Frederick Yeates Hurlstone

(1800 - 10 June 1869)

Portrait and historical painter, was bom in London in 1800. He entered the schools of the Royal Academy in 1820, and in 1823 obtained the gold medal for his 'Archangel Michael and Satan contending for the body of Moses.' He also studied under Beechey, Lawrence, and Haydon. He occasionally exhibited at the Academy from 1821, and also at the British Institution, but the majority of his works appeared at the Society of British Artists, of which he was elected a member in 1831, and held the office of president from 1835 until his death. The range of his subjects was much enlarged by visits to Italy in 1835, to Spain in 1851-52, and to Morocco in 1854. Throughout his life he was much opposed to the Royal Academy, and at the parliamentary inquiry of 1835, gave evidence against that body.
Amongst his best works are:
The Euchantress Arniida (Bridgeicater Gallery)
Peasant Girl of Sorrento (The same)
The Game of Mora
The Prisoner of Chillon (Lord Tankerville)
Boabdil mourning the fall of Granada
Columbus asking Alms
Margaret of Anjon, and Edward, Prince of Wales, after the Battle of Hexham
Constance and Arthur
Monks at the Convent of St. Isidore
Eros. (Marquis of Lansdowne)
A. Venetian Page (Grosvenor House, London)
Haidee aroused from her Trance
Card-players in a Posada in Andalusia.

Bryan's Dictionary of Painters and Engravers, 1876 - Reprinted, 1894, 1899

Hurlstone was born in London in 1800, the eldest son by his second marriage of Thomas Y. Hurlstone, one of the proprietors of the Morning Chronicle (his grand-uncle, Richard Hurlstone, was a well-known portrait-painter, a generation earlier). He began life in the office of his father's journal, but, while still very young, became a pupil of Sir William Beechey, afterwards studying under Sir Thomas Lawrence, and it is said, under Benjamin Haydon.

His first original work was an altar-piece, painted in 1816, for which he received 20 pounds. In 1820 he was admitted as a student of the Royal Academy, where in 1822, he gained the silver medal for the best copy made in the school of painting, and in 1823, the gold medal for historical painting, the subject being "The Contention between the Archangel Michael and Satan for the Body of Moses". He first exhibited in 1821, sending to the Royal Academy "Le Malade Imaginaire" and to the British Institution a "View near Windsor". These were followed at the Academy in 1822 by "The Return of the Prodigal Son" and a portrait, in 1823 by five portraits, and in 1824 by his "Archangel Michael" and some more portraits.

One of his best early works was "A Venetian Page with a Parrot", exhibited at the British Institution in 1824. In 1824, he also contributed "The Bandit Chief" to the first exhibition of the Society of British Artists. He continued to send portraits to the Royal Academy until 1830, but in 1831, he was elected a member of the Society of British Artists, after which he seldom exhibited elsewhere. He was chosen president in 1835, and again in 1840, retaining the office until his death. He contributed to the society's exhibitions upwards of three hundred portraits and other works, among them being "The Enchantress Armida", exhibited in 1831; "Haidee aroused from her Trance by the sound of Music", 1834; "Eros", 1836; "Italian Boys playing at the National Game of Mora" and the "Prisoner of Chillon", 1837; "The Scene in St. Peter's, Rome, from Byron's Deformed Transformed", 1839; "The Convent of St. Isidore: the Monks giving away provisions", 1841; and a "Scene in a Spanish Posada in Andalusia", 1843.

In 1844, and for the last time, in 1845 he again sent portraits to the Academy. His subsequent works at the Society of British Artists included "The Sons of Jacob bringing the blood-stained garment of Joseph to their Father" (1844); "Salute, Signore" (1845); "A Girl of Sorrento at a Well" (1847); "Inhabitants of the Palace of the Cæsars -- Rome in the Nineteenth Century" (1850); "Columbus asking Alms at the Convent of La Rabida" (1853); "The Last Sigh of the Moor" (or "Boabdil el Chico, mourning over the Fall of Granada, reproached by his Mother") (1854); and "Margaret of Anjou and Edward, Prince of Wales, in the wood on their flight after the Battle of Hexham" (1860). Besides these may be noted "The Eve of the Land which is still Paradise" and "Constance and Prince Arthur".

