First exhibitions He first exhibited at the
Royal Academy Exhibition of 1837, with a picture of "The Wounded Heron" and two portraits, but his attendance at the Academy was short-lived, and his further art education was confined to personal experiment and endeavour, guided by a constant appeal to the standard of ancient Greek sculpture. He also began his portraiture career, receiving patronage from his close contemporary
Alexander Constantine Ionides, who later came to be a close friend.
Westminster mural prize He came to the public eye with a drawing entitled
Caractacus, which was entered for a competition to design murals for the new
Houses of Parliament at
Westminster in 1843. Watts won a first prize in the competition, which was intended to promote narrative paintings on patriotic subjects, appropriate to the nation's legislature, securing a prize of £300. In the end Watts made little contribution to the Westminster decorations, but from it he conceived his vision of a building covered with murals representing the spiritual and social evolution of humanity.
Italian travels The prize from the Westminster competition did, however, fund a long visit to Italy from 1843 onwards, where Watts stayed and became friends with the British ambassador
Henry Fox, 4th Baron Holland and his wife
Augusta at their homes in
Casa Feroni and the
Villa Careggi in
Tuscany. For them he painted a portrait of Lady Holland, exhibited in 1848, and in the villa a
fresco, after making some experimental studies in that medium. Also while in Italy Watts began producing landscapes and was inspired by
Michelangelo's
Sistine Chapel and
Giotto's
Scrovegni Chapel. In 1847, while still in Italy, Watts entered a new competition for the Houses of Parliament with his image of
Alfred the Great,
Alfred Inciting the Saxons to Prevent the Landing of the Danes by Encountering them at Sea, on a patriotic subject but using
Phidean inspiration.
Return to Britain Leaving Florence in April 1847 for what was intended to be a brief return to London, he ended up staying. After obtaining a first-class prize of £500, his winning painting at the exhibition in
Westminster Hall was purchased by the government, and was hung in one of the committee rooms of the House of Commons. It led, moreover, to a commission for the fresco of "St George overcomes the Dragon," which, begun in 1848 and finished in 1853, formed part of the decorations of the Hall of the Poets in the Houses of Parliament. Back in Britain he was unable to obtain a building in which to carry out his plan of a grand fresco based on his Italian experiences, though he did produce a 45 ft by 40 ft fresco on the upper part of the east wall of the Great Hall of
Lincoln's Inn entitled
Justice, A Hemicycle of Lawgivers (completed 1859), inspired by
Raphael's
The School of Athens. In consequence most of his major works are conventional oil paintings, some of which were intended as studies for the
House of Life.
Prinsep circle In his studio he met
Henry Thoby Prinsep (for 16 years a member of the
Council of India) and his wife Sara (née Pattle). Watts thus joined the
Prinsep circle of
bohemians, including Sara's seven sisters (including Virginia, with whom Watts fell in love but who married
Charles, Viscount Eastnor in 1850), and
Julia Margaret Cameron. Previously staying at 48 Cambridge Street, and then in
Mayfair, in 1850 he helped the Prinseps into a 21-year lease on
Little Holland House, and stayed there with them and their
salon for the next 21 years. (The building was the dower house on the Hollands' London estate in
Kensington, near the house of
Lord Leighton.)
Productive painting period While the Lincoln's Inn undertaking was still in progress, Watts was working steadily at pictures and portraits. In 1849 the first two of the allegorical compositions which form the most characteristic of the artist's productions were exhibited—"Life's Illusions," an elaborate presentment of the vanity of human desires, and "The people that sat in darkness," turning eagerly towards the growing dawn. In 1850 he first gave public expression to his intense longing to improve the condition of humanity in the picture of "The Good Samaritan" bending over the wounded traveller; this, as recorded in the catalogue of the Royal Academy, was "painted as an expression of the artist's admiration and respect for the noble philanthropy of
Thomas Wright, of Manchester," and to that city he presented the work. From the late 1840s onward he painted many portraits in France and England, some of which are described below. Notable pictures of the same period are "Sir Galahad" (1862), "Ariadne in Naxos" (1863), "Time and Oblivion" (1864), originally designed for sculpture to be carried out "in divers materials after the manner of Pheidias," and "Thetis" (1866).
