Sir Alfred Gilbert (12 August 18544 November 1934) was an English sculptor. He was born in London and studied sculpture under Joseph Boehm, Matthew Noble, Édouard Lantéri and Pierre-Jules Cavelier. His first work of importance was The Kiss of Victory, followed by the trilogy of Perseus Arming, Icarus and Comedy and Tragedy. His most creative years were from the late 1880s to the mid-1890s, when he produced several celebrated works such as a memorial for the Golden Jubilee of Queen Victoria and the Shaftesbury Memorial Fountain Anteros on Piccadilly Circus.

As well as sculpture, Gilbert explored other techniques such as goldsmithing and damascening. He painted watercolours and drew book illustrations. He was made a member of the Royal Academy of Arts in 1892, yet his personal life was beginning to unravel as he took on too many commissions and entered into debt, whilst at the same time his wife's mental health deteriorated. Gilbert received a royal commission for the tomb of Prince Albert Victor in 1892, but was unable to finish it and the number of complaints from other dissatisfied clients grew. By the mid-1900s, Gilbert had been forced to declare himself bankrupt and to resign from the Royal Academy. He moved to Bruges in disgrace and separated from his wife. He later remarried, entering a period when he created few artworks.

In the 1920s, his career was rehabilitated with the help of journalist Isabel McAllister. He returned to England and finally completed the tomb of Prince Albert Victor, as well as taking on new commissions such as the Queen Alexandra Memorial. In 1932, Gilbert was reinstated as a member of the Royal Academy and was also knighted. He died in 1934, at the age of 80. Gilbert was a central inspiration for the New Sculpture movement and in the 21st-century is regarded as one of the foremost sculptors of the Victorian age.

Early life

Alfred Gilbert was born 12 August 1854 at 13 Berners Street, near Oxford Street in central London. He was the eldest child of Charlotte Cole and Alfred Gilbert, who were both musicians. Berners Street was at that time an area popular with artists and musicians: there were shops selling stained glass, carvings, printings and bronze artworks; Ford Madox Brown and Edward Hodges Baily had studios; Leigh's Academy (run by James Mathews Leigh) was nearby, later becoming the Thomas J. Heatherley School of Art. Gilbert first attended William Kemshead's Academy for a few months in 1863, which was a naval school near Portsmouth. He then went for a scholarship at Middlesex Hospital to work as a surgeon and was rejected, allowing him to pursue his true interest of sculpture. Studying first at the Thomas J. Heatherley School from 1872 until 1873, afterwards he went to the Royal Academy Schools from 1873 until 1875.

Career

Early works

left|thumb|Perseus Arming, an inspiration for the [[New Sculpture movement|alt=refer to caption]]

Gilbert's first work of importance was The Kiss of Victory (1878–1881), which depicted a Roman soldier dying in the arms of Victory. He moved with his family to Rome in order to create the sculpture in marble, attracted by famed sculptors of the Renaissance such as Cellini, Donatello, Giambologna and Verrocchio. The memorial received praise from critics when it was unveiled at Westminster Abbey on 29 January 1887. Marion Spielmann, a contemporary art critic, wrote in 1901 "his taste is so pure, his genius so exquisitely right, that he may give full rein to his fancy without danger where another man would run riot and come to grief".

thumb|The [[Shaftesbury Memorial Fountain in Piccadilly Circus. Anteros is one of the first statues to be cast in aluminium.|alt=The Shaftesbury Memorial Fountain]]

Gilbert's next work of note was the Shaftesbury Memorial Fountain (1886–1893). The memorial was commissioned in 1886 and officially opened at Piccadilly Circus in London in 1893. Gilbert had accepted the commission with assurances that he would be given used gunmetal to melt down and reuse, however the government did not supply him with it. He had already produced the casts, so he was forced to buy copper to use instead, which meant that he took a substantial financial hit; the fountain should have cost and in the end the figure was , with Gilbert being forced to make up the difference. The fountain is now well-regarded and seen as a national treasure, but at the time it was controversial, with opinions on its value mixed. The mainstream media criticised the design of the fountain which led to passing flower girls being drenched in water and hooliganism meant it needed to be guarded for a year. Eight drinking cups on chains had been provided for pedestrians to quench their thirst and Gilbert stated that just one day after the opening, only two cups remained. He referred to the "painful experience of witnessing the utter failure of my intention and design". He received many other honours, such as Royal Victorian Order of the fourth class (1897). The tomb has been described by a critic as "the finest single example of late 19th-century sculpture in the British Isles". A recumbent effigy of the prince wearing a Hussar uniform lies above the tomb. Kneeling over him is an angel, holding a heavenly crown. The tomb is surrounded by an elaborate railing, with figures of saints. The perfectionist Gilbert spent too much time and money on the commission. Gilbert decided to quit, resigning his professorship and also his Royal Victorian Order. Things deteriorated further when he had an affair with a client, Eliza Macloghlin, and she demanded to have the funeral urn she had commissioned, Mr and Mrs Percy Plantagenet Macloghlin (1905–1909), also known as Mors Janua Vitae. were not, as has been previously believed, by Alfred Gilbert. They were the work of his contemporary, the oil painter, Albert Thomas Gilbert. Alfred married his housekeeper Stéphanie Quaghebeur on 1 March 1918 and they moved to Rome together in 1924.

McAllister was a fan, commenting in 1932 "One must be entirely loyal to him, and never admit faults to those who ... are always ready to look out for them".

Gilbert's wife Alice had a breakdown soon after the official opening of the Shaftesbury Memorial Fountain in 1893 and spent time in a mental asylum. The family left England again in 1901 and settled in Bruges. The marriage broke down in 1904 and Alice was hospitalised again. She died in 1916. Gilbert remarried in 1918 with his housekeeper Stéphanie Quaghebeur, by which time he had already taken on responsibility for helping to raise her seven children from a previous marriage.

References

Further reading

  • Beattie, Susan. The New Sculpture. New Haven: Yale University Press, 1983.
  • Bury, Adrian. Shadow of Eros: A Biographical and Critical Study of the Life and Works of Sir Alfred Gilbert. Macdonald & Evans, 1954.
  • Dorment, Richard, et al. Alfred Gilbert: Sculptor and Goldsmith. London: Royal Academy of Arts, 1986.
  • Edwards, Jason. Alfred Gilbert's Aestheticism: Gilbert Amongst Whistler, Pater, Wilde, and Burne-Jones. Aldershot: Ashgate, 2006.
  • Getsy, David. Body Doubles: Sculpture in Britain, 1877–1905. New Haven and London: Yale University Press, 2004.
  • Read, Benedict. Victorian Sculpture. New Haven: Yale University Press, 1982.