(This is an EXACT reproduction of a book published before ...)
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(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Naval Annual: Or, Stories Of The Sea For M.DCCC.XXXVI. Containing The Pirate, And The Three Cutters Frederick Marryat, Clarkson Stanfield Longmans, Rees, Orme, Brown, Green, and Longman, 1836 Transportation; Ships & Shipbuilding; General; Seafaring life; Sports & Recreation / Sailing; Transportation / Ships & Shipbuilding / General
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(This book was originally published prior to 1923, and rep...)
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He was born at Sunderland in 1793, the son of James Field Stanfield (1749–1824) an Irish-born author, actor and former seaman. Clarkson was named after Thomas Clarkson, the slave trade abolitionist, whom his father knew, and this was the only forename he used, although there is reason to believe Frederick was a second one.
Stanfield probably inherited artistic talent from his mother, who is said to have been an artist but died in 1801.
He was briefly apprenticed to a coach decorator in 1806, but left owing to the drunkenness of his master's wife and joined a South Shields collier to become a sailor.
During many long voyages he acquired that intimate acquaintance with the sea and shipping which was admirably displayed in his subsequent Works. In his spare time he diligently occupied himself in sketching marine subjects, and so much skill did he acquire that, after having been incapacitated by an accident from active service, he received an engagement, about 1818, to paint scenery for the "Old Royalty, " a sailor's theatre in Wellclose Square, London. Along with David Roberts he was afterwards employed at the Cobourg theatre, Lambeth; and in 1826 he became scene-painter to Drury Lane theatre, where he executed some admirable work, especially distinguishing himself by the production of a drop- scene, and by decorations for the Christmas pieces for which the house was celebrated. Meanwhile he had been at work upon some easel pictures of small dimensions, and was elected a member of the Society of British Artists. Encouraged by his success at the British Institution, where in 1827 he exhibited his first important picture, "Wreckers off Fort Rouge", and in 1828 gained a premium of 50 guineas, he before 1830 abandoned scene-painting, and in that year made an extended tour on the Continent. He now produced his "Mount St Michael, " which ranks as one of his finest works; in 1832 he exhibited his "Opening of New London Bridge" and "Portsmouth Harbour " - commissions from William IV - in the Royal Academy, of which he was elected an associate in 1832 and an academician in 1835; and until his death on the 18th of May 1867 he contributed to its exhibitions a long series of powerful and highly popular works, dealing mainly with marine subjects, but occasionally with scenes of a more purely landscape character. Among these may be named: the "Battle of Trafalgar " (1836), executed for the United Service Club; the "Castle of Ischia " (1841), "Isola Bella" (1841), among the results of a visit to Italy in 1839; "French troops Fording the Margra" (r847), "The 'Victory' Bearing the Body of Nelson Towed into Gibraltar" (1853), "The Abandoned "(1856). He also executed two notable series of Venetian subjects, one for the banqueting-hall at Bowood, the other for Trentham. He was much employed on the illustrations for The Picturesque Annual, and published a collection of lithographic views on the Rhine, Moselle and Meuse; and forty of his works were engraved in line under the title of " Stanfield's Coast Scenery. "The whole course of Stanfield's art was powerfully influenced by his early practice as a scene-painter. But, though there is always a touch of the spectacular and the scenic in bis works, and though their colour is apt to be rather dry and hard, they are large and effective in handling, powerful in their treatment of broad atmospheric effects and telling in composition, and they evince the most complete knowledge of the artistic materials with which their painter deals.
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Stanfield was admired not only for his art but his personal simplicity and a modesty.
Quotes from others about the person
The Times wrote: "There are no English painters whose works have won wider and warmer popularity outside the artistic pale. Stanfield’s practiced command of the artist of composition, his unerring sense of the agreeable and picturesque in subject and effect, his pleasant and cheerful color and last, not least, the large use to which he turned his knowledge and love of the sea and shipping… (all) added to the widespread admiration he had won by his consummately skillful scene painting, (and) combined to make him one of the most popular, if not the most popular, of landscape painters. "
His first wife was Mary Hutchinson, who had died in childbirth. He became increasingly devout in middle life, after the loss in 1838 of his eldest son by his second marriage (to Rebecca Adcock) and then, in the 1850s, both the children of his first marriage. His eldest surviving son, George Clarkson Stanfield (1828–78) was also a painter of similar subjects, largely trained by his father. His grandson by his daughter Harriet, Joseph Ridgard Bagshawe was also a marine painter.