Teaching, further travels One of only two pupils Watts ever accepted was Henry's son
Valentine Cameron Prinsep; the other was
John Roddam Spencer Stanhope — both remained friends, but neither became a major artist. While living as tenant at Little Holland House, Watts's epic paintings were exhibited in
Whitechapel by his friend the social reformer Canon
Samuel Barnett, and he finally received a commission for the Houses of Parliament, completing his
The Triumph of the Red Cross Knight (from
The Faerie Queene) in 1852–53. He also took a short trip back to Italy in 1853 (including Venice, where Titian became yet more of an inspiration) and with
Charles Thomas Newton to excavate
Halicarnassus in 1856–57, via Constantinople and the Greek islands. In 1856 Watts paid a visit to Lord Holland, for whom he would later design a
statue, in
Paris where he was then ambassador. Through him he made the acquaintance and painted the portraits of
Adolphe Thiers,
Jérôme Bonaparte and other famous Frenchmen. Apart from some visits to Italy, Greece and Egypt, the greater part of his subsequent life was passed in the seclusion of his home studios.
Brief marriage In the 1860s, Watts's work shows the influence of
Rossetti, often emphasising sensuous pleasure and rich colour. Among these paintings is a portrait of his young wife, the actress
Ellen Terry, who was 30 years his junior – having been introduced by mutual friend
Tom Taylor, they married on 20 February 1864, just seven days short of her 17th birthday. They separated within a year of the wedding; Watts did not immediately divorce her, but made her allowance (paid to her father) conditional on her never returning to the stage.
Later influences Watts's association with Rossetti and the
Aesthetic movement altered during the 1870s, as his work increasingly combined
Classical traditions with a deliberately agitated and troubled surface, to suggest the dynamic energies of life and evolution, as well as the tentative and transitory qualities of life. These works formed part of a revised version of the
House of Life, influenced by the ideas of
Max Müller, the founder of
comparative religion. Watts hoped to trace the evolving "mythologies of the races [of the world]" in a grand synthesis of spiritual ideas with modern science, especially
Darwinian evolution. '', painted in 1886 and given to the nation in 1897|alt=
Later life With the lease on Little Holland House nearing its end and the building soon to be demolished, in the early 1870s he commissioned a new London home nearby from
F. P. Cockerell: New Little Holland House (backing onto the estate of
Lord Leighton), and acquired a house at
Freshwater, Isle of Wight – his friends Julia Margaret Cameron and
Lord Tennyson already had homes on the island. To maintain his friendship with the Prinsep family as their children began leaving home, he built The Briary for them near
Freshwater, and adopted their relative
Blanche Clogstoun. In 1877, his
decree nisi from Ellen Terry finally came through, and the
Grosvenor Gallery was opened by his friend
Coutts Lindsay. This was to prove his ideal venue for the next ten years. File:George Frederic Watts by Frederick Hollyer.jpg|left|thumb|265x265px|George Frederic Watts, 1898, platinum print by Frederick Hollyer, Department of Image Collections, National Gallery of Art Library, Washington, DC In 1886, at the age of 69, Watts remarried, to
Mary Fraser Tytler, a Scottish designer and potter, then aged 36. In 1891 he bought land near
Compton, south of
Guildford, in
Surrey. The couple named the house "Limnerslease" (combining the words "limner" or artist with "leasen" or glean) and built the
Watts Gallery nearby, a museum dedicated to his work – the first (and now the only) purpose-built gallery in Britain devoted to a single artist – which opened in April 1904, shortly before his death, and received a major expansion between 2006 and 2011.
Watts Mortuary Chapel Watts's wife Mary had designed the nearby earlier
Watts Mortuary Chapel, which Watts paid for; he also painted a version of
The All-Pervading for the
altar only three months before he died. Both Limnerslease and the chapel are now maintained, and the house owned, by the Watts Gallery. In 2016 Watts's studio in the house re-opened, restored as far as possible using photographs from Watts's lifetime, as part of the Watts Gallery, and the main residential section can be visited on a guided tour.
Collections Many of his paintings are owned by
Tate Britain – he donated 18 of his symbolic paintings to Tate in 1897, and three more in 1900. Some of these have been loaned to the Watts Gallery in recent years, and are on display there.
