Student Artwork Guide
Copyright This work is in the public domain. Herbert William Weekes died in 1904; copyright lasts 70 years after the artist’s death, so it ended in 1974.
In context
The sermon — Herbert William Weekes
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 62 at death.
Shaded: the lifetime of Herbert William Weekes (1842–1904) every dated painting, decade by decade
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
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/herbert-william-weekes-the-sermon-9HTPVN-en/
Measured from the image
Main colour
Black #0d0702
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 9 works by this artist, of which 1 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 Pimlico, United Kingdom
Herbert William Weekes occupied a unique and delightful niche within the Victorian Neoclassical period, carving out a reputation as a master of the humorous animal genre. Born in Pimlico, London, England, he was immersed in an environment of profound artistic heritage from his very earliest days. As the youngest of five children born to the prominent sculptor Henry Weekes, Sr., his upbringing was steeped in the traditions of fine art and craftsmanship. This lineage provided not only a foundation of technical skill but also a familial connection to the broader movement of English genre painting, as his brothers, Henry, Jr. and Frederick, were also accomplished artists in their own right.
Weekes’s artistic vision was characterized by a profound ability to breathe human personality into the animal kingdom. Rather than merely recording the physical likeness of beasts, he sought to expand the boundaries of 19th-century animal painting by using his subjects to reflect the complexities, follies, and charms of human life. His canvases often presented scenes where animals were placed in strikingly anthropomorphic situations—attending mock trials, engaging in social gossip, or participating in community gatherings. This technique of personification allowed him to create a sense of narrative playfulness that resonated deeply with his contemporary audience.
The mastery behind Weekes’s work lay in his sensitive understanding of his subjects and his ability to capture the tranquil, pastoral atmosphere of the English countryside. His primary medium, oil on canvas, allowed for a rich texture and depth that brought his whimsical scenes to life. He was deeply influenced by the legendary Sir Edwin Henry Landseer, whose own prowess in portraying animals with emotional weight served as a guiding light for Weekes’s development. However, where Landseer often leaned toward the dramatic or the sublime, Weekes found his strength in the lighthearted and the anecdotal.
His technical repertoire extended beyond the grand scale of oil paintings to include delicate pencil and pen work on paper, showcasing a versatility that captured both the broad strokes of a farmyard scene and the fine details of a character study. This skill was further utilized in his contributions to The Illustrated London News in 1883, where his illustrative talents reached a wider public audience. Whether through the sweeping narratives of his larger oils or the sharp wit of his illustrations, Weeker’s work maintained a consistent charm that bridged the gap between high art and popular storytelling.
Throughout his active years, which spanned from 1864 to 1904, Weekes was a frequent and respected presence in the most prestigious London galleries. His dedication to his craft was evidenced by his extensive exhibition history at several venerable institutions, including:
The Royal Academy, where he showcased a remarkable fifty-nine works.
The Walker Art Gallery, Liverpool.
The Royal Society of British Artists.
The Royal Institute of Oil Painters.
The Royal Birmingham Society of Artists.
While his work was widely celebrated for its charm, it also invited the playful scrutiny of contemporary critics, such as those who jokingly referred to his paintings as “Weekes' Weak Squeaks.” Such commentary, rather than diminishing his standing, speaks to the pervasive presence of his work in the cultural consciousness of the era. By transforming the traditional role of animal painting into a mirror for human behavior, Herbert William Weekes left an indelible mark on the Victorian art world, ensuring that his humorous, human-like vignettes would remain a cherished part of the English genre tradition.
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Look closely
The sermon — Herbert William Weekes
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"The sermon" is available as a hand-painted oil reproduction on linen canvas. The order can be placed on its Hand-Painted Reproduction page, with a choice of sizes.
The diaporama of "The sermon" can be watched on the artwork's Diaporama page.
The luminance recorded for "The sermon" by Herbert William Weekes is dark.