William Clark was an accomplished Scottish painter of marine portraits.
Born in Greenock, the son of John Clark, a mariner, William Clark was raised close to the ever-evolving Greenock Harbour, known for its shipbuilding heritage. Over the course of his lifetime, numerous maritime industries were launched and the harbour became a major local employer. He was apprenticed as a ‘decorative house painter’, which furnished him with the rudiments, before becoming a ship portraitist in 1830.
The mainstay of Clark’s work involved painting ships, usually a broadside view, for visiting captains. He did so with accuracy and a keen understanding of rigging, which he potentially gained during discussions with his father. Such was his commitment to the nuances of sailing that one particular seaman commented, “I say, that chap's a sailor as well as a painter.”
In 1835, Clark was asked to produce a depiction of the Royal Northern Yacht Club Regatta, which was a significant regional event. The resulting painting was shown extensively and received numerous plaudits. Three years later, he was elected to the very same club.
As the Clyde shipyards began to transition from sail to steam, he continued in the same vein, undeterred by advancing technology. Numerous commissions followed including from the Queen of Spain in 1863, and the Sultan of Turkey in 1865. Three years later, his ‘Arrival of the Royal Squadron at the Tail of the Bank on the Occasion of the Royal Visit to Scotland in 1847’ was sent to Osborne House for inspection by Queen Victoria.
When into his later years, his constant supply of work paid for his own home, a housekeeper and a comfortable lifestyle. He remained in Greenock throughout his life and seemingly rarely, if ever, ventured south. He did, however, produce occasional views of southern coastlines.
In 1845, the Greenock Advertiser celebrated his ability to combine “excellence of painting with correct drawing of vessels, and a perfect knowledge of seamanship”.
He’s represented in numerous public collections including at the National Maritime Museum, Yale Center for British Art, National Library of Australia, and Walker Art Gallery in Liverpool.
Exhibited
Glasgow Dilettanti Society, West of Scotland Academy in Glasgow,
Public Collections
Bath Spa University, Campbeltown Museum, Falmouth Art Gallery, Falmouth Art Gallery, Glasgow Museums Resource Centre, Government Art Collection, McLean Museum and Art Gallery, Merseyside Maritime Museum, National Maritime Museum, Yale Center for British Art, National Library of Australia, Walker Art Gallery in Liverpool.
Timeline
1803
Born in Greenock, Scotland, to John Clark, a mariner, and Mary Clark.
Apprenticed as a ‘decorative house painter’.
1830
Began working as a professional marine artist.
1835
Commissioned to produce a depiction of the Royal Northern Yacht Club Regatta.
1838
Elected to the Royal Northern Yacht Club.
1851
Lived in Greenock with his nephew, John Clark Scott, and staff. Occupation recorded as ‘Artist Marine Painter’.
1855
Lithographs produced by Messrs Day & Son of London, after Clark’s works.
1861
Lived in Greenock with staff. Occupation recorded as ‘Artist Marine Painter’.
1863
Undertook a commission from Isabella II, Queen of Spain.
1865
Undertook a commission from His Imperial Majesty the Sultan of Turkey.
1868
His depiction of the ‘arrival of the Royal squadron at the Tail of the Bank on the occasion of the Royal visit to Scotland in 1847’ was sent to Osborne House for inspection by Queen Victoria.
1871
Lived in Greenock with staff. Occupation recorded as ‘Artist Marine Painter’.
1881
Lived in Greenock with staff. Occupation recorded as ‘Artist Marine Painter’.
1883
Died in Greenock.
Reviews
Greenock Advertiser (1845)
“No one can visit the studio of our worthy townsman Mr. William Clark, who has long sustained an honourable name for the beauty and perfection of his marine paintings, without feeling sensible of enjoying a treat of no ordinary description. We verily believe that in the particular walk of this ingenious gentleman, he has not often met his equal, and certainly his superior never. Any one of his paintings - be it the representation of the pleasant calm, the stirring breeze, or the raging storm would keep any common man's admiration on the stretch for a whole day. His paintings are equally admired by the connoisseur for the correctness of the drawing and the harmony and beauty of the colouring and by the commonest tar for the prettiness of the picture and the exactness of the portrait of his own peculiar favourite ship.
