Henry Alexander Bowler Paintings

Henry Alexander Bowler was an English artist, primarily known for his work as a painter. Born on December 18, 1824, in Hadleigh, Suffolk, he was the son of a clerk. Bowler's family moved to London where he later received his artistic education.

Bowler's education in art began at an early age, first under his father’s guidance and then at the Government School of Design at Somerset House, where he started his studies in 1845. He furthered his training at the Royal Academy Schools beginning in 1846, which played a pivotal role in shaping his career as an artist. His initial works were generally of landscapes and architectural subjects, reflective of the Victorian era's fascination with nature and the built environment.

In 1854, Bowler exhibited his first piece at the Royal Academy, and over his career, he showed a total of 32 works there. One of his most famous paintings is 'The Doubt: Can These Dry Bones Live?' which he exhibited at the Royal Academy in 1855. The painting depicts a young woman contemplating a human skull in a landscape, and it is infused with the Victorian interest in mortality and the contemplative nature of existence. This piece is often cited as an example of the 19th-century themes of death and transience.

Bowler's style was characterized by his attention to detail, the use of rich colors, and the incorporation of naturalistic elements. While he did not become a leading figure in the art world of his time, his works were well-received and appreciated for their depth and emotional sensitivity.

In addition to his painting, Bowler also had a career as an art educator. He taught at the Royal Female School of Art, which later became part of the Central School of Arts and Crafts, and he also served as the Headmaster of the School of Science and Art in South Kensington.

Bowler never married and lived with his sisters throughout his life. He continued to paint and exhibit his work into the late 19th century. Henry Alexander Bowler passed away on June 22, 1903, in Kensington, London, leaving behind a modest but respected body of work that contributes to our understanding of Victorian art and its preoccupations with nature, emotion, and the human condition.