John Opie (1761–1807) was a distinguished English portrait and history painter whose meteoric rise from humble beginnings to the heights of artistic acclaim is both remarkable and inspiring.

Often referred to as the “Cornish Wonder,” Opie’s journey from a self-taught artist in rural Cornwall to a celebrated member of the Royal Academy encapsulates the quintessence of innate talent nurtured by opportunity and perseverance.

His works, characterized by their robust realism and dramatic use of light and shadow, left an indelible mark on the landscape of British art during a period that bridged the gap between the Rococo frivolity of the early 18th century and the burgeoning Romantic movement.

Early Life

Born on May 16, 1761, in the small village of St. Agnes, Cornwall, John Opie was the son of a master carpenter, Edward Opie, and his wife Mary. Despite the modest means of his family, Opie’s precocious intellect and aptitude for learning were evident from an early age. By the age of twelve, he had mastered Euclidean geometry and was teaching mathematics to local children. However, it was his innate penchant for drawing that set the course for his future.

Without formal instruction, Opie began sketching the world around him—capturing the rugged Cornish landscapes and the visages of local inhabitants with a raw authenticity. His early exposure to the practicalities of his father’s trade may have influenced his understanding of structure and form, elements that would later become hallmarks of his artistic style.

Discovery and Early Career

John Opie’s life took a pivotal turn when he caught the attention of Dr. John Wolcot, a physician and satirist better known by his pen name, Peter Pindar. Wolcot, who had settled in Truro, recognized the young artist’s extraordinary talent. In 1775, he took Opie under his wing, providing him with access to his personal art collection and guiding his artistic development.

Under Wolcot’s mentorship, Opie honed his skills, focusing on portraiture and genre scenes that depicted the lives of ordinary people with unvarnished realism. Wolcot, ambitious for his protégé, arranged for Opie’s works to be exhibited in London, where they garnered significant attention. In 1781, at the age of twenty, Opie moved to London, escorted by Wolcot, who adeptly managed the publicity surrounding his arrival. The art world was abuzz with talk of the “Cornish Wonder,” a self-taught genius from the provinces whose works challenged the established norms of the time.

Career as a Portrait Painter

Upon his arrival in London, Opie’s portraits quickly became the talk of the town. His style was a stark contrast to the polished elegance favored by his contemporaries like Sir Joshua Reynolds and Thomas Gainsborough. Opie’s portraits were noted for their strong chiaroscuro and the honesty with which he rendered his subjects. He eschewed flattery, instead choosing to capture the true character and emotion of the sitter.

One of his most celebrated early works was the portrait of Mary Wollstonecraft, the pioneering advocate of women’s rights. Painted in 1797, the portrait captures Wollstonecraft’s intensity and intellect, reflecting Opie’s ability to convey the inner life of his subjects. Another notable portrait is that of actor William Siddons, where Opie adeptly captures the dramatic flair of the thespian.

Opie’s clientele included not only the elite of London society but also fellow artists and intellectuals. His portraits of literary figures like Samuel Johnson and Edmund Burke are significant not just for their artistic merit but also for their historical value, providing a visual record of the leading minds of the era.

Transition to History Painting

While John Opie achieved considerable success as a portraitist, he aspired to the higher echelons of art—history painting. This genre was regarded as the pinnacle of artistic achievement, demanding not just technical skill but also the ability to convey complex narratives and moral themes. He was drawn to the dramatic potential of historical and literary subjects, which allowed him to explore human emotion on a grand scale.

In 1786, Opie exhibited “The Assassination of James I of Scotland” at the Royal Academy, signaling his serious entry into history painting. The work was well-received, noted for its dramatic composition and the intensity of its figures. He continued to produce significant works in this genre, including “The Murder of Rizzio” and “The Presentation in the Temple,” both of which showcased his ability to handle large, complex scenes with numerous figures.

Perhaps his most ambitious project was the series of paintings commissioned for Boydell’s Shakespeare Gallery, an enterprise aimed at celebrating the Bard through visual art. Opie’s contributions included scenes from “The Winter’s Tale” and “King Lear,” where he demonstrated a deep understanding of Shakespearean drama and character.

Later Life and Career

In 1788, Opie was elected as an Associate of the Royal Academy, and two years later, he became a full Academician. His lectures at the Academy revealed his thoughtful approach to art and his commitment to the principles of truth and nature in painting. In 1805, he was appointed Professor of Painting at the Royal Academy, a position that allowed him to influence a new generation of artists.

His academic career was marked by his emphasis on the study of nature and the importance of individuality in artistic expression. He encouraged students to observe the world around them and to develop their unique styles rather than merely imitating the works of others. His lectures, later published posthumously, were well-regarded for their clarity and insight.

Personal Life

John Opie’s personal life was intertwined with the literary and artistic circles of his time. In 1798, he married Amelia Alderson, a writer and poet known for her progressive views and literary salons. Amelia was a significant figure in her own right, and their marriage was a meeting of minds as well as hearts. She later authored “Memoirs of John Opie,” providing valuable insights into his character and work.

Their home became a gathering place for artists, writers, and intellectuals, fostering an environment of creative exchange. Opie’s relationships with contemporaries such as Sir Joshua Reynolds and John Constable were complex, characterized by mutual respect but also professional rivalry.

Death and Legacy

John Opie’s life was cut short when he died on April 9, 1807, at the age of 46, after a brief illness. His death was widely mourned in artistic circles. He was buried in St. Paul’s Cathedral, a testament to his stature in the art world.

His legacy is multifaceted. He is remembered for his dedication to realism and his refusal to compromise artistic integrity for commercial success. His works provided a bridge between the traditional portraiture of the 18th century and the more emotive, individualistic styles that would define the Romantic era.

Posthumously, his reputation experienced fluctuations. In the years immediately following his death, his works continued to be held in high regard. However, as art movements evolved, his contributions were sometimes overshadowed by those of his contemporaries. In recent times, there has been a renewed interest in Opie’s work, with art historians recognizing his unique place in British art history.

Major Works

• “Mary Wollstonecraft” (1797): This portrait is one of his most significant works, capturing the famed feminist writer with a direct gaze and thoughtful expression. The painting reflects Wollstonecraft’s strength and intelligence, and it stands as a powerful representation of a pioneering woman.
• “The Murder of Rizzio” (1787): A dramatic history painting depicting the assassination of David Rizzio, secretary to Mary, Queen of Scots. The composition is notable for its dynamic movement and emotional intensity.
• “The Assassination of James I of Scotland” (1786): This work showcases his ability to handle complex historical narratives, with a focus on the emotional and psychological dimensions of the scene.
• “King Lear in the Storm” (1788): One of his contributions to the Boydell Shakespeare Gallery, this painting captures the tumultuous emotion of Shakespeare’s tragedy. His use of light and shadow emphasizes the despair and madness of King Lear.
• “Portrait of William Siddons”: This portrait of the actor William Siddons highlights his skill in capturing the essence of theatrical personalities, conveying both the charisma and the inner life of the subject.

Influence and Artistic Style

Opie’s artistic style was characterized by a commitment to realism and a focus on the psychological depth of his subjects. He often employed strong contrasts of light and shadow, a technique influenced by the works of Rembrandt and Caravaggio. This approach lent a dramatic quality to his paintings, enhancing the emotional impact.

His portraits stood apart from the idealized images popular at the time. Instead of flattering his sitters, Opie sought to depict them as they were, with all their imperfections. This honesty was both a strength and a limitation, as some potential patrons preferred the more polished portrayals offered by other artists.

In his history paintings, his emphasis on narrative and emotion aligned with the emerging Romantic sensibilities. He was less concerned with classical ideals of beauty and more interested in conveying the human experience in all its complexity.

Teaching and Writings

As a professor at the Royal Academy, Opie played a significant role in shaping the discourse on art education. His lectures emphasized the importance of studying nature and the works of the old masters, but he also encouraged innovation and personal expression. He warned against the pitfalls of imitation and stressed that artists should strive to capture the truth of their subjects.

