1 20 15 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Name Leighton, Frederic, 1st Baron Leighton of Stretton (1830-1896) Occupation Painter Sculptor Specialties History painting, mythological subjects, portraits Honorifics/credentials in 1884 Associate of the Royal Academy, 1864 Member of the Royal Academy, 1868 President of the Royal Academy, 1878 Knighted, 1878 Portraits of (by 1884) David Wilkie Wynfield, Frederic Leighton, 1860s, photograph (albumen Print), National Portrait Gallery, London Frederic Leighton, Self-Portrait, 1880, oil, Uffizi Gallery, Florence G. F. Watts, Frederic Leighton, 1881, oil, National Portrait Gallery, London Birth December 3, 1830, Scarborough, England Death January 25, 1896, London, England Profession Painter Sculptor Designations Associate of the Royal Academy, 1864 Member of the Royal Academy, 1868 President of the Royal Academy, 1878 Knighted, 1878 Age 53 Biography to 1884 TK Biography after 1884 TK Portraits David Wilkie Wynfield, Frederic Leighton, 1860s, photograph (albumen Print), National Portrait Gallery, London Frederic Leighton, Self-Portrait, 1880, oil, Uffizi Gallery, Florence G. F. Watts, Frederic Leighton, 1881, oil, National Portrait Gallery, London Bibliography Mrs. A. Lang, Sir F. Leighton, President of the Royal Academy, His Life and Work. Art Annual (London: J. S. Virtue, 1884), <a href="https://catalog.hathitrust.org/Record/010250900">https://catalog.hathitrust.org/Record/010250900</a> Ernest Rys, Frederic lord Leighton: late president of the Royal academy of arts; an illustrated record of his life and work (London: G. Bell & Sons, 1895), <a href="https://catalog.hathitrust.org/Record/009834277">https://catalog.hathitrust.org/Record/009834277</a> Mrs. Russell Barrington,The Life, Letters and Work of Frederic Leighton, 2 vols., (London: George Allen, 1906), <a href="https://archive.org/details/lifelettersandw00unkngoog">https://archive.org/details/lifelettersandw00unkngoog</a> A. Lys Baldry, Leighton (London: T.C. and E. C. Jack, 1908), <a href="https://catalog.hathitrust.org/Record/000372895">https://catalog.hathitrust.org/Record/000372895</a> Christopher Newall, “Leighton, Frederic, Baron Leighton (1830-1896),” Oxford Dictionary of National Biography (Oxford University Press, 2004; online edition, May 2006, <a href="http://www.oxforddnb.com/view/article/16399">http://www.oxforddnb.com/view/article/16399</a>). Family TK Birth Date December 3, 1830 Birthplace Scarborough, England Death Date January 25, 1896 Biographical Text TK Biographical summary Leighton's family moved to London from Scarborough when he was still a toddler, and although he was enrolled at University College School from the age of eight, his attendance was only intermittent because of his family's frequent travel abroad. Leighton's first drawing lessons took place in Rome; in 1845 he became a student at the Accademia di Belle Arti in Florence and the next year at the Stãdelsches Kunstinstitut in Frankfurt, where his family had settled. After a brief spell in Paris, Leighton returned to Frankfurt to study with Edward von Steinle, under whose influence he painted his first important works, including Cimabue’s Madonna (Royal Collection), which established his reputation when it was shown at the Royal Academy and purchased by Queen Victoria in 1855. During the early 1850s, Leighton lived in Rome, where he came into contact with the Nazarenes. In 1855 he moved to Paris, took a studio in the rue Pigalle, and adopted the principles of l’art pour l’art, a philosophy that Leighton would help to promulgate in England, where he moved in 1859. As a member of the Hogarth Club he met many fellow artists and prospective patrons; after a sojourn in Italy he took a studio at 2 Orme Square and thereafter regarded London as his home. In the early 1860s Leighton’s art did not always fare well at the Royal Academy. The paintings seem to have been too “aesthetic” for Victorian taste and unsympathetic to the prevailing narrative style. Nevertheless, he was elected an associate of the Academy in 1864 and a full member in 1868. His classical inclination became apparent with The Syracusan Bride, which created a sensation at the Royal Academy in 1866; by 1869 he was a fixture at that institution, poised to become president in 1878. Leighton produced only a few works in sculpture but they were enormously influential, and Athlete Wrestling with a Python was so popular when exhibited in 1877 that it was purchased for the nation by the trustees of the Chantrey bequest. Toward the end of his life his style grew darker, owing to the influence of Michelangelo. In 1894, when his health began to falter, Leighton resigned his presidency. He was raised to the peerage in 1896, the first artist ever to be honored in that way. The next day, Leighton died at his home, Leighton House, in Kensington. His last recorded words were, “My love to the Academy.” He was buried in St. Paul’s Cathedral. