Philip Wilson Steers father was a painter. But it was the housekeeper Margaret Jones, called "Jane", later Mrs. Raynes, who gave Philip a box of watercolors as a present, thus igniting his passion for art.
In 1922 Philip Wilson Steer erected a picturesque monument to his draughtswoman when he exhibited her portrait at the Royal Academy. The once young Welsh woman, who at the time of the artist's birth entered the Steer family's service as a children's nurse, later married, quickly widowed and then returned to Steer's service as a cook, is 83 years old at this point. Today, the portrait of the old lady in black, with her white lace bonnet, her heavy, resting hands swollen from work, and her straight, open gaze is kept at the Tate Gallery in London under the title Mrs. Raynes.
Born 1860 in Birkenhead, Steer studied drawing and painting with John Kemp at the Gloucester School of Art from the age of about 18. The academy rejected him, so that he instead went to Paris as early as 1882, where he studied first at the Académie Julian and later, from 1883, at the École des Beaux Arts under Cabanel. Steer's first exhibited work was a portrait of Mr. Bick, the brother-in-law of John Kemp. The painting was probably painted in Gloucester, in 1881. We see a white-bearded newspaper reader who seems to be skimming the headline of an article to keep up with current events: What of the War? The war to which the title of Steer's painting refers must have been the Sudan War, which began in 1881 after the Mahdi rebellion and dragged on for ten years, until Great Britain also became increasingly involved in the conflict and, from 1896, took military action against the Mahdists. In the first half of the 19th century, this type of history painting was one of the few ways in which the British public could experience their overseas empire. In this context, Philip Wilson Steers' history painting was also a form of documentation.
In 1927 Steer lost his sight in one eye, but continued to paint, mostly watercolours and no longer in oil. His compositions thus became lighter, almost abstract. He is the Englishman who deserves credit for combining the style of French Impressionism with the tradition of painting by Wilson, Gainsborough, Turner or Constable. The first impulse for this came from his stays in Paris, where Steer had the opportunity to see exhibitions of Monet, Pissarro and Renoir during the years 1882 to 1883.
Steer never married. Apart from a few hours spent on a daily walk, a game of chess or talking to friends, he painted incessantly. He read little and detested writing. He was a keen observer and critic, but always modest and full of sympathy for the efforts of other artists. From 1940 he had to give up painting altogether. He died in London on March 18, 1942.
Philip Wilson Steers father was a painter. But it was the housekeeper Margaret Jones, called "Jane", later Mrs. Raynes, who gave Philip a box of watercolors as a present, thus igniting his passion for art.
In 1922 Philip Wilson Steer erected a picturesque monument to his draughtswoman when he exhibited her portrait at the Royal Academy. The once young Welsh woman, who at the time of the artist's birth entered the Steer family's service as a children's nurse, later married, quickly widowed and then returned to Steer's service as a cook, is 83 years old at this point. Today, the portrait of the old lady in black, with her white lace bonnet, her heavy, resting hands swollen from work, and her straight, open gaze is kept at the Tate Gallery in London under the title Mrs. Raynes.
Born 1860 in Birkenhead, Steer studied drawing and painting with John Kemp at the Gloucester School of Art from the age of about 18. The academy rejected him, so that he instead went to Paris as early as 1882, where he studied first at the Académie Julian and later, from 1883, at the École des Beaux Arts under Cabanel. Steer's first exhibited work was a portrait of Mr. Bick, the brother-in-law of John Kemp. The painting was probably painted in Gloucester, in 1881. We see a white-bearded newspaper reader who seems to be skimming the headline of an article to keep up with current events: What of the War? The war to which the title of Steer's painting refers must have been the Sudan War, which began in 1881 after the Mahdi rebellion and dragged on for ten years, until Great Britain also became increasingly involved in the conflict and, from 1896, took military action against the Mahdists. In the first half of the 19th century, this type of history painting was one of the few ways in which the British public could experience their overseas empire. In this context, Philip Wilson Steers' history painting was also a form of documentation.
In 1927 Steer lost his sight in one eye, but continued to paint, mostly watercolours and no longer in oil. His compositions thus became lighter, almost abstract. He is the Englishman who deserves credit for combining the style of French Impressionism with the tradition of painting by Wilson, Gainsborough, Turner or Constable. The first impulse for this came from his stays in Paris, where Steer had the opportunity to see exhibitions of Monet, Pissarro and Renoir during the years 1882 to 1883.
Steer never married. Apart from a few hours spent on a daily walk, a game of chess or talking to friends, he painted incessantly. He read little and detested writing. He was a keen observer and critic, but always modest and full of sympathy for the efforts of other artists. From 1940 he had to give up painting altogether. He died in London on March 18, 1942.
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