Believe or believe it not, this was the popular title accorded to George Frederick Watts (1817-1904) at the peak of his painting career. You can check out whether you agree with this over-the-top complement by looking at his pictures in an exhibition now on at the Guildhall Art Gallery, running until April 26th.
Watts had a long life and a prodigious output and was enormously successful financially, very much in the Damien Hirst manner, leaving some £24M, at today’s values. Determined to enhance the painter’s reputation and maintain the commercial value of her inheritance, his widow built a gallery devoted entirely to his works at Compton in Surrey.

Born in London into a family with a piano business, he showed early promise at drawing, attended the RA schools and, aged 21, set up his own studio, gaining success as a portrait painter although sadly and perversely his ambition was to be an historical painter, following his hero Benjamin Haydon. He won the highest premium in the competition for mural designs for the new House of Parliament and, with this in his pocket, set off in1843on a ‘Grand Tour’ lasting two years. On his return, backed by an aristocratic and wealthy band of patrons, Watts became the leading portrait painter of the day despite his high charges. But this was all to a purpose because it allowed him to make a mid-career change of direction driven to paint subjects rather than people, ideas rather than portraits and social allegories rather than scenes.

Is he ‘Dickens’ of the visual arts?

His most famous work in this genre in the exhibition, entitled ‘Hope’ (see above), is a melancholy painting showing a blindfolded beggar girl seated on a rock plucking a single string of a crude wooden lyre. It had extraordinary impact at the time and also since; Nelson Mandela had a reproduction of it on the wall in his cell on Robben Island; the Rev. Jeremiah Wright the former pastor to Barrack Obama based sermons on it and its themes of hope were taken up by the President in addressing Democratic Conventions; and another Watts painting ’Love and Life’ was selected by President Roosevelt to be hung in the White House.

Watts’ reputation slumped after his death and, like much Victorian art, remained in the doldrums for many many years. Perhaps the time has now come for a re-assessment.

A post sent in by WCCA Past-Master Michael Welbank, who is Common Councilman for the Billingsgate Ward. You might be interested in reading his own blog which deals with general City matters as the elections for the Court of Common Council approach in the month of March. CLICK HERE