Awards and honours Refusing the baronetcy twice offered him by
Queen Victoria, he was finally elected as an
Academician to the Royal Academy in 1867 and accepted to be one of the original members of the new
Order of Merit (OM) in 1902 — in his own words, on behalf of all English artists. The order was announced in the
1902 Coronation Honours list published on 26 June 1902, and he received the insignia from King
Edward VII at
Buckingham Palace on 8 August 1902.
Late paintings In his late paintings, Watts's creative aspirations mutate into mystical images such as
The Sower of the Systems, in which Watts seems to anticipate
abstract art. This painting depicts God as a barely visible shape in an energised pattern of stars and nebulae. Some of Watts's other late works also seem to anticipate the paintings of
Picasso's Blue Period.
Portraiture He was also admired as a portrait painter. His portraits were of the most important men and women of the day, intended to form a "House of Fame". In his portraits Watts sought to create a tension between disciplined stability and the power of action. He was also notable for emphasising the signs of strain and wear on his sitter's faces. Of his British subjects many are now in the collection of the
National Portrait Gallery: 17 were donated in 1895, with more than 30 more added subsequently. Some who sat for him from the late 1840s were
François Guizot (1848),
Sir Henry Rawlinson,
Sir Henry Taylor and Thomas Wright (1851),
Lord John Russell (1852),
Tennyson (1856, and again in 1859),
John Lothrop Motley the historian (1859), the
Duke of Argyll (1860),
Lord Lawrence and
Lord Lyndhurst (1862),
James Parke, 1st Baron Wensleydale (1864),
Gladstone (1858 and 1865),
Sir William Bowman and
Swinburne (1865),
Anthony Panizzi (1866) and
Dean Stanley in 1867. Other sitters included
Charles Dilke,
Thomas Carlyle,
James Martineau, and
William Morris.
Physical Energy in Cheshire, sculpted by
George Frederick Watts (1817–1904) '' at
Rhodes Memorial in
Cape Town, South Africa Although best known as a painter, Watts was also a sculptor. After completing a commission for the
Duke of Westminster for an equestrian monument to commemorate his ancestor,
Hugh Lupus, Watts set to work on a new plaster model of another horse and rider, without specific reference to any individual, in 1883. Seeking to reinvigorate the rhetoric of the equestrian monument for the modern age, he was still working on it at the time of his death in 1904. The plaster model was part of the artist's bequest to Watts Gallery, and, also in 1904, the first bronze cast of the work (made in 1902 at the Parlanti Foundry) became the artist's last submission to the Royal Academy's summer exhibition. It marked a new prominence for the courtyard of Burlington House as a site for dramatic contemporary sculpture (a role continued today by the Annenberg Courtyard).
Physical Energy then travelled to Cape Town to form part of a memorial to the founder of Rhodesia (now
Zimbabwe),
Cecil Rhodes. In 1907, a posthumous cast was made and sited in Kensington Gardens, London, fulfilling the artist's intention to gift the work to the British Government, insisting that it should be "for the nation" and displayed "somewhere in London". A third cast, created in 1959, is situated in the grounds of the
National Archives of Zimbabwe in
Harare. The culmination of Watts's ambition in the field of public sculpture,
Physical Energy is an allegory of human vitality and humanity's ceaseless struggle for betterment; he said it was "a symbol of that restless physical impulse to seek the still unachieved in the domain of material things". It also embodied the artist's belief that access to great art would bring immense benefits to the country at large.
Memorial to Heroic Self-Sacrifice An admirer of royalty – he had painted
Prince de Joinville and Edward, Prince of Wales – Watts proposed, in 1887, to commemorate the
Golden Jubilee of Queen Victoria by creating a
Memorial to Heroic Self-Sacrifice to commemorate ordinary people who had died saving the lives of others, and who might otherwise have been forgotten. The scheme was not accepted at that time, but in 1898 Watts was approached by
Henry Gamble, the vicar of
St Botolph's Aldersgate church. He suggested the memorial could be created in
Postman's Park in the
City of London. in Surrey in 2026 The memorial was unveiled in an unfinished state in 1900, consisting of a 50-foot (15 m) wooden loggia designed by Ernest George, sheltering a wall with space for 120 ceramic memorial tiles to be designed and made by
William De Morgan. At the time of opening, only four of the memorial tiles were in place. Watts died in 1904, and his widow Mary Watts took over the running of the project. He is buried in the cemetery at the
Watts Cemetery Chapel at
Compton in Surrey. == Reception ==