James Collinson, Victorian painter (b. 1825)

James Collinson (9 May 1825 – 24 January 1881) was a distinguished Victorian painter, primarily known for his association with the influential Pre-Raphaelite Brotherhood, a revolutionary artistic movement of the mid-19th century. Although his tenure as a member of this avant-garde group was relatively brief, spanning from 1848 to 1850, his contributions and the reasons for his eventual departure offer significant insight into the philosophical and artistic tenets of the Brotherhood itself.

Who was James Collinson?

Born in Mansfield, Nottinghamshire, Collinson was an English painter whose artistic journey was deeply intertwined with his devout High Church Anglican beliefs. Before joining the Pre-Raphaelite Brotherhood, he was already exploring themes of domestic life and religious subjects, often imbued with a meticulous attention to detail that would later align with the PRB's ideals. His commitment to the Christian faith profoundly influenced not only his personal life but also the subjects and underlying messages within his artworks, leading to a unique position within the Brotherhood.

The Pre-Raphaelite Brotherhood and Collinson's Role

The Pre-Raphaelite Brotherhood (PRB) was founded in 1848 by a group of young British artists, including Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt. Their core philosophy was to reject the academic conventions prevalent in British art, particularly those inspired by Raphael and the artists who followed him. Instead, they advocated for a return to the perceived purity, vibrant colours, and detailed observation of nature found in art preceding Raphael's High Renaissance period. They sought to infuse art with sincerity, moral purpose, and realism, often drawing inspiration from literature, poetry, and religious narratives.

Collinson was one of the seven founding members, invited due to his shared artistic sensibilities and his existing connection to Christina Rossetti, Dante Gabriel Rossetti's sister, to whom he was briefly engaged. His style, characterized by its precision, delicate brushwork, and earnest portrayal of human emotion, resonated with the Brotherhood's emphasis on truth to nature and moral integrity. Within the PRB, Collinson contributed to their short-lived periodical, The Germ, and exhibited works that exemplified the Pre-Raphaelite commitment to detail and symbolic depth.

Departure from the Brotherhood: A Conflict of Conscience

Collinson’s membership in the Pre-Raphaelite Brotherhood, while artistically fruitful, was ultimately cut short by his profound religious convictions. He resigned from the group in 1850. The primary reason for his departure was a personal crisis of conscience: he felt that the more secular and sometimes rebellious artistic expressions of some fellow Brotherhood members were incompatible with his deeply held Anglican faith. He believed that the PRB’s original aims, which included a strong moral and spiritual dimension, were being compromised. This decision highlights the serious moral and ethical considerations that underpinned the lives and art of many Victorian figures, especially within religious contexts.

Later Career and Artistic Legacy

After leaving the Pre-Raphaelite Brotherhood, James Collinson temporarily abandoned painting to consider a religious vocation, entering a Jesuit monastery. However, he eventually returned to his artistic pursuits in 1854. His later works continued to reflect his Christian faith and his keen observation of everyday life, often focusing on domestic scenes, portraits, and religious subjects, though his connection to the core Pre-Raphaelite movement was less direct. Notable works from his career include:

• An Incident in the Life of St. Elizabeth of Hungary (1850): An important Pre-Raphaelite painting, exhibited at the Royal Academy, which showcases his detailed, naturalistic approach.
• The Empty Purse (1857): A poignant social commentary piece, depicting a woman struggling with poverty.
• The Child Jesus with the Doctors (1862): Exemplifying his continued dedication to religious themes.

Though often overshadowed by the more prominent figures of the Pre-Raphaelite Brotherhood, James Collinson’s work provides a valuable perspective on the movement's early years and the diverse artistic paths taken by its members. His sincere, emotionally resonant paintings, particularly those from his PRB period, remain important examples of Victorian art that sought to infuse beauty with moral and spiritual depth.

Frequently Asked Questions About James Collinson and the Pre-Raphaelite Brotherhood

When was James Collinson a member of the Pre-Raphaelite Brotherhood?

James Collinson was a member of the Pre-Raphaelite Brotherhood from its inception in 1848 until his resignation in 1850, making him one of the seven original members.

Why did James Collinson leave the Pre-Raphaelite Brotherhood?

Collinson left the Pre-Raphaelite Brotherhood in 1850 due to a conflict between his strong High Church Anglican faith and what he perceived as the increasingly secular or morally ambiguous aspects of the Brotherhood's artistic output and ethos. He felt a moral obligation to distance himself from what he considered deviations from their initial spiritual aims.

What kind of art did James Collinson produce?

Collinson was a Victorian painter known for his meticulous detail, vibrant colours, and earnest portrayal of subjects. His oeuvre includes domestic scenes, portraits, and, significantly, religious narratives, reflecting his devout Christian beliefs and the Pre-Raphaelite emphasis on truth to nature and symbolic depth.

Was James Collinson a founding member of the Pre-Raphaelite Brotherhood?

Yes, James Collinson was indeed one of the seven original founding members of the Pre-Raphaelite Brotherhood, alongside figures like Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt.