29 Facts About Joseph Stannard

Joseph Stannard was an English marine, landscape and portrait painter.

Joseph Stannard was a talented and prominent member of the Norwich School of painters.

Joseph Stannard was influenced by the work of the Dutch masters, whose works he studied and copied following a visit to Holland in 1821.

Joseph Stannard suffered from poor health during most of his life and died from tuberculosis in 1830, aged only 33.

Joseph Stannard belonged to the Norwich School of painters, all of whom were connected personally or professionally.

Joseph Stannard belonged to the second generation, which included John Berney Crome, Stark, Vincent and Miles Edmund Cotman.

Joseph Stannard stayed as Ladbrooke's pupil for seven years, although there is little evidence of his master's influence in his artistic style.

When Ladbrooke seceded from the Norwich Society of Artists in 1816, Joseph Stannard sided with him.

Joseph Stannard met and got to know his fellow artist Emily Coppin in 1820 when attending meetings of the Norwich Society of Artists, and in 1826 they were married.

Emily Coppin Joseph Stannard was a notable painter of fruit and flowers, who received three gold medals from the Norwich Society of Arts and was still painting 50 years after her husband's death.

Joseph Stannard's paintings depict the local scenery around Norwich and the Norfolk coast, which he enjoyed exploring.

Joseph Stannard was an excellent oarsman and a skilled ice-skater; crowds would gather to watch him perform on the ice.

Joseph Stannard contracted tuberculosis two years after his marriage, and suffered from poor health for much of his later life.

Joseph Stannard died from tuberculosis on 7 December 1830, aged 33, having lived in Norwich all his life.

Emily Coppin Joseph Stannard, who was to outlive her husband by nearly 55 years, died on 6 January 1885; her daughter Emily, whose father had died when she was two years old, was trained to be artist by her mother, and assisted her in her work as a teacher.

Joseph Stannard died in 1894, having lived in Norwich most of her life.

Joseph Stannard was one of the most important members of the Norwich School of Artists even n though his career lasted only fifteen years and his output was affected by illness.

Joseph Stannard was praised by the local press in 1817, when the Norfolk Chronicle noted that he was "a rising genius", and there was a positive review of his work in The Norwich Mercury in August 1818.

Joseph Stannard exhibited five works in the first year of the new society's existence: Study from Nature; Distant View of Norwich from Whitlingham;.

Between 1820 and 1829, Joseph Stannard exhibited works at the Royal Academy and the British Institution in London, showing eight works at the British Institution from 1824 to 1828.

Joseph Stannard was influenced by the work of earlier Dutch artists, whose works he studied and copied during a visit to Holland in 1821 that was perhaps inspired by a similar visit by his future wife and her father in 1820.

Harvey, who perhaps had not realised the large cost of the work, declined to accept it, and Joseph Stannard was left unable to recover his expenses.

Daniell sued him when a newly built studio obscured his light; Joseph Stannard was forced to remove it after losing the case.

The naval historian Oliver Warner, who congratulated Joseph Stannard on the work, describing it as "entrancing" and adding that it is "a picture good enough in itself to justify a long journey".

Joseph Stannard's visit to Holland enabled him to develop a new oil technique and deepen his interest in marine subjects.

Joseph Stannard was a talented portrait painter, and by 1818 had received a number of commissions.

Joseph Stannard produced character studies; his Norwich Ratcatcher is perhaps the best known of these works, which, alongside Old Lying Plummer, Scene in a Norwich Alehouse and Joe Doe the Butcher's Porter, have what Walpole describes as "the same characteristic feeling of identity".

Joseph Stannard skilfully portrayed human figures, typically depicted within their working environment, and revealing their personalities in a way that was unusual among the Norwich School etchers.

Joseph Stannard remained an obscure artist during most of the 19th century, perhaps due to his early death in 1830 and because he did not try to make his name by living away from Norwich.