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James Stark

(b Norwich, 19 Nov 1794; d London, 24 March 1859). English painter. His father, Michael Stark, was a Scottish dyer who had settled in Norwich. James Stark first exhibited in Norwich in 1809 and in London in 1811. In 1811 he became articled to John Crome before moving to London in 1814; there he met William Collins, who became a friend and influenced his work. His first success came when the Dean of Windsor, the Hon. Edward Legge, bought his picture The Bathing Place, Morning (exh. London, Brit. Inst., 1815; untraced). Later patrons included the Marquess of Stafford, George Granville Leveson-Gower (1758-1833) and Sir George Beaumont and the Academicians Thomas Phillips and Sir Francis Chantrey. Stark enrolled as a student at the Royal Academy Schools in 1817 but returned to Norwich due to ill-health in 1819. In 1821 he married Elizabeth Younge Dinmore of King's Lynn, and they moved to London in 1830. His wife died three years after the birth of their son, Arthur James Stark (1831-1902), who also became a painter, assisting his father during the 1850s.

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Wikipedia: James Stark
Woody Landscape, date unknown, Tate Gallery.
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Woody Landscape, date unknown, Tate Gallery.

James Stark (1794 - 1859), English painter, was born in Norwich, and as he showed strong artistic inclinations early in life was, at the age of seventeen, articled to John Crome for three years.

He was elected in 1812 a member of the Norwich Society, to the exhibitions of which he had already contributed; but in 1817 he migrated to London and entered the Royal Academy Schools. He soon returned to Norwich and did not finally settle in the metropolis until 1830, though he was meanwhile a regular contributor to the British Institution and Suffolk Street Galleries. In 1840 he moved to Windsor, but after an interval of some years went back to London, where he died in 1859.

Between 1831 and 1859 most of his pictures were shown at the Royal Academy, though he still continued to exhibit occasionally in other galleries. He undertook in 1827 the publication of a work on The Scenery of the Rivers of Norfolk, which was completed seven years later; the illustrations he prepared for it have much topographical and artistic interest and show well the better qualities of his work.

In his pictures the influence of Crome is plainly perceptible, and there is evidence also of his study of the Dutch landscape-painters; but he had little of Crome's largeness and power and his works charm rather by their gentle truth and quietness of manner than by their robustness of view or by their decisiveness of execution. There is one picture by him, "The Valley of the Yare," in the National Gallery of British Art.


This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.


 
 

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Art Encyclopedia. The Concise Grove Dictionary of Art. Copyright © 2002 by Oxford University Press, Inc.. All rights reserved.  Read more
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