His later works, consisted mainly of Spanish and Italian rustic subjects, the outcome of several visits to Italy, Spain, and Morocco, made between 1835 and 1854. "His best pictures date from this period." "In the year 1836, in consequence of visiting Italy, Mr. Hurlstone in a great measure discontinued a style which had been attended with great success, and took to painting works in what Spainards call the 'picaresco' style - a style which includes beggar-boys and vagabonds of Murillo and Velasquez. In his groups of Italian boys and girls, Mr. Hurlstone has given representations of an uncluttered life; often of that beauty which is united with wilderness, and this without the vulgarity with which such subjects are too often treated. In 1841, and again in 1852, he somewhat varied his subjects, by drawing his resources from Spain, which country he visited those years; but his style of treatment remained essentially the same. In the year 1854, the painter visited Morocco, and while in that semi-bararous locality, he painted several pictures, of which the principle on was a subject from the History of the Moors in Spain, entitled, 'Bobadil el Chico (the last king) Mourning over the Fall of Grenada, reproached by his Mother,' which, together with his 'Italian Boys Playing the National Game of Mora', and his 'Constance and Arthur' formed Mr. Hurlstone's contributions to the Exhibition of all Nations (Exposition Universelle|Paris Exhibition Universelle) in Paris in 1855, when he received from the Emperor a gold medal of honour." Eleven of his best works were re-exhibited at the Society of British Artists in 1870.

Hurlstone was also a successful portrait painter, one of his best heads being that of Richard, seventh earl of Cavan, exhibited at the Society of British Artists in 1833, and again, together with that of General Sir John MacLeod, at the National Portrait Exhibition of 1868.

He was always much opposed to the constitution and management of the Royal Academy, and gave evidence before at the Parliamentary enquiry into the constitution of the Royal Academy in 1835, and again in 1836, to the select committee of the House of Commons. Hurlstone never became a member of the Royal Academy. He was elected president of the Royal Society of British Artists in 1835, and held the office until his death sending 326 works to their exhibitions.

Hurlstone died at 9 Chester Street, Belgrave Square, London, on 10 June 1869, in his sixty-ninth year, and was buried in Norwood cemetery.

In 1836, Hurlstone married fellow artist Jane Coral who exhibited some watercolour drawings and portraits at the Royal Academy and the Society of British Artists between 1846 and 1850, but from 1850 to 1856, she contributed to the latter exhibition only fancy subjects in oil-colours. She died on 2 Oct. 1858, leaving issue two sons, one of whom was also an artist. Hurlstone's grandson, William Martin Yeates Hurlstone, became a moderately well-known composer.

Dictionary of National Biography, 1885–1900; Encyclopædia Britannica (11th ed.); en.Wikipedia

Born in London (1800-1869). Was a pupil of Haydon and Sir Thomas Lawrence, entering the Royal Academy in 1820, and winning several gold and silver medals. As a young man he painted portraits, and exhibited his first picture, "The Boy and the Parrot," at the British Institute in 1823. In 1835 he went to the Continent, spending some time in Italy, and later made frequent and extended sketching-tours in Spain and Morocco. He was elected a member of the Society of British Artists in 1830, and was its President for thirty-four years, exhibiting almost exclusively in its gallery. Among the better known of his works are, "The Prisoner of Chillon," "Scene in St. Peter's, Rome," "The Enchanted Garden of Armida," "Constance and Arthur," "A Venetian Page," "Italian Peasant Boys," "The Game of Mora," "Haidee," etc.

Artists of the Nineteenth Century, their Work & Biographical Sketches, Clara Erskine Clement & Laurence Hutton, 1879.

