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 Charles Edward Halle  (1846 - 1914)

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Lived/Active: United Kingdom      Known for: painting

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from Auction House Records.
Her Lord's Protector
Artwork images are copyright of the artist or assignee
Biography from Christie's London, King Street:
Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.

Charles Edward Hallé was the son of Sir Charles Hallé, pianist, conductor, and founder of the Hallé Orchestra.  He is best known to art-history as the co-director, with Joseph Comyns Carr, of the Grosvenor Gallery, launched in New Bond Street in 1877 as a liberal alternative to the Royal Academy and a showcase for the more radical aspects of late Victorian art.  Furthermore, when the Grosvenor ran into financial difficulties and lost its integrity, it was Hallé, again in tandem with Carr, who built a successor.  The New Gallery opened in Regent Street in 1888 with the support of many artists who had identified with the Grosvenor, pre-eminently Edward Burne-Jones, its undisputed star.  But Hallé also nursed artistic ambitions of his own, and was a regular exhibitor at the two galleries he help to run.

Having received early training from the illustrator Dicky Doyle and the sculptor Baron Marochetti, he had entered the Royal Academy Schools.  He had then spent a year in Paris studying with Ingres' pupil Victor Mottez and meeting the master himself.  Later he traveled extensively in Italy before settling in London where he encountered Rossetti and Burne-Jones.  Not surprisingly, his work is eclectic, owing much to the Italian old masters and making reference to Burne-Jones, while remaining fundamentally academic in spirit.  As an artist Hallé is somewhat uneven.  Hallé revered above all others the Venetian school and like so many before him, he was determined to learn the secrets of their technique. 'I made a very careful study of their methods...', he wrote in his reminiscences, Notes from a Painter's Life (1909), 'and am convinced that they proceeded almost entirely by glazing...That I might test my theories in practice, I painted an altarpiece of a Madonna and Child with St George and St Wilfrid; but the Venetian method is not learned in a day, and requires long practice'.

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