Pictures Every Child Should Know / A Selection of the World's Art Masterpieces for Young People

by Mary Schell Hoke Bacon

English School
1802-1873
Pupil of his father, John Landseer

It is pleasant to speak of one artist whose good work began in the companionship of his father; the case of Edwin Landseer is most unusual.

His father was a skilful engraver who loved art, and encouraged the cultivation of it in his son, as other fathers of painters encouraged them to become priests or haberdashers or bakers, as the case might be. Little Landseer's beginning has been described by his father as he and a friend stood looking upon one of the scenes of his childhood:

"These two fields were Edwin's first studio. Many a time have I lifted him over this very stile. I then lived in Foley Street, and nearly all the way between Marylebone and Hampstead was open fields. It was a favourite walk with my boys; and one day when I had accompanied them, Edwin stopped by this stile to admire some sheep and cows which were quietly grazing. At his request I lifted him over, and finding a scrap of paper and a pencil in my pocket, I made him sketch the cow. He was very young indeed, then--not more than six or seven years old.

"After this we came on several occasions, and as he grew older this was one of his favourite spots for sketching. He would start off alone, or with John (Thomas?) or Charles, and remain till I fetched him in the afternoon. I would then criticise his work, and make him correct defects before we left the spot. Sometimes he would sketch in one field, sometimes in the other, but generally in the one beyond the old oak we see there, as it was more pleasant and sunny."

All the Landseer men were gifted, and the mother was the beautiful woman whom Reynolds painted as a gleaner, carrying a bundle of wheat upon her head.

There were seven little Landseers, the oldest of them being Thomas, the famous engraver, whose reproduction of his brother's works will preserve them to us always, even after the originals are gone. The first of Edwin's drawings which seemed to his family worthy of publishing was a great St. Bernard dog, such a wonderful performance for a little fellow of thirteen that Thomas engraved it and distributed it all over England. Little Edwin had seen this beautiful dog one day in the streets of London in a servant's charge, and he was so delighted with its beauty, that he followed the two home and asked the dog's owner if he might sketch him. The St. Bernard was six feet four inches long "and at the middle of his back, stood two feet seven inches in height." A great critic said that this drawing was one of the very finest that any master of art had ever made, though it was done by a little child of thirteen years and it is also said that Landseer himself never did anything better than that little-boy work. A live dog who was let into the room with it--as critic, maybe--proved to be the most flattering of such, because he bristled instantly for a fight.

While the boy was still thirteen--which seems to have been a magic and not a tragic number to him--he exhibited pictures in the Royal Academy. These were a mule, and a dog with a puppy. In the stories of "Famous Artists" we are told that he was a fine, manly little chap with light curly hair and very well behaved. When he became a student of the Academy the keeper, Fuseli, used to look about among the students and cry: "Where is my little dog boy?" if Landseer was not in his place. The little chap's favourite dog was his own Brutus, which he painted lying at full length; and though the picture was small, it sold for seventy guineas. This means an earning capacity indeed, for a small boy.

When he was but seven years old he had made pictures of lions and tigers, each with a different expression from the other and each with a character of its own. Critics spoke specially of the tiger's whiskers as "admirable in the rendering of foreshortened curves." Tigers' whiskers were thought to be most difficult things to make, but in Landseer's pictures, they were as "natural as life." The great success of the artist's animal pictures was that he made them seem to have human intelligence, and it was also said that if one only saw the dog's collar, as Landseer painted it, he would know it to be the work of a great artist, that a great dog-picture must be attached to it.

At least one of his pictures had a remarkable history. He had been commissioned by the Hon. H. Pierrpont to paint a "white horse in a stable." After the painting was ready for delivery it disappeared, and for twenty-four years it could not be found. At last it was discovered in a hay-loft! It had been stolen by a servant and hidden there. In spite of the long years that had passed, Landseer sent it at once to the man for whom it had been made, with the message that he had not retouched it nor changed it in the least, "because," said he, "I thought it better not to mingle the style of my youth with that of my old age."