Edward John Poynter

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Edward John Poynter

43 artworks

English Aesthetic, Victorian Neoclassical, Olympian Classical Revivalist painter

Born 3/20/1836 - Died 7/26/1919

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Faithful Unto Death

1865

Oil on canvas

115 x 75.5 cms | 45 1/4 x 29 1/2 ins

Walker Art Gallery, Liverpool, United Kingdom

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Andromeda

1869

Oil on canvas

49.5 x 33 cms | 19 1/4 x 12 3/4 ins

Juan Antonio Pérez Simón Collection, México D.F.,

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Fishing, the nymph of the stream

circa 1906-circa 1914

Oil On Canvas

56 x 82 cms | 22 x 32 1/4 ins

Private collection, ,

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At Low Tide

Oil On Canvas

55.9 x 81.3 cms | 22 x 32 ins

Private collection, ,

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The Cave of the Storm Nymphs

1903

Oil on canvas

145.9 x 110.4 cms | 57 1/4 x 43 1/4 ins

Private collection, ,

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The Siren

1864

Oil on canvas

Public collection, ,

Credit: John Lovelady

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The Visit of the Queen of Sheba to King Solomon

1884-1890

Oil on canvas

234.5 x 350 cms | 92 1/4 x 137 3/4 ins

Art Gallery of New South Wales, Sydney, Australia

Credit: Richard Darsie

The Catapault

1868

Oil on canvas

155 x 183 cms | 61 x 72 ins

Laing Art Gallery, , United Kingdom

Credit: Artmagick

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The Wonders of the Deep

Oil On Canvas

139 x 98 cms | 54 1/2 x 38 1/2 ins

Private collection, ,

A visit to Aesclepius

1883

Oil on canvas

151 x 228 cms | 59 1/4 x 89 3/4 ins

Tate Gallery, London, United Kingdom

Credit: Artmagick

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Early in his career Poynter studied in Rome, where he met Frederic Leighton, his greatest single artistic influence. He then moved to Paris in 1855. On returning to London, he became involved on book illustration. In 1865 he produced his first really successful picture, Faithful Unto Death, a Roman sentry staying at his post in Pompeii as Vesuvius overwhelmed the city. This dramatic painting was probably never bettered by Poynter throughout his whole long career. Poynter became an Associate of the Royal Academy in 1869, at an unusually early age. Much of the rest of his life was devoted to the Academy, he was hardworking, conscientious, and a competent administrator.

Poynter married Agnes MacDonald, the sister of Burne-Jones' wife Georgiana. Burne-Jones disliked Poynter, who was an unsympathetic, brusque character. When Leighton died in 1896, he was succeeded as President of the Royal Academy by Millais, who was suffering from cancer of the throat. On the death of Millais a few months later, Poynter succeeded him, narrowly defeating Briton Riviere in the vote. He was PRA for the next two decades.

From the turn of the century Poynter's paintings declined both in numbers and standard, his main priority being the running of the Academy. He lived to see the death of classicism, and the total eclipse of his own artistic standards, and those of his contemporaries. He adopted the approach of ignoring new developments of which he did not approve. Unhappily Poynter outstayed his welcome. One of the last duties of the eighty one year old PRA, was to attend the funeral of J.W. Waterhouse. There was, though, something splendid about the way he remained consistent to the last, resisting what he saw as the corruption, and denigration of all that was beautiful in art. He may even have been right.

Further Reading:
  • Sir Edward Poynter's Obituary in The Times, Monday 28th July, 1919. Our thanks go to Paul Ripley, who also supplied his own thoughts on the obituary.

    Bibliography:
  • Biography reprinted with the kind permission of Paul Ripley, editor of the Victorian Art in Britain website.

    Christoper Wood, world renowned art historian specializing in the Victorian artists, wrote in to share some fascinating biographical facts with us:

    There is a book on the four Macdonald sisters: A Circle of Sisters by Judith Flanders.

    They all made remarkable marriages - one married Burne-Jones, another Poynter, another John Kipling (father of Rudyard), and the fourth married Alfred Baldwin, and was mother of Stanley Baldwin.