Edward Seago: Study Recommended

"Landscape near Blythborough, Suffolk" by Edward Seago

"Edward Seago stayed back home for just over two months during which time a long-postponed commission materialized to paint Brigadier-General Sir Hereward and Lady Wake and their four children riding in the grounds of their country seat, Courteenhall. In contrast to painting in a circus tent, his studio was now a Louis XVI drawing-room. When the painting was completed, Edward wrote: 'It is without doubt the best I have ever done. Sir Hereward is particularly keen that it should go to the Academy.'

The Wakes showed him around the countryside, took him to Towcester Races, to the theatre, to luncheon and dinner parties and to tea with Lord and Lady Spencer Churchill at Castle Ashby. He and Lady Wake discussed the price he should ask for his pictures. 'I have now arrived at quite definite ideas,' he wrote. 'While it is a great mistake to make your prices exorbitant, it is just as foolish to make them too small.' At the height of his success when everything at his exhibitions was sold on the opening day, he firmly resisted the suggestion that he could easily charge more and, 'a fair price' was all he ever asked.

That year Edward sent the family portrait and a large circus painting to the Royal Academy exhibit for jurying. Alfred Munnings wrote back that they were 'not good enough for so large a picture. You'll now have to study seriously somewhere because all the hanging committee are sorry about your work not being in and they all see that you have the courage and will work. Your father must let you have a year up in town. Try the Academy Schools and you'll be well seen after there. When you have learned more you'll be a great artist. Don't let this defeat worry you. Both the pictures were beaten by their size and utter lack of knowledge and you were at sea when you tried to paint the children's faces. Now you get started and no more playing about and we shall be seeing you in great places one day. The composition of that picture of the children was good. The circus a tremendous effort but a picture that size has to be better to get hung. Never mind.'

Even so, both paintings ended up being hung. 

Munnings wrote again urging Edward to talk to his father about art lessons and reminded him of the long studentships and years of learning of Velasquez, Rubens and Rembrandt and of the Italian men.

'Why did the Academy start its schools 100 years ago if schools were not needed? Why do grown up men go to night classes and draw from the nude, year in and year out? You have now to begin and learn something and from now until the end of this term you ought to go in to Norwich School and work there. Be yourself and do what you want to do. If the master there is 'up to date' as they call it, regard him as you think fit, but go and do some real study and shake the dust of utter ignorance off your feet. Let your father understand that he has to make a student of you for a while and not a young potboiler.' 

But the pull of the circus was too great, and in the end, Edward disregarded the advice. One term's evening classes at Norwich School of Art, studying drawing and working from a series of male models, convinced him that he was equipped with all the schooling he needed and immediately once term was over he rejoined the circus."

To be continued

(Excerpts from "Edward Seago: The Other Side of the Canvas" by Jean Goodman.)