James Ward (English artist)

2.1. Early Life and Family Background

James Ward was born in London, England, on October 23, 1769, to James Ward and Rachael Goldsmith. He was the younger brother of William Ward (1766-1826), who became a notable engraver. At the age of 12, James began his formal artistic training as an apprentice to the London engraver John Raphael Smith, a period during which he produced many engravings. His brother William later married the sister of the animal painter George Morland, solidifying a key connection that would greatly influence James's early artistic development.

2.2. Artistic Development and Influences

Ward's early career was significantly shaped by George Morland, who became his single greatest influence until about 1803. Morland's expertise in animal painting inspired Ward to increasingly focus on depicting animals, a genre for which he would become widely known. After 1803, Ward's primary artistic influence shifted to the Flemish Baroque painter Peter Paul Rubens, whose dynamic compositions and rich colors had a profound impact on Ward's developing style. From around 1810, Ward began specializing in painting horses within elaborate landscapes. Slightly later, he ventured into very large-scale landscapes, showcasing his ambition and skill. His growing reputation led to his election as an Associate of the Royal Academy of Arts in 1807, and he became a full Royal Academician in 1811, a testament to his recognized contributions to English art.

2.3. Major Commissions and Artistic Challenges

Ward undertook several significant artistic commissions throughout his career. One such family that he frequently painted and drew, considering them close friends, was the Levett family of Wynchnor Park, Staffordshire. Notable portraits for this family include Theophilus Levett hunting at Wychnor, Staffordshire (1817) and The Reverend Thomas Levett and his favourite dogs, cock-shooting (1811). He also painted a group portrait of three Levett children: John, Theophilus, and Frances Levett, in November 1811.

One of Ward's most ambitious and challenging projects was the gigantic work titled Allegory of Waterloo, which he devoted much of the period from 1815 to 1821 to create. This monumental painting measured 21 ft ^{(6.4 m)} by 35 ft ^{(10.7 m)} and commemorated the victory of the Battle of Waterloo. Despite the immense effort, the painting was neither widely praised nor did it generate the revenue Ward had anticipated. This experience, coupled with the deaths of his first wife and a daughter, contributed to a period of personal bitterness. Like many artists of his era, Ward frequently sought commissions from wealthy gentry who desired portraits of their favorite horses, hunting dogs, or children. Another significant commission was The Deer Stealer, ordered in 1823 by his patron Theophilus Levett for 500 guineas. Upon its completion, Levett was so pleased that he increased the payment to 600 guineas. Ward reportedly later declined an offer of 1,000 guineas for the painting from an unnamed nobleman.

2.4. Personal Life and Later Years

James Ward's personal life was marked by both joy and tragedy. He first married Mary Ann Ward (no known relation) in 1794. Following her death, he married Charlotte Fritche in 1827, who was reportedly a relative of his first wife. James and Mary Ann Ward had several children, including Matilda Louisa Ward, who married the artist John Jackson, and George Raphael Ward (born 1798, died 1879). James Ward was also the paternal grandfather of the painter Henrietta Ward and the great-grandfather of Leslie Ward, the renowned Vanity Fair caricaturist.

In 1830, Ward relocated to Cheshunt, Hertfordshire, with his second wife. Despite the move, he continued to work, increasingly focusing on religious themes in his art. However, his artistic career was brought to an end by a stroke in 1855. James Ward died in poverty on November 17, 1859, at the age of 90. He was buried at Kensal Green Cemetery, where his monument, sculpted by John Henry Foley, was erected in 1866.

3.1. Artistic Style and Characteristics

James Ward is recognized as one of the most outstanding artists of his time, with a singular style and exceptional skill that distinguished him from many contemporaries and significantly impacted the growth of British art. He was highly regarded as one of the great animal painters, meticulously capturing the anatomy and spirit of his subjects. Beyond animal portraiture, Ward's versatility extended to producing compelling history paintings, incisive portraits, expansive landscapes, and detailed genre scenes. His approach combined meticulous observation with a Romantic sensibility, allowing him to infuse his works with a sense of the dramatic and the sublime, particularly evident in his large-scale landscape compositions. The technical prowess and artistry demonstrated in his work, especially during his collaboration with his brother William, contributed to creating images that reflect the grace and charm of the era, while also showcasing a profound understanding of natural forms.

3.2. Representative Works

Among James Ward's extensive body of work, several paintings stand out as particularly representative of his style and artistic achievements:

• Gordale Scar (completed 1814 or 1815): Considered Ward's masterpiece and a landmark work of English Romantic painting, this canvas, now housed at the Tate in London, depicts the dramatic Gordale Scar in Yorkshire. It is celebrated for its powerful evocation of the sublime in nature, with its rugged terrain and dramatic light capturing a sense of awe and immensity.

• The Deer Stealer (1823): Commissioned by Theophilus Levett, this painting is another of Ward's most well-known works. It explores narrative and animal subjects, reflecting his mastery in depicting wildlife and human interaction with the natural world. The painting now resides at the Tate in London.

• Marengo (1824): This painting of Napoleon's horse, now in a private collection, exemplifies Ward's exceptional skill as an animal painter, capturing the equine form with remarkable detail and character.

• Other notable works include:
  • Venus Rising from her Couch (1828)

  

  • An Overshot Mill in Aberdulais, Wales (1847)

  

  • Lion and Tiger Fighting (1797)

  

  • A Border Leicester Ewe
  • Madame Chevalier in the Character of Virginia (1799), depicting actress Louise Chevalier.
  • The Children of Theophilus Levett, Esquire (1811), a group portrait.

3.3. Engraving Career

James Ward's artistic journey began with a foundation in engraving, a skill he honed under the tutelage of his elder brother, William Ward, who was also an accomplished engraver. This early training proved to be a crucial aspect of his artistic development, as he produced a significant number of prints. The collaboration between James and William Ward was highly productive, with William often engraving James's paintings. Their combined efforts, marked by great technical skill and artistry, resulted in a body of work that reflected the aesthetic sensibilities of their era and established their reputation as leading figures in English art.

4.1. Critical Reception and Controversies

While many of Ward's works, particularly his animal paintings and landscapes, were highly regarded by his contemporaries and continue to be celebrated, some of his ambitious projects met with mixed reception. The most notable example is his monumental Allegory of Waterloo. Despite the immense effort and six years dedicated to its creation, the painting was not widely praised and failed to generate the financial returns Ward had hoped for. The painting was later dismembered due to display issues and is now lost, a fate that may have contributed to Ward's later embitterment. His later life was also marked by significant financial difficulties, and he ultimately died in poverty, a stark contrast to his earlier success and recognition as a Royal Academician. This final circumstance reflects the challenging economic realities many artists faced, even those with considerable talent and acclaim.

4.2. Influence and Cultural Impact

James Ward's unique style and exceptional skill profoundly influenced the growth of British art. His specialization in animal painting set a high standard for the genre, and his large-scale Romantic landscapes, such as Gordale Scar, became iconic works that captured the national imagination and shaped the artistic understanding of the sublime in nature. His versatility across various genres-history paintings, portraits, landscapes, and genre scenes-demonstrates a comprehensive artistic vision that inspired subsequent generations of artists. Beyond the traditional art world, Ward's work has also found its way into popular culture. For instance, the English rock musician Bryan Ferry featured one of Ward's paintings on the cover of his 1994 album, Mamouna, showcasing the enduring appeal and recognition of Ward's artistry.