The Arran [Aran] Fisherman’s Drowned Child. Frederic William Burton. 1841. Watercolour on paper, 34 ¾ x 30 ⅞ inches (88.4 x 78.5 cm). National Gallery of Ireland Object no. NGI.6048. Photograph © National Gallery of Ireland. Click on image to enlarge it
This is one of Burton’s most important early paintings that he executed in Ireland before his stay in Germany and long before he had come in contact with members of the Pre-Raphaelite circle. At that time he was largely regarded as a genre painter of Irish folk life and as a society portraitist. This painting is far removed from the works he would later be famous for, but was highly regarded by critics at the time. When it was exhibited at the Royal Hibernian Academy in 1841 the critic for The Art-Union wrote:
Mr. Burton, ‘The Arran Fisherman’s Drowned Child’, which at once tells its story with the greatest simplicity, and perhaps on that very account, with the greatest force and effect. In a rude fisherman’s cabin, hung round with nets and dried fish, and all the appurtenances of his hazardous vocation, with the smoke ascending, and the light descending, through an aperture in the roof, a mother is seated with her drowned infant on her lap, intensely gazing, with ‘A grief that lies too deep for tears.’ Sisters are around in attitudes of sorrow, beautifully conceived and well expressed; a boy behind is describing how the accident occurred. The old grandfather is viewing the scene with a mournful calmness, which seems to say, that lengthened experience has made him doubt whether an early bereavement is a misfortune, while right in front is the fisherman himself, afraid to look round on the groupe on which all else are gazing, standing stiff, and rigged in his sea-faring garb; his weather-beaten features and clenched and writhing hands, showing the working of his troubled spirit within. This forcible drawing is not yet finished, but when it is, it will reflect the highest credit on the young school of Ireland. [108]
When this picture was shown the following year at the Royal Academy in London the same critic was once again complimentary:
No. 786. ‘the Arran Fisherman’s drowned Child;’ No. 897. ‘Connemara Girls on their way to Market.’ These are large drawings, of a high order of merit; the production of the leading artist of the Royal Hibernian Academy. They are certainly not seen here as they were in Dublin last year, when we had the good fortune to examine them under more favourable circumstances. Yet even here, placed high up and surrounded by small and highly-wrought miniatures, they will satisfy all who look closely into them that the painter is a man of genius. In vigour of execution, as well as delicacy of touch, his merits are of a high order. These two works are full of matter, and very touching interest; the one telling a sad story with ‘moving eloquence’…We hope he has not made a voyage to London to ‘see how his pictures look;’ he would return no doubt greatly disheartened, but perhaps somewhat instructed: for it is no very grand achievement to be great among little men; and before Mr. Burton can take professional rank, he must be compared with others who are, like him, candidates for distinction. [126-27]
From these reviews it is obvious that even at the young age of twenty-five Burton was regarded as a painter of precocious talent.
The critic of The Art-Union was not the only reviewer to lament the positioning of Burton’s submissions. The Spectator commented: “We have not space to point out the numerous instances where merit is made to give place to R.A. pretensions in the Miniature-room; but we cannot pass unnoticed the shameful treatment of two large water-colour paintings by F. W. Burton, admirable studies of Irish character, though not skilfully arranged for pictorial effect – The Arran Fisherman’s Drowned Child, (786) and A Connaught Toilet – Connemara Girls on their Way to Market, (897) – both placed so high that we are indebted to an artist for pointing them out to our notice.” The Spectator particularly praised Burton’s depiction of the paintings depiction of painful emotions: “The group of the mother and daughter gazing distractedly on the pale face of the drowned child is most pathetic; the silent agony of the father, and the train of hooded women filling the cottage, tell the sad story in a manner more effecting from its accordance with national character and custom” (499).
This work was considered important enough that the Royal Irish Art Union had it engraved in 1843 by F. Bacon and sold as prints.
Bibliography
“Royal Hibernian Academy.” The Art-Union 3 (1841): 108.
“The Royal Academy.” The Art-Union 4 (1842): 119-29.
“Fine Arts. A Second Visit to the Royal Academy Exhibition.” The Spectator 15 (1842): 498-99.
Last modified 11 April 2022