Alfred Gilbert

Home / Museum / Search ARC Museum

Alfred Gilbert

English New Sculpture (19th Century British) painter, draftsman, sculptor, goldsmith and medalist

Born 1854 - Died 1934

  • Artworks
  • Biography
  • Relationships
  • Letters
  • Images of the Artist

Mode

GILBERT, ALFRED (1854-1934), British sculptor and goldsmith, born in London, was the son of Alfred Gilbert, musician. He received his education mainly in Paris (Ecole des Beaux-Arts, under Cavelier), and studied in Rome and Florence where the significance of the Renaissance made a lasting impression upon him and his art. He also worked in the studio of Sir J. Edgar Boehm, R.A. His first work of importance was the charming group of the Mother and Child, then The Kiss of Victory, followed by Perseus Arming (1883), produced directly under the influence of the Florentine masterpieces he had studied. Its success was great, and Lord Leighton forthwith commissioned Icarus, which was exhibited at the Royal Academy in 1884, along with a remarkable Study of a Head, and was received with general applause. Then followed The Enchanted Chair, which, along with many other works deemed by the artist incomplete or unworthy of his powers, was ultimately broken by the sculptor's own hand. The next year Mr Gilbert was occupied with the Shaftesbury Memorial Fountain, in Piccadilly, London, a work of great originality and beauty, yet shorn of some of the intended effect through restrictions put upon the artist. In 1888 was produced the statue of H.M. Queen Victoria, set up at Winchester, in its main design and in the details of its ornamentation the most remarkable work of its kind produced in Great Britain, and perhaps, it may be added, in any other country in modern times. [ This is reputedly the view expressed by Rodin who saw the statue on a visit to England. - Ed ] Other statues of great beauty, at once novel in treatment and fine in design, are those set up to Lord Reay in Bombay, and John Howard at Bedford (1898), the highly original pedestal of which did much to direct into a better channel what are apt to be the eccentricities of what is called the New Art School. The sculptor rose to the full height of his powers in his Memorial to the Duke of Clarence, and his fast developing fancy and imagination, which are the main characteristics of all his work, are seen in his Memorial Candelabrum to Lord Arthur Russell and Memorial Font to the son of the 4th Marquess of Bath. Gilbert's sense of decoration is paramount in all he does, and although in addition to the work already cited he produced busts of extraordinary excellence of Cyril Flower, John R. Clayton (since broken up by the artist; the fate of much of his admirable work), G. F. Watts, Sir Henry Tate, Sir George Birdwood, Sir Richard Owen, Sir George Grove and various others, it is on his goldsmithery that the artist would rest his reputation; on his mayoral chain for Preston, the epergne for Queen Victoria, the figurines of Victory (a statuette designed for the orb in the hand of the Winchester statue), St Michael, and St George, as well as smaller objects such as seals, keys and the like. Mr Gilbert was chosen associate of the Royal Academy in 1887, full member in 1892 (resigned 1909), and professor of sculpture (afterwards resigned) in 1900. In 1889 he won the Grand Prix at the Paris International Exhibition. He was created a member of the Victorian Order in 1897.

Source:
  • From the entry on the artist in the 1911 Encyclopedia Britannica.

    Select Bibliography:See: The Life and Work of Alfred Gilbert, R.A., M.V.O., D.C.L., by Joseph Hatton (Art Journal Office, 1903). (M. H. S.)

  • Personal

    influence on

    patronized by

    protege of

    Letter

    Dear Tom,
    Expect me when you see me, not before. Send Jennings down at 2:30 if I am not with you before. Look after things and push for all you are worth.
    Yours ever

    Alfred Gilbert


    Image courtesy of Don Kurtz

    Letter (outside)

    Thomas Jarvis
    April 1904

    Image courtesy of Don Kurtz