William Henry Bartlett was a landscape painter. He was born on 26th March 1809 in Kentish Town (London) and died on 13 Sept. 1854.
Early Life of William Henry Bartlett
William was born in a middle-class family. He was the child of William and Ann and he went to an all inclusive school in London from 1816 to 1821 and in 1822 was apprenticed to the architect and antiquarian, John Britton, whose foundation in the ward of St Pancras (London) offered him instruction that was both hypothetical and viable.
Bartlett studied in detail about building illustrations of the over a wide span of time and, with Britton, visited noted demolishes in England from which he made portrayals to be engraved for Britton’s very own portion productions. At first, these representations were simply structural, as illustrations in the last volume of Britton’s five-volume; ‘The Architectural Antiquities from Great Britain’ (London, 1807–26) bear witness to.
Later on, the nature of Bartlett’s representations and his enthusiasm for landscape, particularly evident in a portion of the water-hues which he did around 1825 of Thomas Hope’s home at Deepdene, Surrey, drove Britton to embrace the distribution of ‘Picturesque antiquities of the English cities’ (London, 1836).
Achievements of William Henry Bartlett
Bartlett kept on working for Britton as an understudy after his apprenticeship finished in 1829, in spite of the fact that he was additionally given representations to other London distributors. On 6 July 1831, he wedded Susanna Moon and from that point, his vocation was progressively coordinated towards giving business to himself, his significant other, and their five children.
One of his first real assignments was to supply delineations for Dr. William Beattie’s Switzerland represented (London, 1836), distributed by George Virtue. He sent 108 outlines in pen, pencil, and sepia wash to etchers who had been prepared by the craftsman Turner, and they scratched them on steel plates for Virtue.
Several prints were produced using these plates are verification of Bartlett’s accomplishment in taking into account the well-known preference for the beautiful scenery and the sublime effect of the mountain landscape.
Bartlett traveled extensively and his movements were broad and ceaseless, and they prompted outlines for chips away at Syria, the Holy Land and Asia Minor, the Mediterranean coast, northern Italy, the Netherlands and Belgium, Scotland, Ireland, the beachfront territories of Britain, the Bosphorus, the Danube, the United States, and Canada. Bartlett turned into a practiced explorer.
As indicated by Britton and Beattie, Bartlett visited North America multiple times: 1836–37, 1838, 1841, and 1852. From the mid-year of 1836 to July 1837 he was in the United States procuring delineations for Nathaniel Parker Willis’ American landscape (1840), and in the late spring and pre-winter of 1838, he was in Canada making sketches for Willis’ Canadian view showed (1842).
Willis’ writings for the two volumes are undistinguished, a noteworthy part of the book on British North America having been drawn from crafted by writers, for example, Pierre-Francois-Xavier de Charlevoix, George Heriot, James Pattison Cockburn, and Catharine Parr Traill. In any case, the five-by-seven-inch sepia outlines which Bartlett gave have stayed well known.
Their prevalence owes a lot to Bartlett’s consideration regarding building subtlety because of his preparation in England, to his encounters amid his movements, and to his very own inclination for the beautiful and brilliant in the scene.
Bartlett was both writer and artist of various different works; including two books about the United States for which he embraced the fourth visit to North America in 1852. ‘The Pilgrim Fathers’ (1853) contains steel etchings and woodcuts, and the historical backdrop of the United States (1856), finished by Bernard Bolingbroke Woodward after Bartlett’s passing, has 31 steel inscriptions, all of which had shown up in Canadian view delineated or American landscape.
The first of these works is all the more insightful, containing unique accounts of the Pilgrims. Bartlett’s commitment to the second is a basic course reading which gives insufficient consideration to the ID of source material or investigation of cause and result.
His very own movements in America, be that as it may, empowered him to depict areas with the office and to continue a sensible account. His composition is workmanlike and regularly successful, exhibiting the impacts of his work from 1849 to 1852 as supervisor of Sharpe’s London Magazine.
He kept on tolerating commissions for delineations from his London distributors and passed on amid his arrival from a drawing trip in Turkey and Greece, most likely of cholera.
Death of William Henry Bartlett
He died on 13th September 1854 in Malta and was buried off the sea.