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Sebastian pether biography

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Artists Biography

British, 1790-1844
Sebastian Pether was a painter of landscape and moonlight scenes.He exhibited at the Royal Academy from 1812 - 26, the British Institute and Suffolk Street and was the son of Abraham Pether 1756 – 1812.In addition to moonlight scenes he also painted fires and other destructive effects of nature, e.g. “Destruction of a City by a Volcano”, RA 1826 and “A Caravan Passing the Desert Overtaken by a Sandstorm”, RA 1826. If his paintings are not signed, they are often confused with those of his son Henry. Sebastian’s colours are in general harder and more metallic, in the Dutch manner, whereas Henry’s are warmer and brown in tone.

Works by this artist…

  • A View of lord Landsdowne's Tower Southampton
    ( ref : 11060 )

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Abraham Pether FSA (1756-1812) was a one-time child prodigy turned classic 18th century polymath whose experiments with electricity, mathematics, and astronomy led to the invention of numerous items from telescopes to pencils. It was, however, as a painter of dramatic moonlit landscapes that Abraham Pether found acclaim, exhibiting at all the major London venues between 1773 and 1811, including the Royal Academy on 61 occasions.

Like his near contemporary Joseph Wright (1734-1797), Abraham Pether was one of the finest early English painters of chiaroscuro; the bold contrasting of light and shade used to convey drama and three-dimensional depth in a painting. The nocturnal landscapes of both men frequently balance competing light sources – typically the flames of a fire and the light of the moon – to evoke in the viewer a sense of awe at the sublime beauty of nature.

‘Fire and Moonlight’ by Abraham Pether, Society of Artists Exhibition, London 1790
Currently available to purchase from the AFP Gallery page

Unfortunately for ‘Moonlight Pethe

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Dictionary of National Biography, 1885-1900/Pether, Sebastian

​PETHER, SEBASTIAN (1790–1844), landscape-painter, eldest son of Abraham Pether [q. v.], was born in 1790. He was a pupil of his father, and, like him, painted chiefly moonlight views and nocturnal conflagrations. His works of this class are singularly truthful and harmonious in colour, and should have brought him success; but early in life the necessity of providing for a large family drove him into the hands of the dealers, who purchased his pictures for trifling sums for copying purposes, to which they readily lent themselves, and consequently they were rarely seen at exhibitions. In 1814 Pether sent to the Royal Academy ‘View from Chelsea Bridge of the Destruction of Drury Lane Theatre,’ and in 1826 ‘A Caravan overtaken by a Whirlwind.’ The latter was a commission from Sir J. Fleming Leicester; but as the subject was not suited to the painter's talent, this solitary piece of patronage was of no real benefit to him. His life was one long struggle with adversity, which reached its climax when, in 1842, thre

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