His writings were posthumously published as “Lectures on Painting, Delivered at the Royal Academy of Arts,” which provided valuable insights into his artistic philosophy. These lectures contributed to the broader debates on art and aesthetics in the early 19th century.

Recognition and Posthumous Reputation

Following his death, Amelia Opie worked to preserve her husband’s legacy. She published his lectures and wrote his memoirs, highlighting his contributions to art and his personal virtues. However, over time, Opie’s work became less prominent in public consciousness.

In the 20th century, art historians began to reassess Opie’s place in art history. Exhibitions and scholarly works have brought renewed attention to his paintings, recognizing their significance in the development of British art. His portraits, in particular, are appreciated for their psychological depth and historical value.

Museums such as the Tate Britain and the Royal Cornwall Museum house collections of his work, ensuring that new generations have access to his art. His influence is also evident in the works of later artists who embraced realism and individual expression.

Conclusion

John Opie’s life and work represent a remarkable journey from obscurity to prominence in the British art world. His dedication to realism and his commitment to portraying the truth of his subjects set him apart from many of his contemporaries. As both a portrait and history painter, he contributed significantly to the artistic discourse of his time, bridging the gap between traditional styles and emerging Romantic ideals.

Frequently Asked Questions

Where was John Opie born?

John Opie was born in 1761 at Harmony Cottage, Trevellas, between St. Agnes and Perranporth in Cornwall, England.

He was the youngest of five children born to Edward Opie, a master carpenter, and Mary (née Tonkin).

What talents did Opie show in his early years?

Opie demonstrated exceptional abilities in drawing and mathematics from a young age, mastering Euclid by the age of twelve.

He established an evening school where he taught reading, writing, and arithmetic to underprivileged children. Despite his clear abilities, his father did not support his artistic pursuits and apprenticed him to carpentry.

Who recognized Opie’s artistic potential?

In 1775, Dr. John Wolcot, a local physician and satirist known as Peter Pindar, recognized Opie’s talent.

What role did Dr. Wolcot play in Opie’s career?

Wolcot arranged for Opie’s release from his carpentry apprenticeship and brought him to live in Truro, providing mentorship and securing commissions.

When did he move to London and under what circumstances?

Opie moved to London in 1781 under Wolcot’s guidance after gaining experience as a traveling portrait artist in Cornwall.

Wolcot presented Opie as a “self-taught genius,” which captivated the public and brought attention from figures such as Sir Joshua Reynolds.

He and Wolcot parted ways after a year, leading to an estrangement, but Opie continued to find success independently.

How did Opie gain entry to the royal court?

English literary hostess Mrs. Frances Boscawen introduced Opie at King George III’s court, where the king purchased one of his paintings and commissioned a portrait of Mary Delany.

Which notable royal did Opie paint?

He painted Prince William Frederick, Duke of Gloucester, among other members of the court.

What was his experience with the Royal Academy?

He first exhibited at the Royal Academy in 1782 and became a full academician by 1788 after showing significant historical works.

Who were Opie’s spouses?

Opie married Mary Bunn in 1782, but the marriage was troubled and ended in divorce after her elopement in 1796. Two years later, he married Amelia Alderson, a writer linked to the Blue Stockings Society, whom he met at social gatherings such as those at Holkham Hall.

What significant historical works did Opie create?

His notable historical works include The Assassination of James I (1786) and The Murder of Rizzio (1787).

What notable figures did Opie paint?

He painted portraits of individuals like Mary Wollstonecraft, Samuel Johnson, Edmund Burke, and George Townshend, among others.

What role did Opie have at the Royal Academy?

He was appointed a professor in 1805 and delivered a series of lectures that were published posthumously.

What were his contributions to art literature?

He wrote a biography of Sir Joshua Reynolds and advocated for a national gallery in his letter on fine arts.

When did Opie die, and where was he buried?

He died in April 1807 at the age of 45 and was buried in St. Paul’s Cathedral next to Sir Joshua Reynolds.

Prince William Frederick, Sir Thomas Lawrence, and J.M.W. Turner were among the attendees at his funeral.