Early Life, Family and Training

Born in Dublin about 1797, Matthew Kendrick was the son of a customs officer. His early years were shaped by the maritime connections inherent to his father's position. While his lineage suggested a life of administrative stability, the young Kendrick found himself drawn toward the more turbulent realities of the sea. This inclination led him away from the comforts of the city and toward the harsh, salt-sprayed coasts of the Atlantic.

His formative experiences were defined by labor rather than leisure. Kendrick spent a significant portion of his youth working as a seaman on a Newfoundland fishing vessel. This period of manual toil provided him with a visceral understanding of wind, tide, and the structural nuances of wooden ships. Such practical knowledge would later distinguish his perspective from those who merely observed the ocean from the safety of the shore.

By 1825, Kendrick began to formalize his innate inclinations through study at the Dublin Society Schools. It was here that his practical seafaring expertise met the discipline of formal instruction. This transition from the deck of a fishing vessel to the artist's studio allowed him to translate his direct experiences into a visual language, grounding his future work in the authentic movements of the water and the vessels that navigated it.

Career in Dublin and Marine Painting

Upon returning to Ireland, Kendrick’s intimate familiarity with the sea transitioned from practical seamanship to a professional pursuit of marine art. His deep understanding of maritime conditions and vessel handling allowed him to become a sought-after figure among Dublin’s yachting circles. He was eventually appointed the marine painter of the Royal Irish Yacht Club, a position that reflected his standing within the maritime community. His ability to translate the movement of water and the mechanics of sail into paint was rooted in his own experience working the Newfoundland fishing coasts and helming boats in local races.

His ascent within the institutional art world of Dublin was steady and marked by significant recognition. He began exhibiting at the Royal Hibernian Academy in 1827, maintaining a presence there for several decades. His professional standing was solidified when he was elected an Associate of the Royal Hibernian Academy on 24 October 1832. By 16 February 1850, he had achieved the status of Member of the Royal Hibernian Academy. His influence extended beyond the canvas into the administration of the arts, as he served as Keeper of the Royal Hibernian Academy until 1866.

• Queen Victoria's Departure from Queenstown, Ireland, 10 August 1849
• A pilot cutter and a French smuggler

Technique and Artistic Style

Kendrick’s approach to the canvas was rooted in a profound, practical understanding of the sea. His work was characterized by a sense of authenticity that many felt could only be achieved by someone who had lived the life of a seaman. Because he had navigated the harsh waters of the Newfoundland coast and helmed yachts in Dublin Bay, his depictions of vessels and atmospheric conditions possessed a technical accuracy that resonated with those who knew the water. He did not merely paint ships; he understood the way they sat in a swell and how the light interacted with salt and spray.

His compositions frequently focused on the familiar geography of the Irish coastline. He drew heavily from the waters between Howth and Dalkey, often placing the recognizable landmarks of Dublin Bay within his maritime scenes. This intimacy with the local landscape allowed him to produce convincing seascapes that felt both powerful and grounded in reality. His ability to render the specific character of these waters made his work highly regarded by those who valued precision in marine art.

• A Yacht in Full Sail off Dalkey Island
• View between Bullock and Sandycove

Later Years and Death

The final chapter of Kendrick's life was marked by a sudden and physical decline. Around 1872, paralysis robbed him of the use of his right hand, a development that brought a quiet end to his long association with the brush. This loss of dexterity forced him to leave the familiar waters of Dublin, leading him to spend his remaining years in London.

He passed away on 1 November 1874 at 61 Edbrooke Road, St. Peter's Park, London. He was 77 years old at the time of his death. He was survived by his French wife and two sons, leaving behind a life defined by the sea and the disciplined service of the academy.