1911 Encyclopædia Britannica/Furse, Charles Wellington
FURSE, CHARLES WELLINGTON (1868–1904), English painter, born at Staines, the son of the Rev. C. W. Furse, archdeacon of Westminster, was descended collaterally from Sir Joshua Reynolds, and in his short span of life achieved such rare excellence as a portrait and figure painter that he forms an important link in the chain of British portraiture which extends from the time when Van Dyck was called to the court of Charles I. to our own day. His talent was precocious; at the age of seven he gave indications of it in a number of drawings illustrating Scott’s novels. He entered the Slade school in 1884, winning the Slade scholarship in the following year, and completed his education at Julian’s atelier in Paris. Hard worker as he was, his activity was frequently interrupted by spells of illness, for he had developed signs of consumption when he was still attending the Slade school. An important canvas called “Cain” was his first contribution (1888) to the Royal Academy, to the associateship of which he was elected in the year of his death. For some years before he had been a staunch supporter of the New English Art Club, to the exhibitions of which he was a regular contributor. He was married in October 1900 to Katharine, daughter of John Addington Symonds. His fondness for sport and of an open-air life found expression in his art and introduced a new, fresh and vigorous note into portraiture. There is never a suggestion of the studio or of the fatiguing pose in his portraits. The sitters appear unconscious of being painted, and are generally seen in the pursuit of their favourite outdoor sport or pastime, in the full enjoyment of life. Such are the “Diana of the Uplands,” the “Lord Roberts” and “The Return from the Ride” at the Tate Gallery; the four children in the “Cubbing with the York and Ainsty,” “The Lilac Gown,” “Mr and Mrs Oliver Fishing” and the portrait of Lord Charles Beresford. Most of these pictures, and indeed nearly all the work completed in the few years of Furse’s activity, show a pronounced decorative tendency. His sense of space, composition and decorative design can best be judged by his admirable mural decorations for Liverpool town hall, executed between 1899 and 1902. A memorial exhibition of Furse’s paintings and sketches was held at the Burlington Fine Arts Club in 1906.