Edward Lear (12 May 1812Metropolitan Museum of Art (New York, N.Y.), and Katharine Baetjer. 2009. British paintings in the Metropolitan Museum of Art, 1575–1875. New York: Metropolitan Museum of Art. p. 270. Vivien Noakes says Lear's birth certificate gives 13 May as his birthdate but says "there is some doubt about the exact date". Noakes, Vivien. 1986. Edward Lear, 1812–1888. New York: H.N. Abrams. p. 74. – 29 January 1888) was an English artist, illustrator, musician, author and poet, who is known mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised but which term he never used.
His principal areas of work as an artist were threefold: as a draughtsman employed to make illustrations of birds and animals, making coloured drawings during his journeys (which he reworked later, sometimes as plates for his travel books) and as a minor illustrator of Alfred, Lord Tennyson's poems.
As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.
Biography Early years
Lear was born into a middle-class family in Holloway north London, the penultimate of 21 children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear, a stockbroker formerly working for the family sugar refining business.Edward Lear, Ina Rae Hark, Twayne Publishers, 1982, pg 2 He was raised by his eldest sister, also named Ann, 21 years his senior. Jeremiah Lear ended up defaulting to the London Stock Exchange in the economic upheaval following the Napoleonic Wars.Pictures at an Exhibition: Selected Essays on Art and Art Therapy, ed. Andrea Gilroy and Tessa Dalley, Routledge, 1989, pg 66 Because of the family's now more limited finances, when he was aged four, Lear and his sister were required to leave the family home, Bowmans Lodge, and live together. Ann doted on Edward and continued to act as a mother to him until her death, when he was almost 50 years of age.Jackson, Holbrook (ed). The Complete Nonsense of Edward Lear. Dover Publications, 1951. Page xii.
Lear had lifelong health problems. From the age of six, he had frequent tonic-clonic epileptic seizures, bronchitis, asthma and, during later life, partial blindness. Lear experienced his first seizure at a fair near Highgate when with his father. The event scared and embarrassed him. He felt lifelong guilt and shame for his epileptic condition, and his adult diaries indicate that he always sensed the onset of a seizure in time to remove himself from public view. When Lear was about seven years old he began to show signs of depression, possibly due to the instability of his childhood. He had periods of severe melancholia which he referred to as "the Morbids".
Artist
Lear was already drawing "for bread and cheese" by the time he was aged 16 and soon developed into a serious "ornithological draughtsman" employed by the Zoological Society and from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from life rather than the skins of specimens. Lear's first publication, published when he was 19 years old, was Illustrations of the Family of Psittacidae, or Parrots in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould whilst also contributing to John Gould's works and was compared by some to the naturalist John James Audubon. In honour of Lear's bird illustrations, Anodorhynchus leari, popular name Lear's macaw, is named after him.
After his eyesight deteriorated too much to work with such precision on the fine drawings and etchings of plates used in lithography, he turned to landscape painting and travel.Roger F. Pastier & John Farrand, Jr., Masterpieces of Bird Art, 700 Years of Ornithological Illustration, pp. 122–123, Abbeville Press, New York, 1991,
Among other travels, he visited Albania, Vardar Macedonia, Egypt (all of which were then part of the Ottoman Empire), and Greece, during 1848–49 and toured India during 1873–75, including a brief detour to Ceylon. While travelling he produced large quantities of coloured wash drawings in a distinctive style, which he converted later in his studio into oil and watercolour paintings, as well as prints for his books.Andrew Wilton & Anne Lyles, The Great Age of British Watercolours (1750–1880), p. 318, 1993, Prestel, His landscape style often shows views with strong sunlight, with intense contrasts of colour.Hofer, Philip. 1967. Edward Lear as a landscape draughtsman. Cambridge: Mass., Belknap Press of Harvard University Press.
Between 1878 and 1883, Lear spent his summers on Monte Generoso, a mountain on the border between the Swiss canton of Ticino and the Italian region of Lombardy. His oil painting The Plains of Lombardy from Monte Generoso is in the Ashmolean Museum in Oxford.
Throughout his life, he continued to paint seriously. He had a lifelong ambition to illustrate Tennyson's poems; near the end of his life, a volume with a small number of illustrations was published.
Illustrated Excursions in Italy (1842–1847)
In 1842, Lear began a journey into the Italian Peninsula, travelling through the Lazio, Rome, Abruzzo, Molise, Apulia, Basilicata, Calabria and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. Of particular interest to Lear was the Abruzzo, which he visited in 1843, through the Marsica (Celano, Avezzano, Alba Fucens, Trasacco) and the plateau of Cinque Miglia (Castel di Sangro and Alfedena), by an old sheep track of the shepherds.
Lear drew a sketch of the medieval village of Albe with Mount Sirente, and described the medieval village of Celano, with the castle of Piccolomini dominating the vast plain of Lago Fucino, which was drained a few years later to promote agricultural development. At Castel di Sangro, Lear described the winter stillness of the mountains and the beautiful basilica.