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Leighton, Frederic Subject The topic of the resource Leighton, Frederic, 1st Baron Leighton of Stretton (1830-1896), English painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 4, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date November 17, 1853 Birthplace London, England Death Date October 17, 1982 Occupation Painter Biographical summary Frank Dicksee was born in London on November 27, 1853. His education began in 1870 at the Reverend George Henslow’s school in Bloomsbury. While still a student, in 1872, he exhibited at the Society of British Artists in Suffolk Street. After five years at the Rev. Henslow’s school Dicksee left to study in preparation for entering the Royal Academy schools. He earned a silver and gold medal from the Academy in 1872 and 1875, respectively. His most popular work, Harmony, was picture of the year in 1877, and he was elected an Associate of the Royal Academy in 1881. He became a full Academician in 1891 and was elected President shortly thereafter. He died on October 17, 1928. Bibliography Frederick Dolman, "Painters and their Pictures," Strand Magazine: An Illustrated Monthly 23, no. 137 (May 1902): 483-491. ProQuest: https://login.proxy.library.emory.edu/login?url=http://search.proquest.com.proxy.library.emory.edu/docview/4164333?accountid=10747. Wilfred Meynell, The Modern School of Art, 4 vols. (London: Cassell, 1886), vol. 2. Oxford Dictionary of National Biography, s.v. “Dicksee, Sir Francis Bernard (1853–1928),” by Jennifer Melville, online ed., http://www.oxforddnb.com/view/article/32819 (accessed November 14, 2016). Mary Angela Dickens, "A Popular Painter," The Windsor Magazine: An Illustrated Monthly for Men and Women 5 (December 1896): 385-91, ProQuest: https://login.proxy.library.emory.edu/login?url=http://search.proquest.com.proxy.library.emory.edu/docview/876875410?accountid=10747 (accessed November 11, 2016), 386. F. G. Stephens, “Frank Dicksee A.R.A.,” Artists at Home (London: S. Low, 1884), 43. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frank Dicksee Date Created Date of creation of the resource. Dicksee, Frank, A.R.A. (1853-1928), English painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Hilleary Gramling. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 15, 2016 Date Modified Date on which the resource was changed. November 15, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date March 10, 1800 Birthplace Ranelagh Street, Pimlico, London, England Death Date September 23, 1886 Occupation Painter Biographical summary Thomas Webster was born on March 20, 1800, in London. He was educated as a chorister at St. George’s Chapel, Windsor, and at the Chapel Royal, St. James’s, London. He began his studies at the Royal Academy Schools in 1821 and won a gold medal in 1825. He exhibited eighty-three works at the Royal Academy between 1823 and 1879, thirty-nine at the British Institution (1824-44), and eight at the Society of British Artists (1825-34). He was elected an A.R.A. in 1840 and an R.A. in 1846. In 1857 he moved to the village of Cranbrook, Kent, just outside of London, where he became the informal leader of the Cranbrook Colony, a group of younger artists who shared his interest in painting scenes of rural life. He became an Honorary Retired R.A. in 1876. His first wife, Betsy, died on January 27, 1859, at the age of fifty-nine and was succeeded by his second wife, Ellen. Webster died in Cranbrook on September 23, 1886. Bibliography Heleniak, Kathryn Moore. “Webster, Thomas (1800–1886).” Kathryn Moore Heleniak In Oxford Dictionary of National Biography, edited by H. C. G. Matthew and Brian Harrison. Oxford: OUP, 2004. Online ed., edited by David Cannadine, May 2011. http://www.oxforddnb.com/view/article/28947 (accessed November 8, 2016). “The Royal Academy, The Seventy-First Exhibition, 1839,” The Art Union 1 (December1839): 69-70. The Cranbrook Colony, Wed, Oct 20, 2010 (10:11 PM), Archant Community Media Ltd. http://community.archant.net/life/kent/blogs/gbl/ken/b/rachael_hales_blog_on_kents_historical_people_and_places/archive/2010/10/20/the-cranbrook-colony.aspx (accessed November 10, 2016). “Cranbrook Colony.” 2013. Accessed November 10, 2016. http://www.cranbrookmuseum.org/cranbrook-colony.html. Stephens, F. G. “Mr. Thomas Webster. Hon. Retired R.A.” Artists at Home (London: S. Low, 1884), 9. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thomas Webster Subject The topic of the resource Webster, Thomas, Hon. Retired, R.A. (1800-1886), English painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Hilleary Gramling. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 16, 2016 Date Modified Date on which the resource was changed. November 16, 2016 https://artistsathome.emorydomains.org/files/original/ec3881b19dfc37afd60e301785b47553.jpg 3fcb4eaaea162503274c36093e982a21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sir Joseph Edgar Boehm, 1st Bt Date Created Date of creation of the resource. 1892 Creator An entity primarily responsible for making the resource Ralph Winwood Robinson (1862-1942), photographer C. Whittingham & Co, London publisher Medium The material or physical carrier of the resource. Platinum print Format The file format, physical medium, or dimensions of the resource 203 x 153 mm Source A related resource from which the described resource is derived Sir Edgar Joseph Boehm, 1st Bt, National Portrait Gallery, London (London: C. Whittingham & Co., 1892). <a href="http://www.npg.org.uk/collections/search/portrait/mw117334/Sir-Joseph-Edgar-Boehm-1st-Bt?LinkID=mp00467&search=sas&sText=boehm&role=sit&rNo=6">http://www.npg.org.uk/collections/search/portrait/mw117334/Sir-Joseph-Edgar-Boehm-1st-Bt?LinkID=mp00467&search=sas&sText=boehm&role=sit&rNo=6</a> Subject The topic of the resource Boehm, Joseph (1834-1890), English-Hungarian medallist and sculptor, portrait Description An account of the resource Portrait of Joseph Edgar Boehm sitting on the arm of a chair, working on a sculpture Rights Information about rights held in and over the resource Available under a CC-BY-NC-SA license Contributor An entity responsible for making contributions to the resource Omeka record contributed by Albertine Lee Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 20, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date July 4, 1834 Birthplace Vienna, Austria Death Date December 12, 1890 Occupation Sculptor Medallist Biographical summary Born in Vienna, Austria in 1834 to Hungarian parents, Joseph Edgar Boehm was the youngest son of Josef Daniel Boehm, who was a court medallist and the director of the imperial mint in Vienna. His father’s art collection and occupation influenced Boehm at a very young age, prompting him to study medal design and modelling in London from 1848-51. He returned to Vienna, and in 1856, Boehm was awarded the Austrian Imperial Prize for Sculpture. His marriage to Frances Louisa Boteler led to the sculptor’s decision to move and settle in London in 1862, where he used his Parisian experience in portraiture and expertise in carving marble and modelling terracotta to set himself apart from the classicizing idealism typical of mainstream sculptors. His success at the 1862 International Exhibition marked the start of Boehm’s distinguished career. The majority of Boehm’s works were portrait busts, reflecting a diverse range of expressiveness and emotional content. His sitters included James McNeill Whistler, John Ruskin, and William Makepeace Thackeray (a piece produced in 1864 which attracted great attention for its realism). In 1869, Boehm’s achievements attracted the attention of Queen Victoria, and in the same year, he executed a colossal marble statue of the Queen for Windsor Castle. Among his fifty-seven public monuments, one of Boehm’s most famous works, a life-sized statue of Thomas Carlyle, earned the sculptor unanimous praise the at the Royal Academy Exhibition of 1875. Boehm’s close association with the Queen and his ability to cater to the tastes of his royal patrons caused his popularity among English royalty and aristocrats to rise rapidly; the sculptor received over forty royal commissions, and was appointed sculptor-in-ordinary to the Queen in 1880. In 1878, he became an Associate of the Royal Academy, and was elected Academician in 1882. Unfortunately, Boehm’s reputation deteriorated in the late 1880s; in 1887, he was commissioned to design the effigy of the Queen for the jubilee coinage that would be used to commemorate the 50th anniversary of her reign, but it met with unfavorable response from both his peers and the public. Although he was created a baronet in 1889, his fortunes and popularity fell after the mid-1880s. On December 12, 1890, Boehm suddenly passed away in his studio in London, where his body was discovered by his most famous pupil, Princess Louise. Bibliography Mark, Stocker, Royalist And Realist: the Life And Work of Sir Joseph Edgar Boehm (New York: Garland, 1988). E. Gosse, "Living English sculptors III," Century Magazine, v. 31 (1886), 39–50, <a href="https://babel.hathitrust.org/cgi/pt?id=hvd.hnyb7z;view=1up;seq=53">https://babel.hathitrust.org/cgi/pt?id=hvd.hnyb7z;view=1up;seq=53</a> W. Meynell, "Our