Joseph Noel Paton

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Sir Joseph Noel Paton Script error: No such module "If empty".(13 December 1821 – 26 December 1901) was a Scottish artist, illustrator and sculptor.[1]Template:R/superscript[2]Template:R/superscript He was also a poet[3] and had an interest in, and knowledge of, Scottish folklore and Celtic legends.

Early life

File:Bust of Joseph Noel Paton by Amelia Robertson Hill.jpg
Joseph Noel Paton by his sister Amelia Robertson Hill 1872
File:Sir Joseph Noel Paton - 'Home' - The Return from the Crimea - WGA17119.jpg
"Home" – The Return from the Crimea

Paton was born in Wooer's Alley, Dunfermline, Fife, on 13 December 1821[4]Template:R/superscript to Joseph Neil Paton and Catherine MacDiarmid, damask designers and weavers in the town.[5]Template:R/superscript He was the brother of the sculptor Amelia Robertson Hill, and the landscape artist Waller Hugh Paton.[6]Template:R/superscript He also had one brother, Archibald, and two sisters, Catherine and Alexia, who died in childhood. Later in his life, Paton erected a monument on the grave site of his parents and siblings.[7]Template:R/superscript Their graves were probably originally unmarked; the monument lies on the north side of Dunfermline Abbey and—amongst nearby smaller, sandstone markers—is a distinctive red granite Celtic cross.

Paton attended Dunfermline School and then Dunfermline Art Academy, further enhancing the talents he had developed as a child.[4]Template:R/superscript He followed the family trade by working as the design department director in a muslin factory for three years.[4]Template:R/superscript[6]Template:R/superscript Most of his life was spent in Scotland[6]Template:R/superscript but he studied briefly at the Royal Academy, London in 1843,[5]Template:R/superscript where he was tutored by George Jones.Template:Sfnp While studying in London, Paton met John Everett Millais,Template:Sfnp who asked him to join the Pre-Raphaelite Brotherhood.[4]Template:R/superscript

Career

Script error: No such module "Multiple image". The invitation to be an official member of the Brotherhood was turned down by Paton[4]Template:R/superscript although he painted in the Pre-Raphaelite style and became a painter of historical, fairy, allegorical and religious subjects.[8]Template:R/superscript Together with Daniel Maclise, Paton was a folklore expert;Template:Sfnp according to Christopher Wood, an expert in Victorian art,[9]Template:R/superscript Maclise and Paton were the only artists working in the genre of fairy paintings with expertise in folklore.Template:Sfnp Paton's knowledge of Celtic legends and Scottish folklore is reflected in his paintings.Template:Sfnp During his short spell in London, Paton became acquainted with Samuel Carter Hall, editor of The Art Journal, and he commissioned Paton to design some of the illustrations for his 1842 book The Book of British Ballads.[6]Template:R/superscript Other commissions to design book illustrations included the 1844 edition of Shelley's lyrical drama Prometheus Unbound, an 1845 publication of Shakespeare's The Tempest and an 1863 version of Coleridge's poem The Rime of the Ancient Mariner.[6]Template:R/superscript

In 1844 Paton's first painting, Ruth Gleaning, was exhibited at the Royal Scottish Academy.[5]Template:R/superscript He won a number of prizes for his work including for two of his most famous works The Quarrel of Oberon and Titania and The Reconciliation of Oberon and Titania (1847 – Westminster Hall), both of which are available to public view at the National Gallery of Scotland.[10]Template:R/superscript[11]Template:R/superscript An earlier study of the Quarrel painting was completed in 1846 and featured as Paton's diploma picture[12]Template:R/superscript at the Royal Scottish Academy that year.[13]Template:R/superscript The Academy purchased the earlier work for £700.Template:Sfnp

Paton became an associate of the Royal Scottish Academy in 1847 and was made a Fellow in 1850. In 1865, he was appointed Queen's Limner for Scotland. He also published two volumes of poetry and produced a number of sculptures. Two years later he received a knighthood, and in 1878 was conferred the degree LLD by the University of Edinburgh.[11]Template:R/superscript[13]Template:R/superscript

In 1860 he was living at 37 Drummond Place in the New Town, Edinburgh.[14]

Paton was a well known antiquary, whose specialty was arms and armour.[5]Template:R/superscript In 1859 he raised and commanded the 1st Edinburgh (City) Artillery Volunteer Corps, composed mainly of artists with the painter John Faed as his lieutenant.[15]

In 1875 Paton was one of the founding members of the Cockburn Association, the influential Edinburgh conservationist organisation, serving on its ruling council until 1885 when he became the campaigning group's vice-president, a position he retained until his death 16 years later.[16]

He died in Edinburgh at his home 33 George Square[17] on 26 December 1901,[5]Template:R/superscript and is buried in Dean Cemetery[6]Template:R/superscript (in the obscured lower terrace to the south).

Family

In 1858, he married Margaret Gourlay Ferrier and the couple had 11 children[4]Template:R/superscript (four daughters and seven sons).[6]Template:R/superscript Their eldest son, Diarmid Noel Paton (1859–1928), became a Regius Professor of physiology at the University of Glasgow during 1906.

