Strudwick出席圣救主的文法学校萨瑟克。不喜欢1 个商业生涯的想法，他上了课在皇家学院的学校在南肯辛顿，但不被视为1 个有前途的先生 。

在19世纪60年代，他被1 个客人，苏格兰鼓励流派的画家，约翰Pettie，其风格他随后效仿。他的“的民谣描绘友谊罗宾·格雷 ”，这是在展现 英国艺术家皇家学会于1873年，是这1 时期的1 个例子。他的艺术风格，然而，在19世纪70年代1 个新的方向发展时，他曾第1 次作为工作室助理，他的叔叔斯宾塞斯坦霍普再到爱德华·伯恩-琼斯。在与他的圈子里的艺术家分歧 ，他陈列在格罗夫纳和新画廊。Strudwick的工作室在哈默史密斯，接近的伯恩-琼斯和托马斯·马修斯鲁克，谁也不断 是助理伯恩-琼斯。他娶了哈里特里德和有1 个单1 的女儿埃塞尔（1880至1954年），谁后来成为高女主人圣保罗女子学校 1927年至1948年，并且被授予CBE。

他最后 的成功，作为1 个画家走到了尽头，当富裕和有影响力的顾客，如利物浦船东威廉Imrie和乔治·霍尔特撤出了他们的支持。他的作品“ 当悲哀来在夏日里，玫瑰绽放徒然 ”留在抗议他的职业生涯看似精心策划的崩溃完成了1 半。

Strudwick的绘画作品在混合做文艺复兴和中世纪的风格，非常留意 细节，特别 是在他的医治 布料及配件，并导致1 个非常小的输出。他的绘画作品约三十描绘的传奇和意味 性的科目，有时采用宝石来自意大利的技术，十5 世纪。他雇用丰富，深色调，面临明确伯恩-琼斯和华丽的帷幔启发。他的工作是定期定弗雷德里克·乔治·斯蒂芬斯，失败的画家成为评论家的雅典娜，谁能够找到乏善可陈了。
 

In the 1860s he was encouraged by a visitor, the Scottish genre painter, John Pettie, whose style he subsequently emulated. His depiction of the ballad of 'Auld Robin Gray', which was exhibited at the Royal Society of British Artists in 1873, is an example of this period. His art style, however, developed in a new direction in the 1870s when he worked first as studio assistant to his uncle Spencer Stanhope and then to Edward Burne-Jones. In keeping with artists in his circle, he exhibited at the Grosvenor and NewGalleries. Strudwick's studio was in Hammersmith, close to that of Burne-Jones and Thomas Matthews Rooke, who had also been an assistant to Burne-Jones. He married Harriet Reed and had a single daughter, Ethel (1880–1954), who later became High Mistress of St Paul's Girls' School from 1927 to 1948, and was awarded a CBE.
His initial success as a painter came to an end when wealthy and influential patrons such as the Liverpoolshipowners William Imrie and George Holt withdrew their support. His painting "When Sorrow comes in Summer Days, Roses Bloom in Vain" was left half finished in protest at the seemingly orchestrated collapse of his career.

Strudwick's paintings were done in a blend of Renaissance and medieval styles, with meticulous attention to detail, especially in his treatment of draperies and accessories, and leading to a very small output. Some thirty of his paintings depict legendary and symbolic subjects, sometimes employing a lapidary technique from the Italian quattrocento. He employed rich, deep colours, faces clearly inspired by Burne-Jones and sumptuous drapery. His work was regularly slated by Frederic George Stephens, a failed painter become critic for the Athenaeum, who could find little positive to say.