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Branwell painted about eleven portraits during his year in Bradford which ended in May, 1839. His most successful works were of the Kirby family and their niece, Margaret Hartley. The portrait of Mrs Kirby is almost a caricature but was probably an accurate rendition of a toothless, querulous old lady who later plagued Branwell with supposedly unrealistic demands that he finish varnishing her paintings. Branwell must have enjoyed the company of the young Margaret Hartley, however, and his portrait of her is surely his greatest achievement, despite her unnaturally long arms. In 1893 Margaret Hartley recalled that Branwell ‘was a very steady young gentleman, his conduct was exemplary, and we liked him very much…Whilst lodging with us he painted my portrait and those of my uncle and aunt, and all three were accounted good likenesses.’ 19 Dear Ellen, …Branwell, who used to enliven us, is to leave us in a few days to enter the situation of a private tutor in Ulverston. How he will like or settle remains yet to be seen; at present he is full of hope and resolution. I, who know his variable nature, and his strong turn for active life, dare not be too sanguine. We are as busy as possible preparing for his departure, and shirtmaking and collar-stitching fully occupy our time… 20 Charlotte Brontë 28th December, 1839 ‘His variable nature, and his strong turn for active life’ was Charlotte’s euphemistic way of describing Branwell’s violent mood swings and his increasingly reckless life style which invariably resulted in his inability to pursue any career with long-term success. He simply lacked the stamina to live up to the unrealistic expectations of his family and in the last three years allowed his life to descend into alcoholism and drug addiction. But he was also the product of poor decision-making – something for which Patrick must also share the blame – and a total ignorance of what the demands of a professional artist would entail. His natural reticence at seeking commissions in the face of stiff competition from older, more established artists, for example, meant that at best he could only demand the lowest prices, and this was quite apart from the perhaps not unwarranted criticism that his degree of talent as a portrait artist was rather limited. But the main reason for his failure to succeed as a professional artist was his inability to diversify, perhaps because of an unwillingness to compromise, in a provincial environment which demanded a variety of skills. Had he ventured - 10 -
into the area of engraving, which would have well suited his talents and where there was always a ready market, he would have had far more monetary success as exemplified by several of his artist friends at the George Hotel, notably William Overend Geller and John and Charles Cousen who were already engaged in this lucrative field. Nor did he consider becoming a sign painter or house painter, occupations which would have ensured him of at least an adequate income. Not even his Royal Academy-trained teacher, William Robinson whose death occurred only a few months after Branwell Early daguerreotype portrait studio 1842 - complete with numbered people and objects to place them in the tightly organised context. - 11 -
Page 1 and 2: The Brontë Th under er The Journal
Page 3 and 4: Portraiture and the Art of Branwell
Page 5 and 6: But rather than speculate on the ve
Page 7 and 8: which was regarded as study for wha
Page 9 and 10: Branwell’s portrait of his friend
Page 11: But to return to happier days. It w
Page 15 and 16: demonstration in London of the proc
Page 17 and 18: Charlotte Brontë and Christianity
Page 19 and 20: of free thinkers as a result of sci
Page 21 and 22: called godly deprivations. Charlott
Page 23 and 24: agony. In her poetry she yearns for
Page 25 and 26: must combat the temptation to live
Page 27 and 28: The Plot & Characters of The Tenant
Page 29 and 30: CHAP 6: GILBERT’S GROWING INTERES
Page 31 and 32: CHAP 21: CONSENT Helen’s father g
Page 33 and 34: alone to confide something of impor
Page 35 and 36: CHAP 46: GILBERT’S ADVICE TO LAWR
Page 37 and 38: wedding. He arrives too late but di
Page 39 and 40: that his visits were rather more fr
Page 41 and 42: Rose: Rose is Gilbert’s sister. S
Page 43 and 44: Lord Lowborough, Ralph Hattersley a
Page 45 and 46: Music and the Brontës Michael Link
Page 47 and 48: Emily began studying the piano at H
Page 49 and 50: Music is also used to comfort. Hele
Page 51 and 52: This is an advantage, as live music
Page 53 and 54: allad-one of those you promised to
Page 55 and 56: 2010. The pianist was Maya Irgalina
Page 57 and 58: ...The time is 1812, the place is Y
Page 59 and 60: Here’s the first line: Of late ye
Page 61 and 62: progressed through the book. Right
Page 63 and 64:
The Australian Brontë Association
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