The time around 1800 was characterized by scientific research and technical inventions, but also by war and civil strife. Charles Hamilton Smith's life reflects this constellation and he succeeded in his own way to illustrate it.
Born in Flanders, later residing in Plymouth and dying there, Smith began his schooling at a very young age in Richmond, near London. Thus, he was already looking beyond his Flemish homeland. Political unrest in Flanders brought him back, however, and in 1787, at only twelve years of age, he was accepted at the Austrian Academy of Artillery and Engineers in the now Belgian cities of Mechelen and Louvain. His military service led him to the British Army, but his broad interest in history, archaeology and natural history he laid down at the same time in drawings and writings. They numbered in the thousands. He combined one with the other in a scientific study of English uniforms, to which he linked the aspect of color in relation to the marksmanship of firearms. The use of modern firearms had increased marksmanship. Smith concluded for the British Army that gray and green uniforms were more protective than the obligatory red ones. The recommendations were taken seriously: Green was chosen for the light infantry. He pursued his interest in British costumes in further pictorial representations, both civilian and military, of the British Isles. And he again knew how to combine his historical interest and military concerns by focusing on historical costumes of the British on the one hand, and putting on paper the contemporary uniforms of the British Army and its allies on the other. This also resulted in extensive pictorial works. He further demonstrated his versatility and knowledge of historical dress in his collaboration on theatrical costumes, as well as in collaboration with architect Charles Barry on the interior design of the rebuilt Palace of Westminster in London.
Cosmopolitan as he was, his military service with the British Army seems to have suited his interests to a great extent. Assignments in Europe, India, the Caribbean, the United States and Canada prompted him to depict not only uniforms but also the wildlife and landscape of a wide variety of regions. In close-up or distant view: his works always also show his spirit of research, his meticulous powers of observation and his talent for drawing.
Charles Hamilton Smith was not an artist in the true sense of the word. He had no artistic training, but acquired his skills as an autodidact. He documented in words and pictures what he saw or what he wanted to capture as a memory. His comprehensive oeuvre is an authentic testimony to his time, not least because of its abundance.
The time around 1800 was characterized by scientific research and technical inventions, but also by war and civil strife. Charles Hamilton Smith's life reflects this constellation and he succeeded in his own way to illustrate it.
Born in Flanders, later residing in Plymouth and dying there, Smith began his schooling at a very young age in Richmond, near London. Thus, he was already looking beyond his Flemish homeland. Political unrest in Flanders brought him back, however, and in 1787, at only twelve years of age, he was accepted at the Austrian Academy of Artillery and Engineers in the now Belgian cities of Mechelen and Louvain. His military service led him to the British Army, but his broad interest in history, archaeology and natural history he laid down at the same time in drawings and writings. They numbered in the thousands. He combined one with the other in a scientific study of English uniforms, to which he linked the aspect of color in relation to the marksmanship of firearms. The use of modern firearms had increased marksmanship. Smith concluded for the British Army that gray and green uniforms were more protective than the obligatory red ones. The recommendations were taken seriously: Green was chosen for the light infantry. He pursued his interest in British costumes in further pictorial representations, both civilian and military, of the British Isles. And he again knew how to combine his historical interest and military concerns by focusing on historical costumes of the British on the one hand, and putting on paper the contemporary uniforms of the British Army and its allies on the other. This also resulted in extensive pictorial works. He further demonstrated his versatility and knowledge of historical dress in his collaboration on theatrical costumes, as well as in collaboration with architect Charles Barry on the interior design of the rebuilt Palace of Westminster in London.
Cosmopolitan as he was, his military service with the British Army seems to have suited his interests to a great extent. Assignments in Europe, India, the Caribbean, the United States and Canada prompted him to depict not only uniforms but also the wildlife and landscape of a wide variety of regions. In close-up or distant view: his works always also show his spirit of research, his meticulous powers of observation and his talent for drawing.
Charles Hamilton Smith was not an artist in the true sense of the word. He had no artistic training, but acquired his skills as an autodidact. He documented in words and pictures what he saw or what he wanted to capture as a memory. His comprehensive oeuvre is an authentic testimony to his time, not least because of its abundance.
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