living artists: Joseph Edgar Boehm," Magazine of Art, v. 3 (1879–80), 333–8, <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015070275758;view=1up;seq=350">https://babel.hathitrust.org/cgi/pt?id=mdp.39015070275758;view=1up;seq=350</a> Mark Stocker, "Boehm, Sir (Joseph) Edgar, baronet (1834-1890," Oxford Dictionary of National Biography (Oxford University Press, 2004; online edition, May 2006), <a href="%20http%3A//www.oxforddnb.com.proxy.library.emory.edu/view/article/2762?docPos=2%20">http://www.oxforddnb.com.proxy.library.emory.edu/view/article/2762?docPos=2 </a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boehm, Joseph Edgar Subject The topic of the resource Boehm, Joseph Edgar, 1st Baronet of Wetherby Gardens (1834-1890), English-Hungarian medallist and sculptor Contributor An entity responsible for making contributions to the resource Omeka record contributed by Albertine Lee Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 17, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date February 23, 1817 Birthplace 52 Queenstreet, Bryanston Square, Marylebone, London Death Date July 1, 1904 Occupation Painter Sculptor Biographical summary At a young age, George Frederick Watts was discovered to have great artistic talent. Under the guidance of draughtsman turned sculptor William Behnes, Watts created drawings that attained him admission to the Royal Academy in 1835. However, the young Watts soon left the Academy after finding that there was nothing to be learned there. Watts continued to have an extremely rapid and great success, after contributing several portraits to the Academy Exhibition in 1837, 1838, and 1840. He also produced subject-pictures, which were exhibited at the British Institution, and entered and won competitions at prestigious locations including the Houses of Parliament. The prize money allowed Watts to travel extensively around Italy for several years, studying Venetian painting, in particular, before returning to London in 1847. Not only was Watts successful in producing notable portraiture, subject-paintings, and historical works, the artist was also preoccupied with allegorical paintings that reflect his ideas of nature and humanity. As an advocate for the public commissions of art, Watts was interested in producing large-scale paintings in fresco to adorn public buildings. Watts’s close acquaintance with Lord Holland, then the English Envoy in Florence, and the Prinsep family allowed him to closely associate with a circle of “bohemians” at the Holland House, which included Julia Margaret Cameron and Dante Gabriel Rossetti. Under the encouragement of Taylor and Sara Prinsep, the forty-six-year-old Watts married Ellen Terry, a sixteen-year-old actress, on 20 February 1864. They divorced after Terry eloped with another man after less than a year of marriage. In 1867, the artist was elected an Associate of the Royal Academy, and in a mere two years, a Royal Academician in 1868. By the 1880s, Watts’s reputation as a distinguished painter was effectively secured; the painter had achieved an international celebrity status. He pursued his ambition of working on non-narrative symbolic works, introducing ideas of death and spiritualism. In 1886, Watts married his second wife, Mary Seton-Fraser-Tytler, with whom he purchased a piece of land in Compton in Surrey in 1890. The house, built by Ernest George, was named Limnerslease. Throughout the 1890s and early 1900s, Watts continued to send paintings to various exhibition venus, despite the deteroriation of his health. He died of old age at 6 Melbury Road on Friday, 1 July 1904. Bibliography Monkhouse, W. Cosmo 1840-1901. British Contemporary Artists. London: W. Heinemann, 1899. Bayliss, Wyke, Sir, 1835-1906. Five Great Painters of the Victorian Era: Leighton, Millais, Burne-Jones, Watts, Holman Hunt. London: S. Low, Marston and co., Ltd., 1902. Watts, Mary S. Fraser-Tytler. George Frederic Watts. London: Macmillan, 1912. Blunt, Wilfrid, 1901-1987. England's Michelangelo: a Biography of George Frederic Watts, O.M., R.A.. London: Hamilton, 1975. Minneapolis Institute of Arts. Victorian High Renaissance: George Frederic Watts 1817-1904, Frederic Leighton 1830-96, Albert Moore 1841-93, Alfred Gilbert 1854-1934 : an Exhibition Organized by The Minneapolis Institute of Arts. Minneapolis: The Institute, 1978. Barrington, Russell, Mrs., -1933. Essays On the Purpose of Art: Past And Present Creeds of English Painters. London: Longmans, Green and co., 1911. Bryant, Barbara Coffey. "Watts, George Frederic (1817-1904)." Oxford Dictionary of National Biography, Oxford University Press (2004). doi: 10.1093/ref:odnb/36781. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Watts, George Frederick Subject The topic of the resource Watts, George Frederick (1817-1904), English painter and sculptor Contributor An entity responsible for making contributions to the resource Omeka record contributed by Albertine Lee Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 17, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date December 4, 1833 Birthplace Norwich, Norfolk, England Death Date January 19, 1905 Occupation Painter Biographical summary TK Bibliography Joseph Hatton, “Some Glimpses of Artistic London,” Harper’s New Monthly Magazine 67, no. 402 (November 1883): 838-842. Henry-Russell Hitchcock, Architecture: Nineteenth and Twentieth Centuries (New Haven and London: Yale University Press, 1977), 294. Sir Sidney Lee, Dictionary of National Biography (London: Smith, Elder & Co., 1912), 197-198. Mary Eliza Haweis, Beautiful Houses; being a description of certain well-known artistic houses (London: Low, Marston, Searle, and Rivington, 1882), 45-52. Charlotte Gere, Artistic Circles: Design & Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), 26. Alfred Lys Baldry, George H. Boughton (Royal Academician) His Life and Work (London: Virtue & Co., 1904), 1-44. Tarver, Edward J., “Artists’ Studios,” The Art Journal 6 (1880), 273-276. JSTOR: http://www.jstor.org/stable/20569573. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource George H. Boughton Subject The topic of the resource Boughton, George H., A.R.A. (1833-1905, English painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Hilleary Gramling. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 19, 2016 Date Modified Date on which the resource was changed. November 19, 2016 https://artistsathome.emorydomains.org/files/original/a0f256b9918e48c8f9e065726d663ecf.jpg 656fbc07a3872ac6ddba66800e5d75b9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date June 8, 1829 Birthplace Southampton, England Death Date August 13, 1896 Occupation Painter, illustrator Biographical summary A child prodigy, John Everett Millais was destined for the Victorian art world from a young age. His family moved from Jersey to London when Millais was 9 years old to provide him with the necessary resources for a professional career as an artist and during this time he attended Henry Sass Academy, a school that prepared boys for entrance into the schools of the Royal Academy. In 1840 Millais became the youngest student ever admitted to the Royal Academy Schools at eleven years old. After his admittance into the Royal Academy, Millais’s reputation as an artist continued to build at a rapid pace; in 1846 he exhibited Pizarro Seizing the Inca of Peru in the Royal Academy’s annual exhibition and the following year won a gold medal for best historical painting for The Tribe of Benjamin Seizing the Inca. In 1848 Millais and a group of like-minded colleagues formed the Pre- Raphaelite Brotherhood (PRB) and, disenchanted with contemporary academic painting, adopted the philosophy that art ought to truthfully represent nature rather than strictly follow academic traditions. Art of the PRB is characterized by an extreme attention to detail, a high color palette and abundant symbolism. Although Millais followed the Victorian tradition of painting religious and literary themes, many of his PRB works were received harshly by critics, evident in Charles Dickens’ severe denunciation of Christ in the House of his Parents in his magazine Household Words: “In the foreground of that carpenter's shop is a hideous, wrynecked, blubbering, red-headed boy, in a bed-gown, who appears to have received a poke in the hand, from the stick of another boy with whom he has been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness. that (supposing it were possible for any human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest ginshop in England.” While Millais certainly received a great deal of criticism for his PRB works, he nevertheless continued to thrive as an artist; in 1852 he painting A Huguenot, which paved the way for his election as an associate of the Royal Academy the following year. In 1855 Millais married Effie Ruskin and moved to Perth, where the couple remained for six years. During his time in Perth, Millais experimented with general mood paintings and produced Autumn Leaves (1856), A Dream of the Past: Sir Isumbras at the Ford (1857) and The Vale of Rest (1859). Although these works proved difficult to sell, Millais soon found success in engraving and illustrations, including the Moxon edition of Tennyson’s poems (1857), the magazine Once a Week (1859 onwards) and several novels by Anthony Trollope. Millais and his family returned to London in 1861 and