Edwin Longsden Long
Edwin Longsden Long (1829 – 1891) was a British genre, history, biblical and portrait painter. He was born in Bath, Somersetshire, the son of E. Long, an artist (from Kelston in Somerset), and was educated at Dr. Viner's School in Bath. Adopting the profession of a painter, Long came to London and studied in the British Museum. He was subsequently a pupil in the school of James Mathews Leigh in Newman Street London, and practiced first as a portrait artist painting Charles Greville, Lord Ebury and others.
Long made the acquaintance of John Phillip RA, and accompanied him to Spain, where they spent much time. Long was greatly influenced by the paintings of Velázquez and other Spanish masters, and his earlier pictures, such as La Posada'(1864) and Lazarilla and the blind beggar'(1870), were painted under Spanish influence. His first important pictures were The Suppliants'(1872) and The Babylonian marriage market (both subsequently purchased by Thomas Holloway. In 1874, he visited Egypt and Syria, and subsequently his work took a new direction. He became thoroughly imbued with middle-eastern archaeology and painted oriental scenes including
*The Egyptian Feast*(1877),
*The Gods and Their Makers*(1878).
Long was elected an associate of the Royal Academy in 1870 and an academician (RA) in 1881. His pictures always attracted attention, and his *Diana or Christ?* (1881) greatly enhanced his reputation at the time. He achieved substantial commercial success, exemplified by works like *Anno Domini* and *Zeuxis at Crotona,* even establishing his own gallery on Bond Street to showcase his creations directly to the public. Later in life, he continued to demonstrate versatility, accepting portrait commissions from prominent figures such as Cardinal Manning and the Earl of Iddesleigh, while maintaining the signature style that had become synonymous with his name.
Longs pictures, like those of Alma-Tadema, were praised for the accuracy of their historic settings, and the precise rendering of historical artefacts. Long produced a number of very large canvasses with biblical scenes which made him a wealthy high profile artist. Their appeal is somewhat difficult for us to understand in the more secular world we live in today. Long became a full Academician in 1881. He died suddenly of pneumonia in 1891, and his reputation quickly declined. The major collector of his work was Merton Russell-Cotes. See our section about the Russell-Cotes Gallery. Source: Victorian Art in Britain.
## Early Life and Artistic Foundations
Long was born in Bath, Somersetshire, the son of E. Long, an artist (from Kelston in Somerset), and was educated at Dr. Viner's School in Bath. Adopting the profession of a painter, Long came to London and studied in the British Museum. He was subsequently a pupil in the school of James Mathews Leigh in Newman Street London, and practiced first as a portrait artist painting Charles Greville, Lord Ebury and others. His father’s artistic pursuits instilled in him an early appreciation for visual art and established a lifelong passion for creative expression. Long's formative years were marked by diligent study and experimentation, shaping his technical skills and fostering a deep understanding of artistic principles.
## The Spanish Awakening and Baroque Influences
A pivotal moment in Long’s artistic journey arrived with his travels to Spain alongside fellow artist John Phillip RA. This sojourn proved transformative, immersing him in the dramatic world of Spanish art—particularly the works of Velázquez and other masters of the Baroque tradition. The intensity of light, the rich color palettes, and dynamic compositions captivated Long, profoundly influencing his aesthetic sensibilities. Upon returning to England, he began to translate these newfound inspirations into his own paintings. Works like *La Posada* (1864) and *Lazarilla and the blind beggar* (1870), exhibited a Baroque flair and technical prowess that resonated with audiences.
## Orientalism, Archaeology, and Biblical Narratives
Long’s artistic trajectory took another significant turn following his travels to Egypt and Syria in 1874. This immersion into Middle Eastern archaeology ignited a passion for depicting biblical scenes and oriental subjects. He wasn't simply illustrating stories; he was striving for historical accuracy, meticulously researching ancient cultures and incorporating those details into his work. Paintings such as *The Egyptian Feast* (1877), *The Gods and Their Makers* (1878), and *Sacred to Pasht* (1883) became hallmarks of this period. Long’s ability to combine rigorous archaeological research with artistic vision proved particularly appealing to Victorian audiences who sought both entertainment and moral instruction within art. He wasn't just painting pictures; he was constructing immersive worlds that transported viewers to distant times and places.
## Recognition, Commercial Success, and Enduring Legacy
Long was elected an associate of the Royal Academy in 1870 and an academician (RA) in 1881. His paintings consistently attracted attention, and his *Diana or Christ?* (1881) greatly enhanced his reputation at the time. He achieved substantial commercial success, exemplified by works like *Anno Domini* and *Zeuxis at Crotona,* even establishing his own gallery on Bond Street to showcase his creations directly to the public. Later in life, he continued to demonstrate versatility, accepting portrait commissions from prominent figures such as Cardinal Manning and the Earl of Iddesleigh, while maintaining the signature style that had become synonymous with his name. Long’s enduring legacy rests upon his unique ability to synthesize historical research, artistic skill, and popular appeal. His paintings resonated deeply with Victorian audiences who sought both aesthetic pleasure and moral upliftment through art.
