His father, Daniel Hack Tuke, a well-known medical doctor specialising in psychiatry, was a campaigner for humane treatment of the insane.In 1859, the family moved to Falmouth in Cornwall where it was hoped the warmer climate would benefit Tuke's father, Daniel, who had developed symptoms of tuberculosis.[3] During the 1880s, Tuke also met Oscar Wilde[4] and other prominent poets and writers such as John Addington Symonds, most of whom were homosexual (then usually called Uranian) and who celebrated the adolescent male.[5] In 1883, Tuke returned to Britain and moved to Newlyn, Cornwall joining a small colony of artists including Walter Langley, Albert Chevallier Tayler and Thomas Cooper Gotch.There Tuke focused on maritime scenes and portraits, which showed boys and young men bathing, fishing and sunbathing on sunny beaches.These included Edward John "Johnny" Jackett (1878–1935), Charlie Mitchell (1885–1957), who looked after Tuke's boats, Willie Sainsbury, Tuke's eldest nephew, Leo Marshall, Georgie and Richard Fouracre (sons of his housekeeper),[10] George Williams – younger son of close neighbours, Maurice Clift – nephew of a family friend, Ainsley Marks, Jack Rolling[11] (in some sources misspelt "Rowling"),[12][13] Freddy Hall, Bert White and Harry Cleave.He had a strong sense of colour and excelled in the depiction of natural light, particularly the soft, fragile sunlight of the English summer.Although Tuke often finished paintings in the studio, photographic evidence shows that he worked mainly in the open air, which accounts for their freshness of colour and the realistic effects of sunlight reflected by the sea and on the naked flesh of his models.[19] In his early paintings, Tuke placed his male nudes in mythological contexts, but the critics found these works to be rather formal, lifeless and flaccid.After his death, Tuke's reputation faded, and he was largely forgotten until the 1970s, when he was rediscovered by the first generation of openly gay artists and art collectors.He has since become something of a cult figure in gay cultural circles, with lavish editions of his paintings published and his works fetching high prices at auctions.The papers in the Tate Archive provide context in which Tuke worked, not just the locations of his paintings and the relationships with his models, but his artistic allegiances such as his deep friendship with the painter Thomas Cooper Gotch.
A detail from
Ruby, Gold and Malachite
; the model was Charlie Mitchell (1885–1957). Mitchell was Tuke's boatman for 30 years and in his
will
, Tuke left him £1,000.
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