HURLSTONE, FREDERICK YEATES (1800–1869), portrait and historical painter, born in London in 1800, was the eldest son by his second marriage of Thomas Y. Hurlstone, one of the proprietors of the Morning Chronicle He began life in the office of that journal, but while still very young became a pupil of Sir William Beechey, and afterwards studied under Sir Thomas Lawrence, and it is said, under Haydon. His first original work was an altar-piece, painted in 1816, for which he received 20l. In 1820 he was admitted a student of the Royal Academy, where in 1822 he gained the silver medal for the best copy made in the school of painting, and in 1823 the gold medal for historical painting, the subject being 'The Contention between the Archangel Michael and Satan for the Body of Moses.' He first exhibited in 1821, sending to the Royal Academy 'Le Malade Imaginaire' and to the British Institution a 'View near Windsor.' These were followed at the Academy in 1822 by 'The Return of the Prodigal Son' and a portrait, in 1823 by five portraits, and in 1824 by his 'Archangel Michael' and some more portraits. One of his best early works was 'A Venetian Page with a Parrot,' exhibited at the British Institution in 1824, and now in the gallery of the Duke of Westminster. In 1824 also he contributed 'The Bandit Chief' to the first exhibition of the Society of British Artists. He continued to send portraits to the Royal Academy until 1830, but in 1831 he was elected a member of the Society of British Artists, after which he seldom exhibited elsewhere. He was chosen president in 1835, and again in 1840, retaining the office until his death. He contributed to the society's exhibitions upwards of three hundred portraits and other works, among them being 'The Enchantress Armida,' exhibited in 1831, and now in the gallery of the Earl of Ellesmere; 'Haidee aroused from her Trance by the sound of Music' 1834; 'Eros' 1836, now belonging to the Marquis of Lansdowne; 'Italian Boys playing at the National Game of Mora' and the 'Prisoner of Chillon,' the latter purchased by the Earl of Tankerville, 1837; The Scene in St. Peter's, Rome, from Byron's Deformed Transformed' 1839; 'The Convent of St. Isidore: the Monks giving away provisions' 1841; and a 'Scene in a Spanish Posada in Andalusia' 1843. In 1844, and, for the last time, in 1845 he again sent portraits to the Academy. His subsequent works at the Society of British Artists included 'The Sons of Jacob bringing the blood-stained garment of Joseph to their Father,' 1844; 'Salute, Signore' 1845; 'A Girl of Sorrento at a Well' 1847, belonging to the Earl of Ellesmere; 'Inhabitants of the Palace of the Cæsars -- Rome in the Nineteenth Century' 1850; `Columbus asking Alms at the Convent of La Rabida' 1853; 'The Last Sigh of the Moor' ('Boabdil el Chico, mourning over the Fall of Granada, reproached by his Mother') 1854; and 'Margaret of Anjou and Edward, Prince of Wales, in the wood on their flight after the Battle of Hexham' 1860. Besides these may be noted 'The Eve of the Land which is still Paradise' in the collection of the Earl of Ellesmere, and 'Constance and Prince Arthur'.

His later works, which were much inferior to those of his earlier years, consisted mainly of Spanish and Italian rustic and fancy subjects, the outcome of several visits to Italy, Spain, and Morocco, made between 1835 and 1854. As a portrait-painter he was successful, one of his best heads being that of Richard, seventh earl of Cavan, exhibited at the Society of British Artists in 1833, and again, together with that of General Sir John MacLeod, at the National Portrait Exhibition of 1868. He was always much opposed to the constitution and management of the Royal Academy, and gave evidence before the select committee of the House of Commons in 1836. He was awarded a gold medal at the Paris Exhibition of 1855, the works which he sent being 'La Mora' 'Boabdil' and 'Constance and Arthur.' Eleven of his best works were re-exhibited at the Society of British Artists in 1870.

Hurlstone died at 9 Chester Street, Belgrave Square, London, on 10 June 1869, in his sixty-ninth year, and was buried in Norwood cemetery. He married, in 1836, Miss Jane Coral, who exhibited some watercolour drawings and portraits at the Royal Academy and the Society of British Artists between 1846 and 1850, but from 1850 to 1856 she contributed to the latter exhibition only fancy subjects in oil-colours. She died on 2 Oct. 1858, leaving issue two sons, one of whom was also an artist.

[Art Journal, 1869, p. 271; Register, 1869, ii. 91; Redgrave's Dictionary of Artists of the English School, 1878; Royal Academy Exhibition Catalogues, 1821-50; British Institution Exhibition Catalogues (Living Artists), 1821-42; Exhibition Catalogues of the Society of British Artists, 1824-70.] Dictionary of National Biography, 1885-1900, Volume 28, Hurlestone, Frederick Yeates by Robert Edmund Graves.]

Birth: 1800, Greater London, England
Death: Jun. 10, 1869, Greater London, England
Burial: West Norwood Cemetery and Crematorium, West Norwood, London Borough of Lambeth, Greater London, England
© Copyright Ownership: Find A Grave Memorial


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