John Maler Collier, a prominent figure in the later Pre-Raphaelite movement, distinguished himself as a masterful portraitist and painter of historical and literary subjects during the Victorian and Edwardian eras. His technical precision, combined with a flair for dramatic narrative, established him as one of the most accomplished artists of his generation.
Early Life and Training
Born into privilege as the son of Lord Monkswell, Collier's artistic journey began under the tutelage of Edward Poynter at the Slade School of Fine Art. His education continued in Munich and Paris, where he studied under Jean-Paul Laurens, developing the academic rigor that would characterize his later works.
Artistic Style and Influences
Collier's style merged Pre-Raphaelite attention to detail with academic classicism. While maintaining the movement's emphasis on literary and mythological subjects, he developed a more naturalistic approach to painting. His work is characterized by psychological depth and technical virtuosity, particularly in his handling of flesh tones and fabric textures.
Analysis of Major Works
Lilith (1887)
In his haunting portrayal of "Lilith," Collier explores the complex mythology of Adam's first wife. The painting, currently housed at the Atkinson Art Gallery, presents Lilith as a formidable figure of feminine power. The composition is dominated by a striking red-haired woman, her pale flesh luminescent against a dark background, while a serpent coils around her body.
The work demonstrates Collier's masterful handling of skin tones, achieving an almost translucent quality that emphasizes Lilith's supernatural nature. The serpent, rendered with meticulous attention to its scales and musculature, serves both as a biblical reference and a symbol of dangerous sexuality.
Technical analysis reveals Collier's use of layered glazes to achieve the ethereal quality of Lilith's skin, a technique borrowed from Old Masters but employed with Victorian precision. The painting's psychological intensity is heightened by Lilith's direct gaze, challenging the viewer with an expression of defiant sensuality.
Lady Godiva (1898)
Collier's interpretation of the legendary Lady Godiva represents a departure from traditional Victorian sensibilities. The painting depicts the moment of Godiva's famous ride through Coventry, focusing on the dignity of her sacrifice rather than its sensational aspects.
The artist's technical prowess is evident in his treatment of the horse's white coat and Godiva's flowing hair, which provides strategic modesty while creating a complex interplay of light and shadow. The urban setting is rendered with architectural precision, demonstrating Collier's attention to historical detail.
Christie's lot essays note the painting's exceptional handling of natural light, with particular emphasis on how Collier achieved the diffused morning light that bathes the scene. The composition's vertical format emphasizes Godiva's nobility while minimizing any potential voyeuristic elements.
The Death of Cleopatra (1890)
This masterwork exemplifies Collier's ability to combine historical accuracy with dramatic impact. The painting depicts Cleopatra's final moments after the asp's bite, rendered with both archaeological precision and emotional intensity.
The composition is notable for its innovative perspective, placing the viewer at eye level with the dying queen. Collier's research into Egyptian artifacts is evident in the detailed rendering of period furnishings and decorative elements. The painting's color palette, dominated by rich golds and deep reds, creates an atmosphere of opulent tragedy.
Sotheby's analysis highlights Collier's use of contemporary archaeological discoveries to inform the painting's historical details, while maintaining the dramatic requirements of Victorian narrative painting. The artist's handling of the dying queen's flesh tones, transitioning from life to death, demonstrates his technical mastery.
Legacy and Influence
Collier's contribution to Victorian art extends beyond his paintings. His treatise "A Manual of Oil Painting" (1886) became a standard text for art students, demonstrating his commitment to technical excellence and artistic education. His influence can be seen in the work of later academic painters and in the continuing tradition of narrative painting.
References
- Sotheby's. (2019). "Victorian, Pre-Raphaelite & British Impressionist Art." Lot Essay: The Death of Cleopatra.
- Christie's. (2015). "19th Century European Art." Auction Catalogue, Lot Essay: Lady Godiva.
- Bills, Mark. (2007). "John Collier: The Art of the Pre-Raphaelites." Yale University Press.
- Prettejohn, Elizabeth. (2012). "The Art of the Pre-Raphaelites." Tate Publishing.
- Staley, Allen. (2011). "The Post-Pre-Raphaelite Print." Yale University Press.
- Wood, Christopher. (1983). "Dictionary of Victorian Painters." Antique Collectors' Club.
- Treuherz, Julian. (1993). "Victorian Painting." Thames & Hudson.
- Valentine, Helen. (2003). "Art in the Age of Queen Victoria." Royal Academy of Arts.