More adventurous was the voyage to the regions of southern Italy in 1847, described in Lear's Journals of a Landscape Painter in Southern Calabria, & c. The broad Calabria section in which Lear tells his itinerary among breathtaking landscapes and often surreal characters, is thought to be among the best in his travel literature.See: Raffaele Gaetano, Senza ombre di cerimonie. Sull'ospitalità nei "Diari di viaggio" in Calabria di Edward Lear, Pellegrini, Cosenza, 2020. Raffaele Gaetano, Per la Calabria Selvaggia: 109 disegni inediti di Edward Lear. Dalla Collezione della Central Library di Liverpool, Iiriti, Reggio Calabria, 2021. Raffaele Gaetano, Edward Lear: Cronache di un viaggio a piedi nella Calabria del 1847, Laruffa, Reggio Calabria, 2022
Composer and musician
Lear primarily played the piano, but he also played the accordion, flute, and small guitar. He composed music for many Romantic and Victorian poems, but was known mostly for his many musical settings of Tennyson's poetry. He published four settings in 1853, five in 1859, and three in 1860. Lear's were the only musical settings that Tennyson approved of. Lear also composed music for many of his nonsense songs, including "The Owl and the Pussy-Cat", but only two of the scores have survived, the music for "The Courtship of the Yonghy-Bonghy-Bò" and "The Pelican Chorus". While he never played professionally, he did perform his own nonsense songs and his settings of others' poetry at countless social gatherings, sometimes adding his own lyrics (as with the song "The Nervous Family"), and sometimes replacing serious lyrics with nursery rhymes.Noakes, Vivien. Edward Lear: The Life of a Wanderer, Revised Edition, pp. 99–100, 2004,
Relationships Lear's most fervent and painful friendship was with Franklin Lushington. He met the young barrister in Malta in 1849 and toured southern Greece with him. Lear developed an infatuation for him that Lushington did not wholly reciprocate. Although they remained friends for almost forty years until Lear's death, the disparity of their feelings constantly tormented Lear. Indeed, Lear's attempts at male companionship were not always successful; the very intensity of Lear's affections may have doomed these relationships.Susan Chitty, That Singular Person Called Lear, Atheneum, 1989
He proposed twice to another writer, Augusta Bethell, whom he had known for a long time, when he was 26 years her senior. For companions, he relied instead on friends and correspondents, and especially, during later life, on his Albanian Souliote chef, Giorgis, a faithful friend and (as Lear complained) a thoroughly unsatisfactory chef.Levi, Peter. Edward Lear, a Biography. Another trusted companion in San Remo was his cat, Foss, who died in 1887 and was buried with some ceremony in a garden at Villa Tennyson.
San Remo and death Lear eventually settled in San Remo, on his beloved Mediterranean coast in the 1870s at a villa he named "Villa Tennyson".
Lear was known to introduce himself with a long pseudonym: "Mr Abebika kratoponoko Prizzikalo Kattefello Ablegorabalus Ableborinto phashyph" or "Chakonoton the Cozovex Dossi Fossi Sini Tomentilla Coronilla Polentilla Battledore & Shuttlecock Derry down Derry Dumps", which he based on Aldiborontiphoskyphorniostikos.
After a long decline in his health, Lear died at his villa in 1888 of heart disease, which he had since at least 1870. Lear's funeral was described as a sad, lonely affair by the wife of Dr. Hassall, Lear's physician, none of Lear's many lifelong friends being able to attend.Strachie, Lady Constance Braham. Later Letters of Edward Lear: Author of "The Book of Nonsense". 1911: Duffield and Company. P. 332
Lear is buried in the Cemetery Foce in San Remo. On his headstone are inscribed these lines about Mount Tomohrit (in Albania) from Tennyson's poem To E.L. [Edward Lear], On His Travels in Greece:
The centenary of his death was marked in Britain with a set of Royal Mail stamps in 1988 and an exhibition at the Royal Academy. Lear's birthplace area is now marked with a plaque at Bowman's Mews, Islington, in London, and his bicentenary during 2012 was celebrated with a variety of events, exhibitions and lectures in venues across the world including an International Owl and Pussycat Day on his birth anniversary.
Author
In 1846, Lear published The Book of Nonsense, a volume of limericks which went through three editions and helped popularise the form and the genre of literary nonsense. In 1871, he published Nonsense Songs, Stories, Botany and Alphabets, which included the nonsense song "The Owl and the Pussy-Cat", which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.
Lear's nonsense books were quite popular during his lifetime, but a rumour developed that "Edward Lear" was merely a pseudonym, and the books' true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumour offered as evidence that both men were named Edward, and that "Lear" is an anagram of "Earl".
Lear's nonsense works are distinguished by a facility of verbal invention and a poet's delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a "diaphanous doorscraper". A "blue Boss-Woss" plunges into "a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud". His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase "runcible spoon", occurs in the closing lines of "The Owl and the Pussy-Cat" and is now found in many English dictionaries.