lived at 7 Cromwell Place in Kensington. In 1863 he was elected a full member of the Royal Academy. In addition to his academic success, Millais achieved popular success for his paintings of child subjects such as Bubbles (1886) and his paintings of beautiful women such as Stella (1868). He also developed a highly lucrative portrait practice from the early 1870s, with sitters including Thomas Carlyle (1877), Gladstone (1879 and 1885) and Tennyson (1881). These successes helped Millais fund the construction of his custom-built studio house at No. 2 Palace Gate in Kensington, where Millais spent the remainder of his life as a member of the Royal Academy. His loyalty led to his election as president of the Royal Academy following the death of Frederic Leighton in 1896, although his post was short-lived as he himself died six months later. Bibliography Spielmann, M. H. Millais and his Works. London: Royal Academy of Arts, 1889. Millais, John Guille. The Life and Letters of Sir John Everett Millais, President of the Royal Academy. London: Methuen, 1902. Baldry, A. L. Millais. London: T.C. & E.C. Jack, 1908. Musson, Jeremy. "Has a Paint Pot Done All This?" in John Everett Millais Beyond the Pre-Raphaelite Brotherhood. New Haven: Yale University Press, 2001. Warner, Malcolm. "John Everett Millais." In Oxford Art Online. http://www.oxfordartonline.com.proxy.library.emory.edu/subscriber/article/grove/art/T058255?q=millais&search=quick&pos=1&_start=1#firsthit (accessed November 19, 2016). Warner, Malcolm. "John Everett Millais." In Oxford Dictionary of National Biography, http://www.oxforddnb.com.proxy.library.emory.edu/view/article/18713?docPos=2 (accessed November 19, 2016). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Everett Millais Subject The topic of the resource Millais, John Everett (1829-1896), English painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Jenifer Norwalk Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 19, 2016 Relation A related resource Portrait: https://artistsathome.emorydomains.org/files/original/5a538aa153ea8b0c05000c4949429c7a.jpg 706d97a3984ccdc8564f7061af41b161 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date February 14, 1838 Birthplace Kolkata, West Bengal, India Death Date November 11, 1904 Occupation Painter, writer Biographical summary During much of his childhood, Prinsep resided in Holland House in Kensington, also home of the artist George Frederic Watts. He was expected to join the Civil Service like his father, but instead decided to become an artist. Growing up with Watts, Prinsep frequently encountered artists such as William Holman Hunt, John Everett Millais, and Edward Burne Jones, and this exposure likely influenced his decision to enter the art world. He traveled to Italy with Burne-Jones and shortly after studied at Gleyre’s atelier in Paris from 1859-60. His early works include The Queen was in the Parlour Eating Bread and Honey (1860) and How Bianco Capello Sought to Poison her Brother-in-Law the Cardinal de Medici (1862), both revealing his interest in Pre- Raphaelitism; the latter was the first painting he exhibited at the Royal Academy. The next major influence on his artistic career, evident in works such as Home from the Gleaning (1875) and The Linen Gatherers (1876), was the eclectic St John’s Wood Clique, a group concerned with professional visibility and known for their historic genre style. Prinsep’s closest friend was Frederic Leighton. Both joined the 38th Middlesex Rifle Volunteer Corps, and later purchased neighboring plots of land on Holland Park Road for custom-built studio houses. Phillip Webb, who had also designed the Red House For William Morris, completed Prinsep's studio house. Prinsep was elected an Associate of the Royal Academy in 1878. He created a number of paintings based on his Indian travels including, A Nautch Girl (1878) and The Roum-i-Sultana (1879) and also wrote (and published) a journal titled Imperial India: an Artist’s Journals in 1879. By 1884, Prinsep had become a wealthy man, and on July 28, 1884, he married Florence Leyland, daughter of a Liverpool shipping millionaire and patron of Rossetti, Burne-Jones and Whistler. With Florence he had three sons: Thoby, Anthony and Nicholas. Prinsep died on November 11, 1904, at Welbeck House, the home of his surgeon, following a prostrate operation. He was elected a Royal Academician in 1894, and appointed Professor of Painting in 1901. His later works include Ayesha (1887), orientalist in style, and La Révolution (1896), a historical painting set during the French Revolution. Prinsep is remembered as “well known in Art and highly esteemed in Society… a thorough artist in his aspirations, a fine painter, and