ROBERT HERDMAN, R.S.A. Born, 1829; died, 10th
January 1888.
The name of this eminent
artist first appears as an exhibitor in the Royal Scottish Academy
catalogue for 1850, attached to a subject from Longfellow's "Excelsior."
He was a son of the minister of Rattray in Perthshire, and brother of
the Rev. Dr Herd- man of Melrose, and was at that time studying at the
University of St Andrews, with a view to following the profession of his
father. His early liking for art having
predominated over that for the ministry, he went to Edinburgh in 1852,
in which year he exhibited his first portrait—that of the daughter of Mr
David Rhind —and also became a student at the life-class of the
Trustees' Academy, which was then under the able direction of Robert
Scott Lauder, whose style of work visibly affected that of the pupil. As
a student he was as successful as enthusiastic, and after • year's
study, gave promise of his future excellence by obtaining a prize for a
drawing of John the Baptist preaching in the Wilderness, shown at the
Academy exhibition of 1853. The painting of this in the following year,
along with a Magdalene and a Samson, brought him prominently into
notice. The theological studies which he had previously pursued,
probably suggested the Scriptural subjects which he then painted. In
1854 his exhibit at the Academy was Jesus and Martha on their way to
Lazarus's Tomb; and in the same year he was awarded the Keith prize and
bronze medal of the Academy. In 1855 he exhibited a portrait of his
mother, at which date he went to Italy, and in consequence was not
represented at the Academy exhibition of the following year, the only
instance which occurred in this respect up till his death. During his
stay on the Continent the Academy complimented him by a commission to
make a drawing from one of Masaccio's works in Florence, which, along
with copies of Tintoretto's Massacre of the Innocents and Meeting of
Elizabeth and Mary, Raphael's Triumph of Galatea, Perugino's Agony in
the Garden, two Madonnas by Leonardo da Vinci, and two frescoes by
Philippino Lippi, are now the property of the Academy. In addition to
these he made a number of other copies from the old masters in the
Italian galleries, many in water-colours, in which branch of the art he
attained a high degree of excellence.
On
his return from Italy, Italian subjects constituted his chief
contributions to the Academy, of which he was then elected an Associate,
followed four or five years later, in 1863, by his elevation to the full
rank of Academician on the death of George Simson. During his
comparatively brief career he contributed about two hundred pictures to
the exhibitions of the Academy: these included his best works, many of
which formed the chief attractions of the exhibitions, and he was often
represented by as many as six works at a time. His diploma picture, La
Culla, a very lovely piece of colour, was painted in Italy and shown in
Edinburgh in 1857. Among his more prominent works are the Captive of
Lochieven, 1567, exhibited in 1864; After the Battle, a scene in
Covenanting Times (1871), a magnificent work full of deep pathos, now in
the Scottish National Gallery, where it was deposited by the Association
for the Promotion of the Fine Arts in Scotland, which had commissioned
the picture; the Interview between Jeanie and Effie Deans appeared in
1873; and his reputation was very largely increased by his Conventicle
Preacher arrested and brought before a Court of Justice, the largest
picture he ever painted, exhibited in 1874. In the Royal Academy
exhibition in London (where he had for many years previously been
represented by portraits), his First Conference between Mary Stuart and
John Knox at Holyrood appeared in 1875, and was re-exhibited in the
Scottish Academy in the following year. His Charles Edward seeking
Shelter in the House of an Adherent appeared in the Edinburgh exhibition
of 1879, along with Gertrude of Wyoming, and was shown at the Royal
Academy in i88o; and his somewhat less successful St Columba rescuing a
Captive was exhibited in the Scottish Academy in 1883.
He was particularly happy in his smaller pictures,
many of which, consisting of single figures such as his Hero (1863), are
very remarkable for refinement and delicacy of form and colour. He
occasionally drew upon Scottish song for his subjects, such as the
Rowan-Tree (R.S.A., 1867), Lord UlIin's Daughter (R.SA., 1879), and Auld
Robin Gray (R.A., 1879); while his summers, occasionally spent in the
island of Arran, were productive of numerous attractive works,
consisting of small rustic figures, and very exquisite water-colour
studies of sea-weed and common objects of the sea-shore, which are
eagerly sought after by picture collectors.
As a portrait-painter he occupied one of the most
prominent positions in Scotland, and a glance at the Royal Scottish and
Royal Academy catalogues will testify to the extent of his practice. He
was most successful in portraits of ladies, among which may be mentioned
those of Mrs Shand and Lady Anna Maria Stirling- Maxwell (1868), Mrs
Bruce-Gardyne (R.A., 1870), Lady Susan Burke (R.A., 1871), and Mrs J. H.
Buchanan, and her sister Miss Anne C. Brodie. The defect of his male
portraits may be said to consist of a want of strength and solidity, and
he was accordingly less successful in his whole - lengths than heads.
Among the latter may be mentioned those of Sir George Harvey, PR.S.A.
(R.A., 1874; R.S.A., 1875), Thomas Carlyle (R.A., 1876), Sir J. Noel
Paton (R.A., 1880), Dr David Laing, LL.D., and D. O. Hill, R.S.A., now
in the Royal Scottish Academy.
He was rendered exceedingly popular by a series
of six pictures illustrating Henry Glassford Bell's 'Queen Mary,' which
were reproduced in photography by the Glasgow Art Union. Somewhat
sketchily painted, they were characterised by his usual qualities of
grace and refinement of form and beauty of colour. This class of work,
indeed, may be said to have been in accordance with the real inclination
of his mind; and it has been truly remarked, that had - he been less
employed as a portrait-painter, he might have risen to the very highest
position as a painter of historic and poetic subjects. Those of the
latter class which he executed were almost entirely derived from the
literature of his native land. A writer in the 'Scottish Leader' two
days after his death remarks: "The technical side of his painting
evidenced the same powers and shortcomings as were characteristic of its
mental side. Full of knowledge suitable to the purpose in hand, his
brush-work was always suave and apparently effortless, which gave the
spectator a sense of his never being worried or flurried, but always at
his ease. On the other hand, tried by the more scientific standards of
the modem French school of painting, his technique would be found
wanting in depth, in solidity, and in true rendering of texture and
surfaces. Much, of course, of this was due to the school in which he had
been trained, with its Scotch traditions. Ultimately the great charm of
Mr Herdman's work was the realisation of his natural and inborn sense of
the beautiful, which can negatively be determined in saying that it was
impossible for him to produce any work tainted with meanness or
vulgarity in spirit, and might be positively determined by the
harmonious completeness of those pictures in which he set himself to
express this his great tendency.
Personally he was a man of high culture, with great appreciation of the
possibilities of his art in Scotland. He occupied the position of
vice-president of the Society of Antiquaries of Scotland; was a member
of the Hellenic Club; and as president for some years of the Edinburgh
Art Club, took much interest in the younger members of his profession.
His manner on a first acquaintance had a slight feeling of reserve,
which, however, soon wore off; when the true man of genius was evidenced
by his modesty, intellect, and open and candid manner.
He died suddenly in his studio, which was attached
to his house at 12 Bruntsfield Crescent, from what was supposed to be an
affection of the heart, and had presided on the previous evening at a
meeting of the Society of Antiquaries. His son, Mr Duddingston Herdman,
gives promise of success in the profession in which his father was so
distinguished. |