37 Facts About Edward Stott

Edward Stott was an English painter of the late Victorian to early twentieth century period.

Edward Stott trained in Paris under Carolus Duran and was strongly influenced by the Rustic Naturalism of Bastien-Lepage and the work of the Impressionists, which he married with the English landscape tradition of John Linnell and Samuel Palmer.

Edward Stott's forte was painting scenes of domestic and working rural life and the surrounding landscapes often depicted in fading light.

William Edward Stott was born in Wardleworth, now a contiguous part of Rochdale in Lancashire to Samuel and Jane Stott.

Edward Stott appears to have been studious and artistic but diffident, sensitive and melancholic judging from an early self-portrait.

In 1880 Edward Stott determined to become a full-time artist and with the support of an unknown benefactor he moved to Paris and to the atelier of Charles August Carolus- Duran.

Edward Stott was thus exposed to influences such as Realism as typified by Jules Bastien Lepage, the impressionists, and the earlier influences of the Barbizon School and in particular Corot and Millet, from whom Edward Stott incorporates some of the prominent features in the use of colour, softness of form and in tonal qualities.

Edward Stott opted for Auvers-sur-Oise, northeast of Paris, a rural habitue visited in the past by many artists from Corot to Van Gogh who is buried in the Auvers-sur-Oise municipal cemetery.

Edward Stott was enthralled by a notion that many late Victorians felt, that the true values of Merrie England were to be found in bucolic rural idylls.

The viewer of Edward Stott's paintings gets little notion of the reality of life in the English countryside that for many rural Britons remained hard and toilsome.

Edward Stott was always drawn to painting the countryside at differing times of the day where he could respond to the changing light and the tonal changes of colour.

Whilst at Walberswick, Edward Stott made a lasting relationship with an Irish painter Walter Osborne with whom he shared his passion for the rural landscape.

Edward Stott sent three pictures to the Royal Institute of Oil Painters, a newly founded association.

In 1886 Edward Stott placed a picture at the Grosvenor Gallery Summer Exhibition.

Edward Stott exhibited: Feeding the Ducks and Winter's Night, Sussex Village the former illustrative of Stott's debt to the work of Bastien-Lapage.

Edward Stott was joined at the New Gallery by familiar faces: La Thangue, Osborne, Steer, and Alfred East were amongst those artists who had exhibited at the New English Club.

Edward Stott chose a familiar rural scene for the Summer Exhibition with a painting entitled Trees Old and Young, Sprouting a Shady Boon for Simple Sheep.

In 1885 Edward Stott visited the village of Amberley in West Sussex for the first time and by 1887 he was living there permanently.

Edward Stott was to stay in Amberley until his death in 1918 recording the lives of its inhabitants at work and at play.

Edward Stott immersed himself in the landscape of chalk downs, undulating meadows and the wild brooks of the River Arun that flooded in the winter.

Edward Stott's paintings provided balm and succour that the countryside remained an unchanging idyll.

Edward Stott became something of a reluctant celebrity to this changing group of aspiring artists that included: the early aviator and landscape artist Jose Weiss and Arthur Winter Shaw, the latter demonstrably inspired by Edward Stott, Gerald Burn, an etcher and engraver, and watercolorist Felicia Lievan Bauwens.

The Young Cowherd was exhibited at the New Gallery and is closer stylistic to the techniques that Edward Stott learnt in Paris.

Edward Stott remained single all his life and apparently regarded marriage as not conducive to the vocation of an artist.

Edward Stott had commercial and international critical success with a number of his paintings depicting children at play.

Edward Stott must have been a familiar figure in the village by 1900 with access to the interiors of many of Amberley's inhabitants.

Edward Stott remained unmarried but found domestic contentment with the Dinnage family with whom he formed a close bond.

Edward Stott began to paint reassuring domestic scenes of mothers and children including Washing Day and a separate painting Washing Day.

Edward Stott's work is far removed from the radical creations of the already departed Beardsley for example.

Edward Stott chose to return to the art of his days as a student in Paris, when to aid his drawing and sketching, he had studied the Old Masters.

Edward Stott created a series of religious and biblical images that he placed within the Sussex landscape.

Edward Stott is holding a lamb, a motif for the Lamb of God.

In 1910 after completing many preparatory sketches, Edward Stott sent one of his most popular paintings The Good Samaritan to the Royal Academy.

Edward Stott produced three pictures for the 1916 Royal Academy Summer exhibition that reflected his preferred subject matters.

One of Edward Stott's final exhibited biblical works The Holy Family which he struggled to finish because of poor health is presented as a tondo.

Edward Stott died at his home in Amberley on 19 March 1918.

Edward Stott's memorial stone stands against the east wall of St Michael's churchyard and is an impressive two metres in height.