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MOTHER AND CHILD
This delightful genre subject - showing a young woman seated in an open landscape and holding in her hand a piece of crochet-work, accompanied by a child - is by the distinguished north-country artist Henry Hetherington Emmerson. Probably painted in the mid-1850s, its charming representation of the figures, and especially the engagement which the child makes with the spectator, allows it to be seen both as a tribute to the tradition of rustic subjects led by artists such as William Mulready, while the qualities of scrupulous observation of the forms of nature and intensity of colour are undoubtedly a response to contemporary Pre-Raphaelitism.
Born in Chester-le-Street, at the age of thirteen Emmerson enrolled in the Newcastle School of Art where for several years he was tutored by William Bell Scott. This was to be an important connection for Emmerson - as Scott was in a position later to recommend the artist's works to patrons, but also to put him in touch with other progressive painters. Emmerson subsequently spent a period in Paris, where he studied the works of the Old Masters in the Louvre and may perhaps also have looked with interest at contemporary works by artists such as Millet. He then moved to London, where he attended classes at Leigh's School and made contact with a rising generation of artists and, from 1851 onwards, sent works to the Royal Academy summer exhibitions. In 1855 he returned to the North East, living successively at Whickham, Ebchester and Bywell, all places close to Newcastle, and later (from 1888) on the coast at Cullercoats. Emmerson's best known work, and perhaps his masterpiece, is his illustration to the poem by Longfellow, Evangeline, of 1857, now in the Laing Art Gallery, Newcastle upon Tyne.
It is believed that the present painting has as its setting the English Lakes, with a steep fell rising from a wooded valley bottom on the right hand distance. It is painted on a Roberson canvas of a type also supplied to the Lakeland artist William James Blacklock (1816-1858), and it is possible that it may have been done during a visit by Emmerson to the older painter (with whom he will have likely been brought into contact by W.B. Scott) in Cumberland. Both Blacklock and Emmerson received commissions from James Leathart, of Gateshead on Tyne, and each refers to the other in their letters to Leathart (now held at the University of British Columbia).
Emmerson's subjects were principally of a rustic genre type, with portraits and pure landscapes also undertaken, and occasionally also literary and historical subjects. His preference, as may be deduced from the titles of the works he exhibited, was for subjects showing the ordinary men, women and children of the North Country, represented with utter candour and simplicity, and for the traditional pastimes and ways of living of working people. He also had a particular fondness for subjects showing mothers with children, or family groups - a specialisation well represented among the subjects included in a memorial exhibition to the artist in Newcastle in 1895. In this instance, we see both aspects of his artistic character: his skill in evoking the sweet simplicity of domestic life, and his fondness for an aspect of the countryside unaffected by the industrial revolution. (see illustration)
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