Capital and Labour, by Henry Stacy Marks R.A., R.W.S., H.R.C.A. (1829-1898). 1874. Oil on canvas. 38 x 54 inches (97 x 137 cm). Private collection. Image courtesy of Sotheby's. [Click on this and the following images to enlarge them.]
Capital and Labour was exhibited at Royal Academy in 1874, no. 179. The painting shows a stout, haughty aristocrat accompanied by his architect, meeting a delegation of workers who are building his manor house, in order to discuss an increase in their wages. The labourers, led by the master mason, have chosen an unusual location for the meeting, a scaffold high up on the building site, reached only by the ladder visible to the right. The aristocrat and his architect are garbed in the finery of the sixteenth century.
When this work was exhibited at the Royal Academy the critic of The Art Journal thought it failed to live up to the technical standards of some of Mark's paintings of birds: "And a little further on we have 'Capital and Labour' (179), H. S. Marks, A. In certain points of technical excellence this picture cannot be ranked with the wonderful study of stuffed birds that formed a prominent feature last year. It is humorous, as nearly all of Mr. Marks's compositions are apt to be; but there is satisfaction in finding a humourist in Art who thoroughly understands and carefully observes the conditions of pictorial representation. The feeling for design and for pleasant combination of colour is always permitted a measure of influence, and sometimes, as here, a glimpse of quiet landscape helps the decorative effect. We would suggest, however, that the attitude of the foremost workman is somewhat too sudden and momentary to serve conveniently for the purpose of Art, where we need above all things the sense of endurance and repose" (164).
F. G. Stephens in The Athenaeum felt this was the most important of Marks's contributions to the Royal Academy in 1874:
"Some of Mr. Marks's less important pictures we must leave for the present, in order to deal with Capital and Labour (179), the scene of which is a platform on a scaffolding used in the erection of a mansion for a certain squire of high degree, the capitalist who is brought face to face with "the question of the day," by a deputation of craftsmen and labourers seeking higher wages. In giving a description of this picture, which was otherwise, we believe, complete, we were unfortunate enough to say that one of the most humorous characters had one eye; such is not the case. There is great humour and a capital sense of the circumstances in the figure of the portly squire, who draws himself up, and, in half-unconscious consciousness of wealth, trifles with his neck-chain; he will yield to the deputation, and, for his sake, one hopes, he will do it gracefully. Apart from the nobler elements of design and humour, the charms of this picture are its completeness, firmness, good local colouring, and clear daylight. Its shortcomings are a certain lack of atmosphere and relief, and the lack of richness in certain parts of the colouring, as the scaffold and the building. Nor is the landscape quite as rich and fine as Mr. Marks has, in many admirable landscapes proper, shown himself able to give us" (602).
Closer views of the figures at each side.
A reviewer for The Builder found this to be one of the finest pictures in the exhibition:
Mr. H. S. Marks, A., has turned his labour to capital account, to show that a grievous question between Capital and Labour is at least as old as the Tudors (179), and it may be taken for granted that it will remain a grievance as long as there is a man left who has to work for his living. A deputation of workmen have met the noble proprietor of the mansion they are erecting for him, as he is inspecting the progress of the works, accompanied by that never very enviable and always very responsible individual who is supposed to direct the builders to urge an increase of their pay. The knowledge that they have my lord rather to their advantage accounts in some measure, perhaps, for their extremely respectful bearing in representing their claims upon his consideration; for 50 ft. or so above hard gravel go no way towards heightening consciousness of sure footing on scaffolding, if you do not happen to be used to it; and there is a slight suggestiveness of nervousness in the twiddling of his gold collar, though it does not much interfere with the dignified attention he lends to the men's request, indicating a very probable grant of it. This is one of the most complete and thoroughly satisfactory pictures of the collection, showing remarkable apprehension of character and first-rate technical qualities. [429]
The Illustrated London News found this yet another example of Marks's rich humour and well developed sense of character:
A more elaborate sample of the painter's rich humour and keen sense of character is his sixteenth-century version, in oil, of the never ending dispute between Capital and Labour (179). A baron, who is having additions made to his hall, is summoned by his architect to the workmen's scaffold to listen to their grievances, as proffered through their spokesman, the master mason. The "capitalist" is a lofty but not implacable personage, and, to do the labourers justice, they seem to prefer their claims civilly enough; the freemasonry and trade guilds of those times were, however, hardly a counterpoint to the Union of the modern workingman, so the dispute will probably end without either strike or lock-out. [411]
Two highly finished studies in crayon for the principal figures to the left in Capital and Labour were exhibited in the Exhibition of Works in Black and White at the Dudley Gallery in 1874, nos. 160 and 185.
Links to Related Material
- Capital and Labour, the famous Punch cartoon of 1843, drawn by R. J. Hammerton
- Social Commentary and Victorian Illustration: The Representation of Working Class Life, 1837–1880
Bibliography
"Another Look at the Royal Academy." The Builder XXXII (23 May 1874): 429-30.
Capital and LabourBritish and Irish Art. London: Sotheby's (22 May 2014), lot 208. https://www.sothebys.com/en/auctions/ecatalogue/2014/british-irish-art-l14132/lot.208.html
"Exhibition of Works in Black and White." The Builder XXXII (11 July 1874): 580.
"Fine Arts. Works for the Royal Academy Exhibition." The Illustrated London News LXIV (4 April 1874): 319.
"Paintings at the Royal Academy." The Architect XI (16 May 1874): 276.
"The Royal Academy." The Art Journal New Series XIII (June 1874): 161-66.
"Royal Academy Exhibition." The Illustrated London News LXIV (2 May 1874): 411.
Stephens, Frederic George. "Fine Arts. The Royal Academy." The Athenaeum No. 2427 (2 May 1874): 599-602.
Created 25 October 2023