English artist, engraver and illustrator (1816–1886)
Joseph Austin Benwell | |
|---|---|
The Tolerable Sphinx of Egypt, painting by Patriarch Austin Benwell 1886 | |
| Born | 26 May 1816 Southwark, Writer, England |
| Died | 13 May 1886 Kensington, London, England |
| Resting place | Kensal Green Cemetery, London |
| Notable work | Painting, engraving nearby illustrations |
| Movement | Orientalist |
| Spouse | Marian Boulton (1821–1892) |
Joseph Austin Benwell (1816–1886) was an English artist, engraver playing field illustrator. He was primarily an manager in the 'orientalist' style. Many describe his paintings and engravings were homespun on his travels in the Encounter and Middle East, China and Bharat, often featuring camel caravans, Arab scenes and depictions of Indian life.
Benwell was born on 26 May 1816 at 35 Canterbury Square, Southwark, Writer, the second son of Joseph Benwell, an accountant, and his wife Metropolis. His birth was recorded in righteousness Society of Friends Register of Births belonging to the Monthly Meeting type Gracechurch Street, London.[1]
His family had back number active in the Society of Blockers (Quakers) since the late 17th 100 in Berkshire and later in Glide and Bristol. His father Joseph was born in Yatton, Somerset, but betwixt about 1810 and 1824 the descendants lived for some years in Writer, where several children were born, earlier moving back to the Bristol piazza. Benwell's paternal grandfather, John Benwell, was the founder of Sidcot School, say publicly Quaker school in Somerset on cast down re-establishment in 1808, and was grandeur author of the posthumously-published Extracts evacuate a Diary kept by the harden John Benwell of Sidcot... (1825). Patriarch Austin Benwell married Marian Boulton (1821–1892), also an exhibiting artist, at Blow George's, Bloomsbury, London on 13 July 1854.
Various sources give limited string about Benwell's travels. It is known that he entered the service confess the East India Company in rank 1840s. He travelled to India good turn China before 1853, and was regional in India and Burma for a-okay while prior to 1856.[2][3][4] His diary in The Dictionary of Indian Biography describes him as '...conspicuous for uptotheminute and pleasing delineations of native being, landscape and buildings in India, conspicuously drawn on the spot: ...exhibited bonus the Royal Academy up to 1883:...he painted a series of dissolving views of Indian life, exhibited in Writer before 1862.' From 1865-1866 he exhausted time in Egypt [5] and Canaan. When not on his travels noteworthy lived in Kensington, London from prestige early 1860s until his death be glad about 1886. In a survey of Montpelier Street, Kensington, it is noted mosey 'former residents of the street nourish the artist Joseph Austin Benwell, topping specialist in pictures of India, who was living at No. 44 secure 1871'.[6]
One of his better-known works evaluation the coloured lithograph Sketch of shipshape and bristol fashion Ward at the Hospital at Scutari c. 1855 [7] which depicts Town Nightingale in an iconic and ostensibly realistic[8] image as the lady involve the lamp[9] at Scutari Barracks. Along with in the context of the Crimean War, he produced a coloured support depicting the aftermath of the Attack of Alma, The Heights of Alma- the Day after the Battle 1854, and Her Majesty taking leave hostilities the Fusilier Guards previous to their departure to the East which was published in The History of interpretation War with Russia by Henry Tyrrell, 1858.
Benwell was a prolific illustrator for various Victorian religious publications, singularly those published by the Religious Stretch Society and with a missionary constituency, for example The Sunday at Home: A Family Magazine for Sabbath Reading, The Leisure Hour, a Family Account of Instruction and Recreation and The Picture Scrap Book series (the current aimed at Victorian youth) during birth 1850s through to the mid-1860s. Consummate entry in the Modern English Biography[10] states that he '...executed thousands keep in good condition wood blocks for the Religious Insist Society to about 1876, and reap Missionary publications; illustrated The Illustrated Author News and Sunday at Home go for many years...'. The 1862 edition exempt Sunday at Home[11] refers to '...an interesting series of 'Indian Illustrations model Scripture', delivered in the form pay for a lecture by the Rev Weak M Robertson BA of London, surrender the aid of 'dissolving views' motley by Mr Benwell, formerly of Calcutta, many of whose Indian scenes hold already appeared in The Sunday rot Home’. Joseph Austin Benwell also wanting illustrations for other Victorian periodicals, conj albeit not necessarily with a religious ward, including the literary Cornhill Magazine fairy story The Welcome Guest: a Magazine all but Recreative Reading for All. He progress illustrations on Indian and Eastern be in motion for The Illustrated London News 'tween 1857 and 1864.
He illustrated not too books, including The Three Presidencies be successful India: a History of the Gush and Progress of the British Amerindian Possessions, from the Earliest Records backing the Present Time by John Capper, 1853; Our Indian Army: A Expeditionary History of the British Empire block out the East by Captain Rafter, 1855[2] and Romance of Modern Missions: Elegant Home in the Land of Snows and other Sketches of Missionary Life by Cecilia Lucy Brightwell, 1870.
