Student Artwork Guide
Copyright This work is in the public domain. Charles Joshua Chaplin died in 1891; copyright lasts 70 years after the artist’s death, so it ended in 1961.
In context
Deer — Charles Joshua Chaplin
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 66 at death.
Painted when the artist was 45. The artist lived to 66. 8 of the 16 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Charles Joshua Chaplin (1825–1891) ▲ this work, 1870 every dated painting, decade by decade
First works: up to 1850 Main working years: 1850–1891 Late works: from 1891
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: artsdot.com/en/art/similar/deer-by-charles-joshua-chaplin/
Measured from the image
Main colour
Walnut #844c24
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 36 works by this artist, of which 4 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Les Andelys, France
Charles Samuel Keene, born in Hornsey, Middlesex on August 10, 1823, emerged as a significant figure in Victorian illustration, though his path to artistic renown was initially shaped by circumstance. Following the untimely death of his father, young Charles’s inherent artistic inclinations were fostered by his mother, who recognized and nurtured his talent. This early encouragement proved pivotal, setting the stage for a career that would beautifully capture the nuances of 19th-century British life. His first known work, the illustrations for The Adventures of Dick Boldhero (1842), signed simply as Chas. Keene, hinted at the observational skill and delicate draftsmanship that would become hallmarks of his style. This early success wasn’t a sudden leap; it was preceded by an apprenticeship to a wood engraver – a crucial period where he honed his technical abilities and gained invaluable insight into the mechanics of visual reproduction. Though initially destined for a legal career, followed by a brief stint in architecture, Keene's artistic calling proved too strong to ignore, leading him towards the vibrant world of illustration and ultimately, to lasting recognition.
Keene’s breakthrough arrived in December 1851 when his work first appeared in Punch, the iconic British satirical magazine. This marked not merely an employment opportunity but a pivotal moment of artistic validation. Nine years of consistent contributions followed, demonstrating his dedication and growing skill, culminating in a coveted position on the Punch staff. It was within these pages that Keene truly flourished, developing a unique visual language characterized by subtle humor, meticulous detail, and a keen eye for social observation. He wasn’t a caricaturist in the bombastic style of some contemporaries; instead, his strength lay in capturing the quiet moments, the everyday interactions, and the gentle ironies of Victorian society. His work resonated with readers precisely because it reflected their own world back at them – not distorted or exaggerated, but observed with affectionate wit. This period also saw a blossoming of collaboration, most notably with Joseph Crawhall, whose anecdotal observations provided Keene with a wealth of inspiration for over 250 successful drawings in the latter part of his career with Punch.
Keene’s artistic prowess extended beyond mere technical skill; he possessed an exceptional ability to imbue his illustrations with social commentary. Works like Storming of Malakoff demonstrate a capacity for capturing dramatic scenes, while pieces such as Public Reception reveal his talent for conveying complex emotions through visual storytelling. He didn't simply depict what he saw; he interpreted it, offering subtle critiques of Victorian customs and societal norms. His illustrations weren’t overtly political or inflammatory, but rather gently persuasive, prompting viewers to reflect on the world around them. This nuanced approach distinguished him from many of his contemporaries and contributed to his enduring appeal. He excelled at portraying scenes of middle-class life – domestic interiors, social gatherings, and everyday encounters – imbuing these seemingly mundane moments with a sense of charm and understated humor. His illustrations weren’t about grand narratives or heroic deeds; they were about the small joys, quiet anxieties, and subtle absurdities of ordinary existence.
In his later years, Keene relocated to 239 Kings Road, Chelsea, continuing to produce work for Punch while also overseeing the publication of a collection of his drawings in Our People (1881). Despite facing health challenges – dyspepsia and rheumatism gradually taking their toll – he remained dedicated to his craft until his passing on January 4, 1891. His legacy extends far beyond the pages of Punch. Keene’s illustrations offer a valuable window into Victorian England, providing insights into its social customs, fashion, and daily life. He wasn't merely an illustrator; he was a chronicler of his time, capturing its essence with wit, sensitivity, and remarkable artistic skill. His influence can be seen in the work of subsequent generations of illustrators, who admired his ability to blend technical precision with insightful observation. Today, his works are celebrated for their historical significance, aesthetic beauty, and enduring charm, ensuring that Charles Samuel Keene remains a beloved figure in the history of British art.
Storming of Malakoff: A powerful depiction showcasing Keene’s skill in capturing dramatic historical events.
Public Reception: An insightful illustration that highlights his ability to convey complex emotions and social dynamics.
A man reading the 'Lancet' in a gentleman's club: A satirical woodcut offering commentary on Victorian society and intellectual pursuits.
Two women dressing for a ball in inflatable crinoline dresses: A charming illustration capturing the fashion and social customs of the era.
Keene’s artwork can be found in various collections, including the Samuel Johnson Birthplace Museum in Lichfield, United Kingdom, which showcases a diverse range of works by English artists. His illustrations continue to captivate audiences with their timeless appeal and offer a fascinating glimpse into the world of Victorian England.
artsdot.com/en/art/download/deer-by-charles-joshua-chaplin/
Look closely
Deer — Charles Joshua Chaplin
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Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
The image of "Deer" by Charles Joshua Chaplin can be downloaded from the artwork's Download page: a high-resolution digital image download.
"Deer" is available as a high-resolution digital image download, purchased directly on its Digital Image page.
Statistics about "Deer" by Charles Joshua Chaplin are on the artwork's Stats page: monthly visits of the artwork, visits of the artist's works, and country and language breakdowns of recent visitors.