The Times Tuesday October 20th 1903. Death Notice.

HORSLEY. On November `19th inst at his residence 1, High-row, Kensington W, John Calcott Horsley Esquire RA in the 87th year of his age. Funeral at Kensal-green Cemetery, Thursday 22nd inst at 2.15 p m. No flowers by request.

OBITUARY. The Times October 20th 1903.
Death of Mr Horsley RA.

We regret to learn of that Mr John Calcott Horsley RA, whose works were so much in favour with amateurs 40 or 50 years ago, died on Sunday at the patriarchal age of 86 at his residence 1, High-row Kensington. In three ways he was memorable; he was one of the best 'subject painters' of his day-a day which went back to the Pre-Raphaelite revolt; he as the life and soul of the 'Old Masters' Exhibitions; and he was the father of the eminent surgeon Sir Victor Horsley.

Mr Horsley came from a stock distinguished in the arts of music and painting. His father was William Horsley, the well-known composer of glees, his grandfather was the still more eminent musician Dr Calcott, and his great-uncle was Sir Augustus Wall Calcott RA, whose landscapes still rank amongst the best produced by men who came a little later than Constable and Turner. Brought-up in the middle of these associations, young Horsley showed a considerable artistic gift, so that early in Queen Victoria's reign he was made Headmaster at the National School of Design at Somerset House, and when the competition took place for decorating the House of Parliament, he obtained 2 of the prizes.

In 1845 he painted the fresco of "The Spirit of Religion" for the House of Lords. In 1855 he was elected ARA, and became a full Academician a year later. Large historical or allegorical works, such as the fresco mentioned were little to his taste, and he wisely confined himself to more homely themes. He had studied the old Dutch genre to good purpose; and after the fashion of the time-a fashion not yet extinct- he devoted himself to subjects combining domestic sentiment, antiquarian accessories, and something like Dutch techniques. Few people in those days knew much about Pieter de Hooch, but Horsley felt the charm of that exquisite master of light and shade, and painted a number of cabinet pictures which to a certain extent recall his methods. They are not often met with nowadays, but when one of them painted in 1850-1860 is found in an exhibition good judges see much that is admirable in it, as they see in C R Leslie or (to name a man of a earlier generation), in a G S Newton.

Later, as must always be the case when an artist continues working in a convention remote from his time, his work fell-off, and the painter's achievements ceased to be so interesting. He himself came to recognise this, and as age drew upon him he ceased to paint, or at least to exhibit. But even after he had ceased t exhibit he remained a most useful member of the Academy. For many years he was Treasurer, during Lord Leighton's presidency; and he admirably performed the duties of what is not always an easy post. But the best work of the last third of his life was done in connection with the winter exhibitions of Old Masters, which for over 20 years was practically under his control. The President and Council, of course, had the ultimate decision as to what should be shown, but it was to Horsley that fell the task of visiting the private collections of the country, of unearthing hidden treasures, of overcoming the reluctance of owners t lend, and in many cases, politely informing some would-be exhibitors that their Rembrandts and Romneys were not all they pretended to be. In this way he accumulated an unrivalled acquaintance with the art treasures of England. Of course, his selections were not faultless, nor had he the minute knowledge of an expert; but anyone who looks back at the Exhibitions from 1875 to 1900 must admit that, on the whole, the task was wonderfully well-performed. It is a significant test of Horsley's excellence in this line to say that since his retirement some 5 or 6 years ago, no member of the Royal Academy had been found to fill his place as the official selector for winter shows.

Mr Horsley was latterly occupied with writing his Reminiscences , which are announced for immediate publication. They are sure to be entertaining, for, in his quiet way, he was an excellent raconteur, and in his spacious memory were stored anecdotes of the art world of the 50s, 60s, and of earlier and later epochs. It is much to be regretted that he has not been spared to see the publication of the book, and to receive the congratulations of his friends. Of one thing you may be sure-there will be nothing malicious or scandalous in the Memoirs; for the writer was one of the most sweet-tempered of men, and one of the most innocent. Indeed what the younger generation knows of him by is the gentle crusade, undertaken 10 or 12 years ago against the nude in art. In the controversy which occupied our columns for some time he was one of the most consistent defenders of clothes.

We have mentioned the most distinguished of Mr Horsley's sons, but two others Mr Walter Horsley the painter, and Mr Gerald Horsley the architect, are well-known visitors to the Academy and other exhibitions. It may be added that Mr Horsley was a member of the Athenaeum Club, where he was well-known and liked, and that he was a Director of the Fine Art and General Insurance Company.

MY COMMENTS

This is very much an 'establishment' obituary of its time, giving little real flavour of the man, and being determinedly non-controversial and bland. What does emerge, though, is that Horsley was yet another highly industrious, conscientious Victorian. His work involving the Old Masters exhibitions was highly praiseworthy and worthwhile. The campaign Horsley led against the nude in art exposed the artist to considerable ridicule in the press of the day, including the famous cartoon of him as an offended elderly matron at an art exhibition. Horsley's elder sister Mary was the wife of Isambard Kingdom Brunel 1806-1859, the greatest of nineteenth century engineers. It is also worthy of note that Horsley's wife was not even worthy of mention. Perhaps he produced his distinguished sons without feminine assistance, a truly remarkable feat.

Biography

PHR. 29/10/2002.