The Noonday Sun

Oil on canvas, signed & indistinctly dated lower left
Image size: 25 ¼ x 30 ¼ inches
Hand made contemporary style frame

Not a famous artist even though his works are in many museums, but Talmage’s work has a beauty that captures the era and subjects beautifully. The glow of the late afternoon sun pours onto the horse and across the fields.

Algernon Talmage was born in Fifield, Oxfordshire, on 23 February 1871, the second son of John Mayow Talmage by his second wife, Susan Penkivil. Both his mother and his paternal grandmother were of Cornish stock. During his childhood, he was involved in an accident with a gun, which crippled his right hand. As a result, he would paint with his left hand, and be exempted from active service in the First World War.

Little is known of Talmage’s early education, though it has been suggested that he spent a short time at university. However, he studied under Sir Hubert von Herkomer at his school of art in Bushey, Hertfordshire. Founded in 1883, the school allowed British artists to pursue an almost Continental training. The students were put to drawing heads from life and from life-casts, and every three months were allowed to try for entry into life classes, which consisted of drawing from nude models. The emphasis on studying from life, which Talmage received under Herkomer, provided him with the ability to become a versatile painter in the naturalistic tradition.

By 1888, Talmage and two of his fellow students, Arnesby Brown and William Titcomb, had discovered in St Ives, Cornwall, the familiar security of a small art colony such as that which they had known in Bushey. Along with such artists as Julius Olsson and Adrian Stokes, Talmage founded an Artists’ Club, which enabled these painters of the sea to meet and discuss different techniques for capturing the essence of the wild and rugged north coast of Cornwall. By 1900, Talmage and Olsson had established the Cornish School of Landscape, Figure and Sea Painting. The Cornish coastline, made beautiful by the ever-changing light and moods of the sea, enabled Talmage to establish his characteristic mellow palette and enchanting use of light.

Later he began and ran his own school with the help of his wife Gertrude Rowe, also an artist, with Olsson acting as ‘Visitor’ artist. Talmage excelled in demonstrating the art of oil colour impressions drawn loosely with the brush. His relaxed teaching manner with the emphasis on outdoor sketching – combined with once a year trips to Picardy – made him extremely popular among students. For the most part, Talmage painted plein-air landscapes and pastorals, and had a passion for painting farming scenes including horses.

Charles Marriot echoes this reputation in the Cornish Review (1950): ‘One of the most talented and certainly the most popular of the St Ives’ painters was Algernon Talmage, a most attractive personality; modest, slightly reserved but always ready to do a kind action for a friend. His right hand had been injured in a gun accident — he was rather sensitive about this– and he painted with his left, as did, incidentally, Stanhope Forbes.’

He left St Ives in about 1907 (address at London Arts Club from 1910), having parted from Gertrude, on the strength of some successes with his work in London. In 1918 he was appointed official war artist in France for the Canadian Government. Up until the 1920s he returned frequently to Cornwall, continuing an interest in STISA from afar. He contributed paintings to a St Ives show in Cheltenham and then accepted honorary membership in 1928. With him in London was Hilda Fearon until her early death.

Settling in Chelsea in 1907, Talmage held his first solo show two years later at the Goupil Gallery. He was a regular contributor to the Royal Academy Summer Exhibition, including the exhibition of 1910, which Laura Wortley describes as marking the ‘highpoint of “British” Impressionism … which hummed with “air and light”’ (British Impressionism. A Garden of Bright Images, London: The Studio Fine Art Publications, 1988, page 280). He was elected an associate of the Royal Academy in 1922, and an Academician seven years later.

Talmage was also elected to the Royal Society of British Artists (1903), the Royal Institute of Painters in Oils (1908), St Ives Society of Artists (1928-39), the Royal West of England Academy and the Royal Society of Painter-Etchers and Engravers (initially as an associate and later an honorary member).

The influence of French painting and landscape was important to Talmage. He exhibited successfully at the Paris Salon, winning a silver medal in 1913 and a gold medal in 1922. Travelling to the country on many occasions, he was in Provence from as early as 1894, and possibly in St Tropez as late as 1932.

Late in life, Talmage shared his time between 49 Elgin Crescent, London, W11, and Sherfield English, near Romsey, Hampshire. He died at the latter on 14 September 1939.

Museums & Public Galleries
Tate, Royal Academy of Arts, Manchester Art Gallery, Bushey Museum and Art Gallery, Kirklees Museums and Galleries, Bristol Museum and Art Gallery, Laing Art Gallery, the Potteries Museum and Art Galleries, Sheffield Museum, Guildhall Art Gallery, Goodenough College, Grundy Art Gallery, Harris Museum and Art Gallery, Newport Museum, Cyfarthfa Castle, Lemington Spa Gallery, Gallery Oldham,  Museum and Art Gallery, and the National Railway Museum (York).