Age, Biography and Wiki

Joseph Webb was born on 1908 in Ealing, West London, is a British printmaker, painter and teacher. Discover Joseph Webb's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 54 years old?

Popular As N/A
Occupation N/A
Age 54 years old
Zodiac Sign
Born 1908
Birthday 1908
Birthplace Ealing, West London
Date of death 1962
Died Place London
Nationality West

We recommend you to check the complete list of Famous People born on 1908. He is a member of famous painter with the age 54 years old group.

Joseph Webb Height, Weight & Measurements

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Joseph Webb Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Joseph Webb worth at the age of 54 years old? Joseph Webb’s income source is mostly from being a successful painter. He is from West. We have estimated Joseph Webb's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Source of Income painter

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Timeline

1908

Joseph Webb (1908 – 1962) was a British printmaker, painter and teacher of etching and sculpture.

1925

Born in Ealing, West London, the son of a market gardener, Webb studied painting at Ealing and Chiswick Schools of Art and won a scholarship to the Hospitalfield House School of Art, Arbroath, in 1925.

1927

Webb took up etching in 1927 and his first successful plate was Falls of the Clyde after J. M. W. Turner.

1928

He returned to London in 1928 to continue etching under Hubert Schroeder at Chiswick.

1929

In 1929, Webb studied with F. L. Griggs in Chipping Campden, Gloucestershire, when the older artist became the principal contemporary influence upon Webb's etched work both technically and in subject matter.

Both artists shared a love of ancient buildings set in idealised landscapes, charged with a spiritual and mystical intensity.

Following the example of the late Romantic etchings of Samuel Palmer, a group of contemporary British printmakers, including Robin Tanner, Graham Sutherland and Paul Drury, were developing a body of work based on evocative visionary scenes of a lost pre-industrial England.

Webb's most highly acclaimed works following his association with Griggs include 'Rat Barn' and 'Dream Barn', both etched in 1929 when he was just twenty years old, so that in that year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engravers.

Webb travelled the British countryside in search of subject matter, visiting Buckinghamshire, Sussex, Kent, Gloucestershire and Wales.

He went on to exhibit in art centres in London, Chicago, New York and Paris.

In his paintings and prints, Webb assimilated beliefs founded on his interest in Eastern religions, astrology, mysticism and the occult.

Etchers Kenneth Woodbridge and Edgar Holloway recall his interest in Theosophy with its origins in 'Ancient Wisdom' religions.

He also produced highly-wrought etchings on an intimate scale, plates such as 'Shepherd's Haven (1929) and 'A Buckinghamshire Lane' (1931).

As the market for etchings all but dried up following the Wall Street Crash in October 1929, he supplemented his income by teaching etching at the Chiswick School of Art and undertaking varied commercial work, such as society portraits and posters for Shell-Mex.

1930

Woodbridge, who knew Webb in the 1930s, described evenings in Webb's studio listening to him talk of 'faraway things, astrology, planetary chains' and‘ancient races of men who lived before the dawn of history, in lost Atlantis'.

(Hartley: 6) A close friend and 'soul mate' of the artist, Beryl Gascoigne remembers him talk not of his work but of reincarnation, astrology and eternity.

Webb himself never wrote and seldom talked about his motivations; he felt the paintings and prints should speak forthemselves and that the production of art should be triggered by the 'inner self'.

(Meyrick: 33)

Webb developed an interest in the writings of William Blake, continuing to make some of his most ambitious prints, expressing his mystical quest in a series of spiritualised landscape subjects.

These include his striking series of large-scale etchings: 'The Speaker of Strange Truths', 'Astrologer Instructing his Pupils', 'A Mystery Temple' and 'The Doors of the Heart'.

1950

By the 1950s he abandoned printmaking and painted in an increasingly private and eccentric manner, altogether ceasing to exhibit his work.

1956

Suffering from mental illness, he helped run a café with his common-law wife, an art teacher Ella Hemans (d.1956), occasionally drawing cartoons and caricatures on menu cards.

1962

He died in London in 1962.

In spite of the decline in his reputation during his later years, today his etchings are among the most sought-after of his generation.

They are found in major museum collections worldwide, including in Britain the British Museum and the Victoria and Albert Museum in London, the Fitzwilliam Museum, Cambridge, and Aberystwyth School of Art Gallery and Museum, and in the United States in Boston, San Francisco and Los Angeles.

"La Revue Moderne" wrote of Joseph Webb's work: "A curious dualism in this artist shows first the poet, sensitive to scenes of nature, of romantic landscapes, then the seeker in the mystic, in love with everything relating to the intercourse of being with the unknown forces of the world."