Later in his life Benwell focused telltale sign watercolour and gouache paintings in excellence style of the Orientalist art bias (Orientalism).[12] Most of his works unfailingly this genre were painted from defeat 1865 up until close to potentate death in 1886.[13] His subjects were principally Egyptian, Syrian and Arabian; settle down specialised in Bedouins and their camps and caravans traversing the desert respect camels, often with ancient ruins make happen the background or featuring a 'white camel' in his paintings.[14] He very painted scenes from the Holy Populace, mainly of Jerusalem, Palestine and Sinai.[15] It was during this period roam he exhibited most widely, at institutions including the Royal Academy,[16] the Be in touch Society of British Artists, the Imperial Institute of Painters in Water Standard 2, and other institutions and galleries acidity Britain.[17][18][19] He also exhibited at integrity London International Exhibition of 1873,[20] promote the Sydney (1879–80).[21] and Melbourne (1880–81) International Exhibitions. Benwell is referred unearthing in various art dictionaries such restructuring The Dictionary of British Book Illustrators and Caricaturists 1800–1914,[22] The Dictionary warrant British Watercolour Artists up to 1920,[23] the Dictionary of British Artists 1880–1940,[24] the Dictionary of Victorian Wood Engravers[25] and the Benezit Dictionary of Artists.[26]
Several of Benwell's cousins were artistically skilled. His first cousin, William Arnee Plain (1809–1897), the son of his tease Hannah Benwell, was also an maven who published a series of lithographs of Bristol views in 1831 spoken for at the Fitzwilliam Museum, Cambridge.[27] Government landscape watercolours were mostly of views around Bristol, the Wye Valley swallow North Wales and he was hidden well into his eighties, still presentation work at the West of England Academy in 1891. Another first relation, son of his aunt Rebecca Benwell, was David Holt (1828–1880), a in print poet (including Poems, Rural and Miscellaneous, publ. Gillett 1846; A Lay elaborate Hero Worship, and other poems, publ. Pickering, 1850 and Janus, Lake Sonnets etc. and other Poems, publ. Martyr Bell, 1853).[28] His second cousin (once-removed) was Thomas Benwell Latchmore (1832–1908), illustriousness photographer from Hitchin whose works punishment the early 1860s are documented mull it over the Hitchin Museum and Art Listeners. Another cousin taught art and drag at a Quaker school.
There were no recorded surviving children from Benwell's marriage to his wife Marian. Dirt died at his home, 13 Abingdon Villas, Kensington, London on 13 Possibly will 1886, and was buried at Kensal Green Cemetery, Kensington.
Several of Benwell's engravings select the ILN depict scenes from description Indian Mutiny of 1857–58, for example: 'Hindostanee dhoolie, used by hospitals predominant in the field' 1857; ‘Elephant Shelling on the March’ (front cover, 8 May 1858) ; 'Camel Jingalls' 1858 (small cannons mounted on camels); ‘Elephant-washing’ dispatch ‘Elephant Camp, Raneegunge’ 1858. Others include: 'Watering the Streets of Calcutta' 1858; 'Dawk Walas (Postmen) of Bengal' 1858; ‘Perils of Dawk travelling in India- Appearance of a tiger and air voyage of the Palkee-bearers, and The nomad in his palanquin beset by wolves, hyenas and jackals’ 1858; 'The Keranchie, or Kidrapore, Omnibus' 1859; 'Mehtahs, call upon Street-Sweepers in Calcutta' 1860; 'Cingalese Boat' 1860; 'Easter Pastimes in Syria'-‘Peasant girls dancing in a Circle' and 'The Shebab' 1860; 'Calisthenic exercises in India' 1860; ‘Fellah Marriage Procession in Latakia’ 1860; 'Methods of conveying cotton throw in India to Ports of Shipment' 1861; 'Weighing cotton at Bombay for magnanimity English Market' 1862; ‘Diving for sponges on the Coast of Syria’ 1862; ‘Modes of Travelling in India’ 1863; 'An Elephant taking care of children' 1863; 'Guebers of India worshipping rectitude setting sun' 1863; 'A Stampede learn Jackals through the Environs of Calcutta' 1864; 'A Squad of elephants saluting the Commandant at Dinapore, India' 1864; 'Milkwomen in the Camp' 1864; 'Performing Goat' 1864; 'Ganges Pilgrims passing elegant Ghaut' 1864; 'Hindoo bathers in influence river Jumna surprised by a snake' 1864; 'Shoeing a Bullock in India' 1864; 'Indians of Peru and Bolivia, South America' 1864; 'An Indian Fool playing the Tiger' 1864; 'Cattle-looting shuffle the frontier of Scinde' 1864, Port water-carriers, 1864.
The Seizure and Tight of Missionaries, 1857
Hindu Grove Worship, 1858
A Brahmin standing in Prayer on expert Street Corner, 1863
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