William Henry Hunt OWS

1790 - 1864

William Henry Hunt was one of the key figures in nineteenth-century English watercolour painting. His work was extensively collected in his lifetime, particularly his genre pictures of children, often in humorous situations, and his detailed, naturalistic still lifes of fruit, flowers, and birds' nests that earned him the nickname Bird’s Nest Hunt. Hunt was disabled and unable to travel unassisted. In the early 19th century, this meant his world and subject matter were constricted by his inability to travel far. Consequently, his subject areas were centred around domestic scenes, still lives, gardeners, farm workers and family in the places he lived and stayed. Aged 16, he persuaded his father to allow him to be apprenticed to the great watercolour teacher of the age, John Varley, and in 1808 he entered the Royal Academy Schools. Through Varley, he was also introduced to the great patron and amateur artist, Dr Thomas Munro, who became a key patron. By 1822, Hunt was living independently of his family. From 1822-25, he again exhibited at the Royal Academy, after which he ceased entirely. This may be because in 1824 he was elected to the Society of Painters in Water-Colours, becoming a full member two years later. From his earliest contributions until 1864, the year he died, Hunt was a prolific exhibitor at the society's annual exhibitions, contributing a total of 765 works in all. Hunt was in part responsible for taking English watercolour painting from the topographical watercolour and the era of Girtin and Varley ... show more

William Henry Hunt was one of the key figures in nineteenth-century English watercolour painting. His work was extensively collected in his lifetime, particularly his genre pictures of children, often in humorous situations, and his detailed, naturalistic still lifes of fruit, flowers, and birds' nests that earned him the nickname Bird’s Nest Hunt. Hunt was disabled and unable to travel unassisted. In the early 19th century, this meant his world and subject matter were constricted by his inability to travel far. Consequently, his subject areas were centred around domestic scenes, still lives, gardeners, farm workers and family in the places he lived and stayed. Aged 16, he persuaded his father to allow him to be apprenticed to the great watercolour teacher of the age, John Varley, and in 1808 he entered the Royal Academy Schools. Through Varley, he was also introduced to the great patron and amateur artist, Dr Thomas Munro, who became a key patron. By 1822, Hunt was living independently of his family. From 1822-25, he again exhibited at the Royal Academy, after which he ceased entirely. This may be because in 1824 he was elected to the Society of Painters in Water-Colours, becoming a full member two years later. From his earliest contributions until 1864, the year he died, Hunt was a prolific exhibitor at the society's annual exhibitions, contributing a total of 765 works in all. Hunt was in part responsible for taking English watercolour painting from the topographical watercolour and the era of Girtin and Varley

to the sensibility of the Pre-Raphaelites. Indeed, his divisionist technique, building form from primary colours, also seen in the work of J M W Turner, prefigures the Neo-Impressionists, such as Georges Seurat and Paul Signac. His sketchbooks also contained some of the most sensitive and intimate recordings of English family life in the early 19th century. Hunt was in part responsible for taking English watercolour painting from the topographical watercolour and the era of Girtin and Varley to the sensibility of the Pre-Raphaelites. Indeed, his divisionist technique, building form from primary colours, also seen in the work of J M W Turner, prefigures the Neo-Impressionists, such as Georges Seurat and Paul Signac. His sketchbooks also contained some of the most sensitive and intimate recordings of English family life in the early 19th century.