He has lately finished, or has at present in hands, a number of very beautiful pieces: among these, we may allude to the spirited painting of the landing of the Queen at Granton pier - a piece that would find its appropriate place in a nobleman's gallery, where it would be entitled to a prominent position. This place it would probably have occupied ere this, but for the modesty of the artist, who has suffered it to remain in his studio. It is, we believe, the only representation of the interesting event that has ever been executed. In looking around his study we were delighted by the variety and beauty of his present collection, embracing as it does every possible description of marine subjects. These are too numerous in themselves to be separately noticed here; but amongst those he is more immediately engaged with, two attracted our attention as being particularly fine. One is intended for England, the other for a gentleman in Glasgow, and with regard to them we must say, they are the most beautiful and spirited paintings we have had the pleasure of examining the effect of both is similar, although they are distinct portraits.
The view seems to be on the English Coast, embracing as it does the Eddystone Lighthouse in the distance, looking in its loveliness over the waste of water during a strong gale which is hurling its vengeance against its naked walls. The vessel is represented passing under reefed topsails, foresail, and foretop-like mast staysail, sending. The position of the ship is natural and graceful in the extreme. She appears lifted up on the top of a huge sea over which she seems bounding like a thing of life, while the giant wave separating under her prow and rolling along her waist envelope her in spray. In looking at the rolling ocean over which the vessel so gracefully reels, we can almost think we hear the noise of its billows as they rear their foam-crested heads, and listen to the howling of the storm through the yielding cordage and bending spars. Whether we regard the tone and braving of the sea, or the easy natural position of the vessel with her snug canvas, beautiful bull and spars, we are equally delighted. Mr. Clark has portrayed his subject with a truth and felicity natural to himself.
He seems particularly happy in representing storms, the strength, colouring and freedom of his sea having all the apparent reality of nature. Much as we admired Mr. Clark's former productions we cannot but be sensible to the great improvement in his style. His pictures are now thrown off with a boldness and freedom of touch, combined with a beauty and harmony of colour and minuteness of detail, which render them perfect specimens of marine drawing.
We have often wondered how few, among the thousand artists that adorn our country, have come to eminence in this beautiful branch of the art, combining at the same time excellence of painting with correct drawing of vessels, and a perfect knowledge of seamanship, which is so essential to the production of a correct marine subject: indeed, we are acquainted with three names only in Britain who combine the whole in an eminent degree, and should Mr. Clark find competitors in them, he at least stands unrivalled in Scotland.”
Greenock Advertiser (1850)
“We observe in the window of Mr M'Kelvie, bookseller, a very beautiful painting representing the building-yard of Messrs William Denny & Brothers at Dumbarton. The view is taken from the quay of the ancient burgh, and the fine and historical rock forms a strong feature, the hills of Renfrewshire rising in the far distance. It is, we think, the most successful effort of the pencil of our worthy townsman, Mr William Clark, and those who know his ‘Queen's Visit,’ and many others of his pictures, will be assured this is meant for high praise. The painting represents a fine spring afternoon, the Leven flowing peacefully to its junction with the Clyde, its bosom covered with boats and rafts, and its banks busy with labour. The building yard has a ship and four steamers in various stages of progress, and the artist has brought them finely out by his judicious colouring. The drawing of the picture is excellent, and the whole is remarkably vivid and truthful. The picture is the property of one of the partners of the well-known and enterprising firm of Messrs W. Denny & Brothers, and if it were allowable we could envy him its possession.”
