PHILLIP, John (1817-1867), subject and portrait painter, was born at Aberdeen, Scotland, on 19 th April 1817. His father, an old soldier, was in humble circumstances, and the son became an errand-boy to a tinsmith of the place, and was then apprenticed to a painter and glazier. Meanwhile he was employing in the pursuit of art all the time he could spare from his daily duties, and, having received some technical instruction from a local artist named William Mercer, he began, at the age of about fifteen, to paint portraits. In 1834 he was enabled to make a very brief visit to London, where he studied with delighted interest in the Royal Academy Exhibition and the National Gallery. At this time, or shortly afterwards, he became assistant to James Forbes, an Aberdeen portrait-painter, under whose tuition he made considerable progress. Previously, however, he had gained a valuable patron. Having been sent to repair a window in the house of Major P. L. Gordon, his interest in the works of art which hung on the walls attracted the attention of their owner. He brought the young artist under the notice of Lord Panmure, who bought several of his productions, and in 1836 sent the lad to London, promising to bear the cost of his art-education. At first Phillip was placed under T. Μ. Joy, but he soon entered the schools of the Royal Academy, where he worked diligently, but with no exceptional promise or success, for two years. In 1839 he figured for the first time in the Royal Academy Exhibition with a portrait and a landscape, and in the following year he was represented by a more ambitious figure-picture of Tasso in Disguise relating his Persecutions to his Sister. For the next ten years he supported himself mainly by portraiture and by painting subjects of national incident, ...such as Presbyterian Catechizing, Baptism in Scotland, and the Spaewife. His productions of this period, as well as his earlier subjectpictures, are reminiscent of the practice and methods of Wilkie and the Scottish genre-painters of his time, often possessing considerable grace of form, executed in a thin delicate style of painting, inclining to brownish tones of colour, and with the more powerful pigments introduced cautiously and with reserve The Letter-writer of Seville, shown in the Royal Academy of 1854, marks a distinct change of both style and subject. Three years previously the artist’s health had shown signs of delicacy, and his medical advisers had recommended a residence in a warmer climate. Spain was selected, and a fresh potency came to· his art as well as to his physical frame. He was brought face to face for the first time with the brilliant sunshine and the splendid colour of the South, and it was in coping with these that he first manifested his artistic individuality and finally displayed his full powers. In the Letterwriter, commissioned by the Queen at the suggestion of Sir Edwin Landseer, who had been greatly impressed by some of Phillip’s Spanish sketches, we see the change of method in its initial stages rather than in its complete triumph. The artist is struggling -with new difficulties in the portrayal of unwonted splendours of colour and light, the draperies are somewhat crude and textureless, and the picture may justly be charged with a want of complete harmony and of a due sense of the finer gradations of nature. In 1857 Phillip was elected an associate of the Royal Academy, and in 1859 a full member. In 1855 and in 1860 other two visits to Spain were made, and in each case the painter returned with fresh materials to be embodied with increasing power and subtlety in the long series of works with which his name is exclusively associated in the popular mind, and which has won for him the title of “Spanish Phillip.” His highest point of execution is probably reached in the La Gloria of 1864 and a smaller single-figure painting of the same period entitled El Cigarillo. These Spanish subjects were varied in 1860 by a rendering of the Marriage of the Princess Royal with the Crown Prince of Germany, executed by command of the Queen, and in 1863 by a picture of the House of Commons, subjects presenting extreme artistic difficulties, but treated with much skill and dexterity. During his last visit to Spain Phillip occupied himself in a careful study of the art of Velazquez, and the copies which he made after that artist fetched large prices after his death, examples having been secured by the Royal and the Royal Scottish Academies. The year before his death he visited Italy and devoted much attention to the works of Titian. The results of this study of the old masters are visible in such of Phillip’s works as La Loteria Nacional, left uncompleted at his death. This and several other of his later works exhibit symptoms of a fresh change of method, and show signs that his art was again about to take a fresh departure. During this period he resided much in the Highlands, and seemed to be returning to his first love for Scottish subjects, painting several national scenes, and planning others that were never completed. His health had been always delicate, and his strength had been taxed by severe domestic affliction and by the very exceptional rapidity and quantity of his artistic production. In the end of 1866 his excessive application to work for the next year’s exhibition induced an attack of bilious fever, which was succeeded by paralysis, and the genial and talented artist expired at London on 27 th February 1867 at the age of fifty.
In execution Phillip was singularly direct, forcible, and rapid. He was a noble colourist, a painter in the first and simplest sense of the word, concerning himself mainly with the visible and sensuous beauties of his subjects, their purely artistic problems of colour, tone, lighting, and texture. His art dealt with the appearances of things, a sufficiently legitimate sphere for the painter, and was seldom permeated with any very deep human or dramatic interest. His works were collected in the International Exhibition of 1873, aud many of them have been excellently reproduced by the engravings of T. Oldham Barlow. In addition to the paintings which we have already specified the following are among the more important:—Life among the Gipsies of Seville (1853), El Paseo (1855), Collection of the Offertory in a Scotch Kirk (1855), a Gipsy Water-carrier in Seville (1855), the Prayer of Faith shall save the Sick (1856), the Dying Contrabandist (1856), the Prison Window (1857), a Huff (1859), Early Career of Murillo (1865), a Chat round the Brasero (1866).
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