EDWARD ARMITAGE R.A.
(May 20, 1817 - 24 May 1896)
After spending twelve months in study at Rome, Armitage exhibited in 1848, for the first time at the Royal Academy, sending two pictures, ‘Henry VIII and Katherine Parr,’ and ‘Trafalgar,’ representing the death of Nelson. His contributions to the Academy exhibitions continued regularly till his death, with the exception of the years 1855, 1862, 1880, and 1892. The subjects of his pictures were generally biblical, and he seldom sent more than one or two a year. He exhibited ‘Samson’ in 1851, and ‘Hagar’ in 1852. In 1853, he married Laurie, daughter of William and Catherine Barber of Booma, Northumberland.
During the Crimean war he visited Russia, and in 1856, exhibited ‘The Bottom of the Ravine at Inkerman,’ and in 1857, a ‘Souvenir of Scutari.’ He also painted large pictures of the ‘Heavy Cavalry Charge at Balaclava,’ and ‘The Stand of the Guards at Inkerman,’ which were not exhibited. In 1858, came ‘Retribution’ (now in the Leeds Museum), a colossal female figure holding a tiger by the throat, allegorical of the suppression of the Indian mutiny, and in 1859, ‘St. Francis and his early Followers before Pope Innocent III,’ a design for a life-size fresco (replaced by an oil painting in 1887) in the catholic church of St. John the Evangelist, Duncan Terrace, Islington. This was followed in 1860, by a design of ‘Christ and the Twelve Apostles’ for the apse of the same church. A head of one of these apostles (St. Simon), in fresco, is in the South Kensington Museum. In 1864, came ‘Ahab and Jezebel,’ in 1865, ‘Esther’s Banquet,’ now in the Diploma Gallery of the Royal Academy, and in 1866, ‘The Remorse of Judas,’ which Armitage presented to the National Gallery, and ‘The Parents of Christ seeking Him,’ which was engraved for the Art Union under the title of ‘Joseph and Mary.’ In 1867, he was elected an associate of the Royal Academy, and in 1872, a full member. During these five years his subjects were varied in character, including ‘Herod’s Birthday Feast,’ now in the Corporation Art Gallery at Guildhall, ‘Hero lighting the Beacon to guide Leander across the Hellespont,’ and ‘A Deputation to Faraday, requesting him to accept the Presidency of the Royal Society.’ The last of these contains portraits of Lord Wrottesley, John Peter Gassiot, and Sir William Grove, and now hangs in the library of the Royal Society. Among the most notable of his subsequent works were: ‘A Dream of Fair Women,’ a design for a frieze in two sections; ‘The Women of the Old Testament’, (1872); and ‘The Women of Ancient Greece,’ (1874); ‘In Memory of the great Fire of Chicago, and of the Sympathy shown to the Sufferers by both America and England,’ (1872), which was designed for the Town Hall at Chicago, and was bought by the Graphic; ‘Julian the Apostate presiding at a Conference of Sectarians,’ (1875); and ‘Serf Emancipation: an Anglo-Saxon Noble on his Deathbed gives Freedom to his Slaves,,’ now in the Walker Art Gallery at Liverpool (1877).
In 1878, Armitage exhibited ‘After an Entomological Sale, beati possidentes,’ in which he represented himself in a sale room rejoicing over a fresh acquisition for his collection of insects, in company with his friends Calderon, Hodgson, Winkfield, and others. Another of his tastes is reflected in a ‘Yachting Souvenir -- Lunch in Mid Channel,’ which was exhibited in 1889. In 1893. he exhibited for the last time, sending ‘A Moslem Doctrinaire’ and a portrait of his brother, ‘The late T. R. Armitage, Esq., M.D., the Friend of the Blind.’
In 1871, he was one of the committee of artists employed in the decoration of Westminster Hall who made a report on fresco painting (see Return to House of Commons, No. 19 of 1872). In 1875, he was appointed professor and lecturer on painting to the Royal Academy. His lectures were published in 1883. Always of independent means, Armitage was able to follow his ideals in art without regard to fashion or profit, and several of his largest works were executed entirely at his own expense. This was the case with the large monochrome frescoes in University Hall, Gordon Square, in memory of Crabb Robinson, comprising portraits of twenty-two men eminent in literature, art, and other professions. The figures are over life-size, and the composition twenty yards in length. Figures of saints in Marylebone church, and the reredos (‘Seven Works of Mercy’) in St. Mark’s Church, Hamilton Terrace, St. John’s Wood, were also gifts.
As an artist Armitage took an important part in the movements for the restoration of fresco painting in England, and the decoration of the houses of parliament with historical designs. His early training on the continent and his employment by Delaroche upon a mural painting of a grand character influenced the direction of his art throughout his life. This art was cold, severe, and academic, but always lofty in aim and large in design. Armitage did not confine his interests entirely to art; he was a great collector of butterflies, a keen yachtsman, and very hospitable host, whether afloat or ashore. He passed the board of trade examination for a master’s certificate, and was a fellow of the Geographical Society. He became a ‘retired academician’ about two years before his death, which took place from apoplexy and exhaustion following pneumonia, at Tunbridge Wells, on 24 May 1896, after an illness of about three weeks. He was buried at Brighton.[Pictures and Drawings by Edward Armitage, R.A. 1898; Catalog of National Gallery (British School); Men of the Time, 1891; Clement and Hutton’s Artists of the Nineteenth Century]
Obituary notices in The Times and other newspapers.]
View painter's art: Edward Armitage (1817-1896)