Greenock Advertiser (1855)
“Messrs Day & Son, the eminent lithographers of London, have executed an admirable lithograph of a spirited painting by our townsman, Mr Willam Clark, of the two fine screw steamers Canadian and Indian, which lately left this river, to be employed in Government service on the Black Sea. The painting represents the Canadian under full steam and canvas in the foreground, while the Indian is seen a considerable distance to leeward steam-ing under sail. The print is appropriately dedicated to the admirers of the late William Denny, Esq. of Dumbarton, by whom these magnificent vessels were built.”
Greenock Advertiser (1858)
“A very fine painting by Mr William Clark, of the paddle steamer Callao, is now exhibiting in Mr Laing's, Cathcart Street. The vessel, which almost seems to be moving across the canvas, is represented as passing down the river under full steam, with Roseneath and the en. trance to Gareloch in the distance. The water is calm and limpid, and the landscape is one of those sunny effects which Mr Clark is so successful in transferring to canvas. The likeness of the vessel is accurate to a degree, and that the details of rigging, &c., are truthfully and minutely given may be inferred from the following appreciative criticism enunciated in our hearing by a tar to his friend, ‘I say, that chap's a sailor as well as a painter.’ The picture is carefully and highly finished, and is calculated still further to add to the high repute of Mr Clark as a marine artist.”
Greenock Advertiser (1863)
“We understand that our talented and esteemed townsman, Mr William Clark, has received a commission for a marine picture from her Majesty the Queen of Spain. It is very gratifying to find the genius of Mr Clark recognised in such a distinguished quarter.”
Greenock Advertiser (1865)
“Our talented townsman, Mr William Clark, has just finished a beautiful painting of the Turkish ram Osman Ghazy, for His Imperial Majesty the Sultan, and the work is alike worthy of the high position of the Imperial owner and of Mr Clark's well-established reputation. The vessel is represented passing the Rosneath shore under steam and canvas, the crew being in the act of setting topgallant sails, and the courses hanging in the brails. Her sister ram, now fitting at Port Glasgow, is introduced in the left-hand of the picture. The model of the warship and the details of hull and spars are most faithfully painted, and will further contribute to spread Mr Clark's name in distant lands.”
Greenock Advertiser (1868)
“It is with very great pleasure we learn that her Majesty has, through Major-General Sir Thomas Biddulph, ordered our talented townsman, Mr Willian Clark, to send to Osborne House, for inspection, his admirable picture of the arrival of the Royal squadron at the Tail of the Bank on the occasion of the Royal visit to Scotland in 1847. The painting represents the moment when her Majesty went on board the yacht Fairy from H.M.S. Victoria and Albert, and, from the number of vessels of all kinds introduced, is of the most animated character. We understand that it was forwarded to Osborne yesterday.”
Obituaries
Greenock Advertiser
“A correspondent supplies us with the following: Mr William Clark began business in Greenock as a marine artist on the 1st of March, 1830. Previous to this his entire practice had been in painting nine pictures, five of which were orders. In 1835 he received a commission from the society of the Royal Northern Yacht Club to paint a regatta picture representing the yachts of the club off Greenock. This picture was the first to bring Mr Clark prominently to the front in his chosen line of art, and he was unanimously elected marine artist or painter to the club. He exhibited many pictures at the annual gatherings of the Academy, Edinburgh, &c., and the merits of were his works highly appreciated and at all times warmly appreciated. In 1838 he was elected a member of the society.”
Greenock Advertiser
“On Saturday, Mr William Clark, a well-known marine painter, died at his residence in Fox Street, at the advanced age of 79 years. Mr Clark was well known among the classes connected with shipping in this and other towns, and earned for himself a well-deserved reputation for the facility with which he produced accurate likenesses of vessels he had received commissions to execute. Besides showing much fidelity to details in drawing, he displayed very considerable artistic feeling in the manner in which he handled his subjects. For the last few years, as was to be expected from his age, he was in somewhat feeble health, and produced his pictures at much rarer intervals than formerly. He was personally known to a large circle of gentlemen in Greenock and Port-Glasgow, and by these as well as his relatives his death is mourned with sincere sorrow.”