Robert Ladbrooke, landscape painter, for many years enjoyed considerable celebrity as a drawing master, and in 1821 commenced the publication of “A Series of Views of the Churches in Norfolk,” printed in lithography, of which ninety numbers were completed.
Joseph Stannard was a marine painter, in which walk of art he established a high reputation. His subjects were generally finely chosen, and painted with all the truth and transparency of nature. The grouping of his vessels displayed an admirable taste, and they were embellished with the most correctly-drawn figures, highly characteristic of the stations they occupied.
Mrs. Stannard, wife of the above, was a painter of fruit, flowers, fish, still life, &c. Her maiden name was Coppin, and her mother was rewarded by the Society for the Encouragement of Arts, for several copies of painting. The daughter’s productions were highly esteemed by the lovers of art.
Alfred Stannard. The talents of this artist, at an early period of his life, gained him the approbation of the critics of the London Journals—which noticed works of fine arts as exhibited in the National Gallery. The Literary Gazette of March, 1828, contained this notice,—
“No. 152, Trowse Hall, Norwich, painted on the spot by A. Stannard. We think that this work partakes more of the Flemish style of art than legitimately belongs to a picture painted on the spot; its elaborate finish must necessarily have required considerable time in the execution; and the character of our climate is much too variable, day after day, to paint from the same hue of atmosphere, and the same effect of Chiaroscuro. Be that as it may, the excellence of the performance, however it may have been achieved, is an abundantly sufficient passport to regard of this artist’s picture. No. 431, Sluice Gate, on the river Wensum, shews the close resemblance of character and execution between the works of some of our artists and the best pictures of the Flemish school.”
The critic might have added that most of the people of Norwich are of Flemish or Danish extraction, and that the Norwich school of painting seems to have been derived from the Flemish school. The subjects painted, and the style of treatment are very similar.
James Stark was articled to the senior Crome for three years, from 1810 or 1811, at the expiration of which time he went to London and drew at the Royal Academy, which place he was obliged to leave from ill health. The first picture which he exhibited at the British Gallery, represented “Boys Bathing,” purchased by the Bishop of Oxford. His other pictures were “Flounder Fishing,” in the possession of Sir J. Grey Egleton, Bart.; “Penning the Flock,” the Marquis of Stafford; “Lambeth,” the Countess de Grey; “Grove Scene,” Thomas Phillips, Esq.; “Grove Scene,” Francis Chantrey, Sculptor; besides many others in the possession of George Watson Taylor, Esq., M.P.; Mr. Davenport, M.P.; Charles Savill Onley, Esq., M.P.; Onley Savill Onley, Esq.; &c., &c. In 1827, this artist circulated proposals for printing “Scenery of the Rivers Yare and Waveney,” with engravings from his own paintings, and the work was beautifully carried out.
J. S. Cotman became one of the most celebrated artists in the Water Colour Society, and attained a very high position in London, where he was appointed Drawing Master at King’s College; he published Views in Normandy, and also a work on the Sepulchral Brasses of this locality. His pictures have always commanded high prices. His two sons also became eminent artists.
About the year 1830, there was something like a School of Art commenced in Norwich, where artists and amateurs could study art in a proper manner, from the best casts of the finest statues. Before then, artists had to study as they best could, and their education was very imperfect. They are much indebted to John Barwell, Esq., for promoting their interests in this respect, and rendering them great assistance by his knowledge of art. Amongst the members of the new society were the Barwells, father and son, the Cotmans, the Freemans, T. Geldart, A. Sandys, S. Miers, and many others who studied art either from the cast or the life.
The Norfolk and Norwich Art Union opened their exhibition of pictures on August 16th, 1839, at the Bazaar, in St. Andrew’s Broad Street. About 400 pictures were exhibited, many of them being of a high order of merit. At subsequent exhibitions, many pictures of local artists were exhibited, including some of the Cromes, the Ladbrookes, the Stannards, the Cotmans, Hodgson, Stark, Vincent, Downes, Sandys, Capt. Roberts, and others much admired. A Fine Art Association has also been recently established. It held its first exhibition in August, 1868. A large number of the pictures were disposed of on the principle of an Art Union.