John Michael SkipperPaintings, Biography and Museum Collections

Early Life, Family and Training

John Michael Skipper was born on 12 July 1815 in Norwich, Norfolk, England. He was the eldest son of John Skipper, a solicitor, and Jane, who was born Jane Stark. His upbringing was shaped by a family deeply connected to both the law and the arts. His uncle, James Stark, was a landscape painter and a member of the Norwich School of Landscape Painting, providing a quiet, artistic influence within the family circle.

While his father intended for him to follow the legal path, John Michael Skipper’s education at Norwich Grammar School revealed a different set of strengths. He excelled in his studies of classics and modern languages, showing a sharp, disciplined mind. However, it was his uncle's presence and encouragement that helped nurture a growing interest in art, offering a creative alternative to the legal profession that seemed so certain for him.

In 1833, the young man made a sudden departure from his studies. He left his legal training behind to serve as a midshipman on the Sherbourne, a vessel for the East India Company. This period of life took him far from the familiar streets of Norwich, setting the stage for the many changes that would follow in his life and his work.

Life and Career in South Australia

Skipper arrived at Holdfast Bay on 6 November 1836, stepping onto the shores of the new colony aboard the Africaine. He came to South Australia to work under the mentorship of Charles Mann, the first Advocate-General of the colony. During these early years, from 1836 to 1843, he was closely associated with both Mann and Edward Castres Gwynne. By 1840, his legal standing was formalized when he was admitted to the bar of the Supreme Court of South Australia, allowing him to practice law as an attorney and proctor.

His legal practice continued for several years until 1851, when the excitement of the Victorian gold rush drew him away from his steady work. Like many others of the era, he headed for the goldfields, but he returned to South Australia a year later with a wealth of sketches rather than any significant fortune in gold. This period of transition marked a shift in his daily life, as he moved from the active practice of law toward more stable administrative roles.

In 1852, Skipper took up a position as Clerk of the Court at Port Adelaide. He remained in this role for two decades, providing a sense of continuity to the local legal system until his retirement in 1872. While his professional life was defined by these legal duties, his time in the colony allowed him to observe the changing landscape and social fabric of the growing settlement.

Artistic Style and Subject Matter

Skipper possessed a way of looking at the world that combined a romantic sensibility with a sharp, practical eye for detail. His work was shaped by a keen observation of the natural world, capturing the specific textures of the flora and fauna found in the South Australian landscape. Rather than focusing solely on the grand scale of the wilderness, he often turned his attention to the smaller, more intimate details of the environment. This imaginative approach allowed him to document the character of the colony with a sense of immediacy, making his sketches and paintings valuable historical records of a changing land.

His interests extended far beyond the quietude of nature. He was a frequent observer of the people and the movement of early colonial life, recording social events, the bustle of the streets, and the architecture of growing settlements. He captured the faces of everyday people and the specific details of buildings and urban life as they appeared in the mid-nineteenth century. His sketches also documented the expeditions of the explorer Charles Sturt, providing a visual account of the terrain and the people encountered during those travels. Through his depictions of Aboriginal people and the social fabric of the era, he left behind a detailed visual history of the early stages of the colony.

• Corroboree (oil on canvas, 1840)
• In the starter's hands

Key Works and Legacy

Skipper’s artistic output provides a window into the early days of the South Australian colony. His sketches and paintings hold significant historical interest, acting as a visual record of a landscape and a society in transition. Through his eyes, we see the flora, fauna, and the people who shaped the early settlement, capturing the essence of everyday life and notable social events as they unfolded.

One of his notable larger works is the oil on canvas titled 'Corroboree', which he painted in 1840. Measuring 106 by 152 cm, this piece offers a glimpse into the cultural observations he made during his time in the colony. His ability to combine a keen observation of nature with an imaginative touch allowed him to document the world around him with a sense of immediacy.

His portfolio includes various other subjects, from the streets and buildings of Adelaide to the expeditions of explorers. Among his documented works is the painting 'In the starter's hands'. While much of his work consists of smaller sketches, these pieces remain vital for understanding the character of the colonial era.

Later Years and Death

Life for Skipper was marked by significant personal shifts. He married Frances Amelia Thomas on 28 December 1839, a union that began during the early years of the South Australian colony. Following her death in 1855, he found companionship again when he married her younger sister, Mary Thomas, on 28 April 1856. Together, they raised a family that included several children.

After decades of balancing his legal responsibilities with his sketches and paintings, Skipper retired in 1872. He spent his final years living on a small pension at his farm in Kent Town. He died there on 7 December 1883, aged 66. Despite a lifetime spent navigating the complexities of the law, he left no will at the time of his passing.