Early Life, Family and Training

Arthur Bevan Collier was born in Plymouth, Devon, on March 25, 1832. He was the youngest son of Emma Porrett and John Collier, a man who worked as a merchant and shipowner and served as a Member of Parliament for Plymouth. The family's roots were tied to the local commerce and politics of the region, with his father's influence extending into the civic life of the town.

His early years were shaped by a classical public school education at Sherborne. It was during this time that his hands first learned the specific movements of drawing and painting. These early lessons provided the technical foundation for a life spent observing the landscape. Before finding his way into professional art, he spent time as an articled solicitor's clerk, living at 18 Gloucester Road in Paddington alongside his mother and his aunt, Isabella Collier.

Life and Career in Cornwall

By 1861, the landscape of Cornwall had become a central part of his life. He resided in Carthamartha, Callington, where he practiced as a landscape artist. This period was shared with his wife, Eliza, and their two daughters, Anne and Lillian. The quietude of the Cornish countryside provided a backdrop for his observations of the natural world.

His connection to the region was not limited to his studio. He served as an officer in the 6th Cornwall Rifles Territorial Army, balancing his artistic pursuits with military duty. This dual presence in the local community marked his years in the county, moving between the demands of service and the steady work of painting the terrain.

The light and geography of the coast often found their way onto his canvases. In 1884, he presented a large oil titled 'A Cornish Coast' to the public. His work from this time often focused on the specific textures of the local environment, capturing the character of the land and the sea through a direct, observational lens.

Exhibitions and Professional Activity

Collier maintained a steady presence within the London art scene for much of his life. Between 1855 and 1899, he sent 21 paintings to the Royal Academy. His work also appeared frequently at the British Institution, where he exhibited 7 pieces. He was a regular contributor to the Royal Society of British Artists, with 53 paintings shown there over the course of his career. By 1893, records indicate he had exhibited a total of 92 paintings at various London exhibitions.

His professional reach extended beyond the capital. He was a member and exhibitor at the Ipswich Fine Art Club from 1884 to 1888. In 1892, he participated in the second exhibition of the Society of Western Artists. His work also found its way to the Walker in Liverpool. While his painting career was active, he also served as an officer in the 6th Cornwall Rifles Territorial Army.

Key Works and Subjects

Collier’s brush often rested on the quiet movements of the English landscape. He spent much of his time observing the water and the changing light of the riverbanks. In 1874, he captured 'Sub Tegmina Fagi': Scene on the Tamar, a work that looks closely at the river's edge. His interest in the local terrain extended to the Devon countryside, where he produced 'Spring: Sketch on the Walkham, Devon from Carthamartha, Callington, Cornwall' in 1884. These studies suggest a man who found detail in the seasonal shifts of the valley and the way light hits the river's surface.

The ruggedness of the coast and the stillness of mountain lakes also drew his attention. He painted 'St Michael's Mount, Cornwall' about 1887, focusing on the specific character of the Cornish coastline. Later, in 1899, his focus shifted toward the north with 'Mountain Lake, North Wales'. Whether he was sketching the banks of a river or the peaks of a mountain, his work remained tied to the physical reality of the places he inhabited and traveled through.