Their second son. Frederick W.F. Noel Paton (1861–1914), was Director General of Commercial Intelligence and Statistics for India and was a noted illustrator.[17][18]Template:R/superscript

Another son, Ranald Alexander Noel Paton (born 8 June 1864), was also a portrait painter and married Winifred Jane Wallace.

His daughter, Hamilton Lora Paton (1868–1921), is buried Script error: No such module "convert". to his east with her husband, Robert Scott Moncrieff (1862–1923). Hamilton and Robert's daughter Madeline Scott Moncrieff married James Gordon McIntyre, Lord Sorn.

Works

File:Sir Joseph Noel Paton - The Quarrel of Oberon and Titania - Google Art Project 2.jpg
The Quarrel of Oberon and Titania
File:Joseph Noel Paton - The Reconciliation of Titania and Oberon.jpg
The Reconciliation of Titania and Oberon
  • Cymocles Discovered by Atis in the Bowre Of Blisse, Spencer's Fairie Queene, Book II, Chapter V (1848)
(Type: Pen, ink and wash; Size: 8<templatestyles src="Fraction/styles.css" />1⁄4 × 12 inches (21 × 30.5 cm); Location: Public collection)
  • Calvary (1849)
(Type: Pencil on paper; Size: 4<templatestyles src="Fraction/styles.css" />1⁄8 × 6<templatestyles src="Fraction/styles.css" />1⁄2 inches (10.5 × 16.8 cm); Location: Private collection)
  • Sermon on the Mount (1849)
(Type: Pencil on paper; Size: 4<templatestyles src="Fraction/styles.css" />1⁄8 × 6<templatestyles src="Fraction/styles.css" />1⁄2 inches (10.5 × 16.8 cm); Location: Private collection)
  • The Pursuit of Pleasure (1855)
  • The Bluidie Tryst (1855)
(Type: Oil on Canvas; Size: 28<templatestyles src="Fraction/styles.css" />5⁄8 × 25<templatestyles src="Fraction/styles.css" />1⁄2 inches (73 × 65 cm); Location: Glasgow Art Gallery and Museum, Glasgow, Scotland)
  • Home (c. 1855–56)
(Type: Oil on Panel Location: Chrysler Museum of Art, Norfolk, VA)
  • Hesperus (1857)
(Type: Oil on canvas; Size: 35<templatestyles src="Fraction/styles.css" />3⁄4 × 27<templatestyles src="Fraction/styles.css" />1⁄8 inches (91 × 69 cm); Location: Glasgow Art Gallery and Museum, Glasgow, Scotland)
  • In Memoriam (1858)
(Type: Oil on panel; Size: 48<templatestyles src="Fraction/styles.css" />3⁄8 × 37<templatestyles src="Fraction/styles.css" />7⁄8 inches (123 × 96.5 cm); Location: Private collection)
  • By a Painter (1861) Poem
  • Mors Janua Vitae (1866)
  • Spindrift (1867) Poem
  • The Fairy Raid: Carrying Off a Changeling – Midsummer Eve, 1867[19]
  • Oskold and the Ell-maids (1874)
  • The Man with the Muck-Rake (1875–9)[20]Template:R/superscript
(Location: Ferens Art Gallery, Hull City Museums collection,[21]Template:R/superscript also a study for the same work (1872)[22]Template:R/superscript)
  • In Die Malo (1882)
  • How an Angel Rowed Sir Galahad Across the Dern Mere (1888)
(Type: Oil on canvas; Location: Private collection)
  • Oberon and the Mermaid (1888)
(Type: Oil on canvas; Location: Private collection)
(Type: Oil on canvas; Location: Private collection)
  • Warriors
(Type: Oil on canvas; Size: 23 × 27<templatestyles src="Fraction/styles.css" />7⁄8 inches (58.5 × 71 cm); Location: Private collection)

Gallery

See also

References

Citations

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  6. ↑ a b c d e f g Script error: No such module "template wrapper". Template:Link note
  7. ↑ Script error: No such module "Citation/CS1".
  8. ↑ Template:Art UK bio
  9. ↑ Script error: No such module "citation/CS1".
  10. ↑ Script error: No such module "citation/CS1".
  11. ↑ a b Script error: No such module "citation/CS1".
  12. ↑ Script error: No such module "citation/CS1".
  13. ↑ a b Script error: No such module "citation/CS1".
  14. ↑ Edinburgh Post Office directory 1860
  15. ↑ Maj-Gen J.M. Grierson, Records of the Scottish Volunteer Force 1859–1908, Edinburgh: Blackwood, 1909, pp. 128–30.
  16. ↑ Script error: No such module "citation/CS1".
  17. ↑ a b Edinburgh and Leith Post Office Directory 1900–01
  18. ↑ Script error: No such module "citation/CS1".
  19. ↑ Script error: No such module "citation/CS1".
  20. ↑ Script error: No such module "citation/CS1".
  21. ↑ Script error: No such module "citation/CS1".
  22. ↑ Script error: No such module "citation/CS1".

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General bibliography

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External links

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