Dictionary of National Biography, 1885-1900/Bonnar, William
BONNAR, WILLIAM (1800–1853), painter, was a native of Edinburgh, and son of a respectable house-painter. After the usual precocious evidences of talent he was apprenticed to one of the leading decorative painters of his time, and ultimately became foreman of the establishment On the occasion of George IV's visit to Edinburgh in 1822 Bonnar helped Mr. D. Roberts to decorate the assembly rooms for a state ball. A little while after some sign-boards which he had painted caught the attention of Captain Basil Hall, who sought out and encouraged the young painter. A picture called ‘The Tinkers,' exhibited in 1824 at Waterloo Place, was received with much favour by the public. Shortly after the foundation of the Royal Scottish Academy Bonnar was made a member, and remained until his death ‘one of its most consistent, independent, and useful members.’
Bonnar painted many pictures, of which a large number became popular when engraved. Among these may be mentioned ‘The Strayed Children,’ ‘Peden at the Grave of Cameron,’ 'The Benefactress; or, the Duchess of Bucclough visiting the Widow and the Orphan,’ ‘The First Sermon of John Knox, in the Castle of St. Andrews,’ and ‘Robert Bruce watching the efforts of the Spider.’ In rural scenes and pictures of child life, as well as in humorous pieces, Bonnar was thought to he particularly successful. As examples in these styles may be mentioned ‘The Orphans,’ ‘The School-door,’ ‘The New Dress,’ ‘The Evening Prayer,' ‘The Blessing,’ ‘The Gentle Shepherd,’ ‘The Cottar’s Saturday Night,’ ‘Barney Kilmeny,’ ‘The Forsaken,’ ‘Dugald Dalgetty and the Duke of Argyle,’ and ‘Caleb Balderstone burnishing the Pewter Flagon.’ The last two evince ‘a strong sense of the ludicrous, and attest the versatility of his powers.’ In his latter years Bonner was engaged chiefly in painting portraits, many of which were engraved by his sons. ‘In private life Mr. Bonnar was amiable and kind, in manner he was singularly modest and unobtrusive, and these qualities, together with his straightforward honesty and fearless independence, rendered him a useful and favourite member of the Scottish Academy.’ He died in London Street, Edinburgh, on 27 Jan. 1853.
[Art Journal, March 1853; Scotsman, 2 Feb. 1853; Redgrave, Dictionary of Artists of the English School.]