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John Fleming (1792 - 16 February 1845) was a Scottish painter.

Life
poss William Fleming and Mary Stirling; married 3 June 1787 in Glasgow.

John Fleming was born in Glasgow in 1792. (6/5/1792)

He had two sisters Janet and Mary (29/8/1788). Agnes (29/9/1793)

He had a son William C. Fleming.

Death
He died on Sunday 16 February 1845 in Greenock.

From The Glasgow Courier of Tuesday 18 February 1845 (taken from the Greenock Advertiser): DEATH OF MR. JOHN FLEMING It is with sincere regret we to announce the death of our townsman, Mr. John Fleming, artist, who died here on Sunday morning, after a lingering illness. He was the father of landscape painting in the west of Scotland, and for many years delighted and captivated the admirers of the art with the various productions of his pencil. He excelled especially in the beauty of his compositions, and was by no means deficient in producing effect. He succeeded well as a portrait painter in producing good likeness, free from that stiffness of position which so much prevails, and which is no difficult to overcome in this branch of art. Mr. F. was altogether destitute of that prejudice which refuses due praise to the works of others; and when he indulged in criticism, it always done with that caution and openness, characteristic of an honourable mind, and by no means calculated to an offence. His death will be deeply regretted by a large circle of friends, by whom he was held in much esteem.—Greenock Advertiser.

An obituary was later run by the Greenock Advertiser on Friday 28 March 1845: THE LATE MR. JOHN FLEMING. The desire which is generally felt to know the history of any one whose labours have afforded matter of public attention and gratification, induces us to offer to our readers the following brief notice of the late Mr. Fleming. His works have been, and will continue to be, a source of delight and improvement to the lover of art. They still live with us, a tangible good, though the hand that executed them is at rest for ever. We would have felt proud in claiming Mr. Fleming as exclusively a Greenockian, but we must rest satisfied with the not much less important claim of his being so during his professional life. Mr. Fleming was native of Glasgow: at a very early age, it said even in childhood, he manifested a disposition for drawing. The meaning and signification of lines and pictures seemed to be what his mind first awoke to a knowledge of; and after life, though his acquirements were both numerous and various, yet it was evident that much had been sacrificed the early bent of his genius. There is little of general interest in Mr. F.’s life unconnected with his professional career. At the age of fourteen he was apprenticed to a house-painter in Glasgow, but previous to that, some attempts had been made get him placed with an engraver. From the nature of both these professions we see that his disposition for drawing must have held ruling influence in the choice of a trade. During his apprenticeship may with certainty view him devoting oil his leisure hours to (he pencil, and a circumstance occurred this time which must hare materially aided confirming the which hud already taken root in his mind: was sent to work Hamilton Palace. There was. during lengthened opportunity of studying that splendid collection of pictures, that may consider him receiving the first deep draught of knowledge regarding what constitutes the higher qualities in the art of painting, and of acquainting himself with the particular character of a very groat portion of the best old masters. Another favourable circumstance occurred about this period: was brought into the notice of Mr. Saxon, very eminent portrait painter, then residing in Glasgow, and may infer, not without benefit as to his views in the art. As might bare been expected, the expiration of his apprenticeship, he went up to London, where he wrought at his trade for some years, making it subservient to his maintenance while studying the various collections of pictures seen there, and familiarizing himself with the merits of the artists of the day. On his return from London to his native city he seems not to have had sufficient confidence in his own abilities to come before the public as an artist. This appears to the case from the circumstance of his having entered into an agreement with another person to commence business as a house painter. This intention was abandoned at the birth or nearly so, and our embryo artist was cast back on his favourite studies. Some productions of his pencil had begun to make their appearance, but amongst the first of his engagements was his coming to Greenock to paint the portrait of an acquaintance. Here he was warmly received as a portrait painter: and although the promise of support, in so small a town, could not be very inviting, yet to his modest views and economical habits it seemed sufficient, and he was induced make Greenock the place of his abode. In doing so he became the first resident artist which Greenock ever had, and it is much be admired in the man and artist, and much to the credit of the liberal community amongst whom he had placed himself, that the whole of his useful and meritorious professional career (a period of about thirty-five years) has been spent amongst them. Although at home chiefly known and employed a* a portrait painter, and still to be gratefully such, yet, in other places and the country generally, Mr. F. was bettor known as a lamlscapo painter. indeed, was his favourite study, and it may be presumed certain that had he had the means in early life following this branch of the art exclusively he would have arrived great eminence. far back or 20 years ago, there complimentary notice token of him in the Noctes of Blackwood'g Magazine, "that duel Fleming the West.” It is reference to some of his pictures then in the Edinburgh Exhibition. (lis greatest work also, and that which has gone farthest to establish his reputation as artist, is the landscape department of the art, namely: his Views for Mr. Swan’s Lake Scenery of Scotland, which, for faithful drawing, and the judicious selection of the points of view, could not be surpassed. Truth—the faithful delineation and strict adherence to what was before him, were the aim and achievement of Iris pencil. lie was particularly fond of, and had long practiced, not only drawing but painting from nature. The glens and romantic scenery of the West Highlands were, it might be said, his studio. There are but few places, even spots, of interest, which had not visited, and many of the best hits of his pencil are these little sketches down the Adds. It was in this way that he sought and obtained from nature’s self that power of discriminating and condescending so happily upon the requisite objects of interest for bis picture ; and to this practice, devotedly carried out, may ascribed the principal excellence contained his productions. That which gives them characterthat which their sterling merit rests, is. that r*|»ic*srvl Intention may t»e, still Si la erldeirt that he had data and facts for what aimed at, and that truth was well the guide of his pencil the groundwork which proceeded. At the same lime that thus rigidly adhered to the " literal,” always endeavoured to find, and only adopted, those combinations which were in accordance with the acknowledged principles of his art, which he wax by no means ignorant. sought the '* living flower” for himself, and if nature be the beginning and end of artist’s studies, Sir Joshua Reynolds says, then was he in the right path. The lover of nature and her truthful representation will sympathize with the feelings which directed his labours, and regard with regret the lose of the artist: while lo those who had opportunities of knowing his integrity of heart and honest worth, small portion of their regret will arise from the loss of the man.