a right good honest man.” Bibliography Steelcroft, F. "Mr. Val C. Prinsep RA." In Strand Magazine 12, 1896. Dakers, Caroline. "Valentine Cameron Prinsep." In Oxford Dictionary of National Biography, http://www.oxforddnb.com.proxy.library.emory.edu/view/article/35615?docPos=6 (accessed November 19, 2016). Marsh, Jan. The Pre-Raphaelite Circle. London: National Portrait Gallery, 2005. Dakers, Caroline. The Holland Park Circle: Artists and Victorian Society. New Haven: Yale University Press, 1999. "Valentine Cameron Prinsep." In Oxford Art Online. http://www.oxfordartonline.com.proxy.library.emory.edu/subscriber/article/benezit/B00146224?q=prinsep+&search=quick&pos=1&_start=1#firsthit (accessed November 19, 2016). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Valentine Cameron Prinsep Subject The topic of the resource Prinsep, Valentine Cameron (1838-1904), English painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Jenifer Norwalk Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 19, 2016 Relation A related resource Portrait: Valentine C. Prinsep by Ralph Winwood Robinson, 1892. Published by Published by C. Whittingham & Co. Platinum print. National Portrait Gallery, London. Date Modified Date on which the resource was changed. December 16, 2016, by LM Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date July 4, 1840 Birthplace London, England Death Date March 24, 1921 Occupation Painter and illustrator Bibliography Pamela Fletcher, "Stone, Marcus Clayton (1840–1921)," Oxford Dictionary of National Biography, Oxford University Press, May 2011, http://www.oxforddnb.com/view/article/101036. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marcus Clayton Stone Subject The topic of the resource Stone, Marcus C. (1840-1921), British painter and illustrator Contributor An entity responsible for making contributions to the resource Omeka record contributed by Anna Mahony Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 3, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date May 3, 1833 Birthplace Poitiers, France Death Date April 30, 1898 Occupation Painter and Keeper of the Royal Academy (1887-1898) Biographical summary TK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Philip Hermogenes Calderon Subject The topic of the resource Calderon, Philip Hermogenes (1833-1898), British painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Anna Mahony Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 3, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date August 14, 1840 Birthplace London, England Death Date April 20, 1920 Occupation Painter Etcher Sculptor Biographical summary Briton Riviere was born on August 14, 1840, in London, England. He came from a family of artists of Huguenot descent—his father, William Riviere, was an art teacher, and his uncle, Henry Parsons Riviere, was a painter as well. He was the youngest child of his siblings, and was trained by his own father in art from 1851 to 1859. By 1852, the young Riviere even had oil paintings of animals exhibited at the British Institution. In 1859 he exhibited for the second time at the Royal Academy and his family moved to Oxford so that his father to teach. There he received a BA degree in 1866, an MA in 1873, and an honorary DCL degree in 1891. At Oxford he met his wife, Mary Alice Dobell, who introduced him to the Pre-Raphaelites. In 1869 he had his first child, a son named Hugh Goldwin Riviere. After his marriage to Mary Dobell, he moved to Kent and tried his hand at more Pre-Raphaelite-styled historical paintings, but went back to animal painting, which sold better. Riviere had a distinct way of using sentimentality and pathos in his animal paintings that caused his body of work to become very popular. Many of his animal paintings were accepted to the Royal Academy, which helped his fame grow. In 1878 he was elected an official associate of the Royal Academy. Riviere’s good reputation and popularity for the most part remained strong after 1884, although eventual financial troubles would inhibit him somewhat. Riviere had 7 children in total. He began doing more portrait paintings when academic painting inevitably started to decline in value in order to make an income. In 1891, Riviere was awarded the honor of having Sir William Armstrong publish a monograph for him in the Art Annual. When Millais died in 1896, Riviere was almost elected president of the Royal Academy, but was passed up for the role. In 1910 he was given an honorary fellowship from the Oriel College at Oxford. At some point before his death he moved to 82 Finchley Road in Hampstead, London. Riviere eventually died on April 20, 1920, at his Hampstead home. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Briton Riviere Subject The topic of the resource Rivière, Briton, (1840-1920), English painter, etcher, and sculptor Contributor An entity responsible for making contributions to the resource Omeka record contributed by Michelle Malmberg Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 8, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date December 29, 1809 Birthplace Liverpool, England Death Date May 19, 1898 Occupation Prime Minister of the United Kingdom Biographical summary A Liverpudlian born on December 29, 1809, Gladstone was most famously known as Prime Minister of the United Kingdom for four terms ranging from 1868-1874, 1880-1885, 1886-1886, and 1892-1894. He was elected Professor of Ancient History at the Royal Academy in 1875, when he was also inducted as an Honorary Member. An established author on politics and a renowned public speaker, Gladstone’s eclectic span of interests even included collecting ancient and bric-à-brac. Bibliography Emerson, George Rose. William Ewart Gladstone, Prime Minister of England: A Political and Literary Biography. London: Ward, Lock, Bowden and Co., 1893. Matthew,, H. C. G. “Gladstone, William Ewart (1809–1898).” Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, May 2011 [http://www.oxforddnb.com/view/article/10787, accessed 8 Dec 2016] Morley, John. The Life of William Ewart Gladstone. 2 vols. New York: Macmillan Company, 1911. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource William Ewart Gladstone Subject The topic of the resource Gladstone, William Ewart, The Right Honorable, (1809-1898) Contributor An entity responsible for making contributions to the resource Omeka record contributed by Vanessa Pike Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 9, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date March 9, 1850 Birthplace Oxford, England Death Date July 1, 1884 Occupation Sculptor Biographical summary Born in London on March 9, 1850, Thornycroft came from a large family of sculptors from Cheshire. He enrolled in the Royal Academy as a student in 1869, and debuted there as an artist in 1872 with a bust of "Professor Sharpey” and a portrait in relief of “Mrs. Mordant.” Having traveled to Italy, he gained admiration for the antique from the works of Michelangelo. His sculpture Artemis, completed in 1880, was labeled by F. G. Stephens superior to any of his previous works. In 1883, Thornycroft sculpted what is considered to be his most important work, The Mower. Bibliography Gosse, Edmund. "Our Living Artists: Hamo Thornycroft, A.R.A." Magazine of Art 4 (1881). Zimmern, Helen. “A Sculptor’s Home.” Magazine of Art 6 (1883): 512-18. Meynell, Wilfred. The Modern School of Art. 4 vols. London: Cassell, 1886. “Hamo Thornycroft, R.A.” Strand Magazine: An Illustrated Monthly 6 (July 1893): 266. How, Harry. “Illustrated Interviews: XXVI: Mr. Hamo Thornycroft, R.A.” Strand: An Illustrated Monthly 6 (July 1893): 267-79. Manning, Elfrida. Marble & Bronze: The Art and Life of Hamo Thornycroft. London: Trefoil Books, 1982. White, Adam. Hamo Thornycroft and the Martyr General. Leeds: Henry Moore Center for the Study of Sculpture, 1991. Books, L.L.C. Thornycroft Family: Siegfried Sassoon, Hamo Thornycroft, John Isaac Thornycroft, Helen Thornycroft, Thomas Thornycroft, Mary Thornycroft. London: Books LLC, 2010. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource William Hamo Thornycroft Subject The topic of the resource Thornycroft, William Hamo (1850-1925), English sculptor Contributor An entity responsible for making contributions to the resource Omeka record contributed by Vanessa Pike Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 9, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date July 21, 1817 Birthplace Blackheath, London Death Date October 5, 1897 Occupation Painter, Illustrator, Engraver Biographical summary Sir John Gilbert was born on July 21, 1817, in Blackheath, London. His father, George Felix Gilbert, had been a captain in the Royal East London Militia; after his time in the military, he worked as a land and estate agent. His son John left school in 1833 to work for the real estate firm of Dickson & Bell but spent much of his time sketching rather than focusing on real estate transactions. After two years of working at the firm, his parents let him follow his passions, and Gilbert devoted himself to learning every artistic technique: painting in oils, watercolors, fresco, modeling, carving, drawing on paper, wood, and stone, engraving and etching. For all of these art techniques, Gilbert was mainly self-taught. He did not go to art school and had no instruction except some lessons on the use of color from George Lance, a painter of fruit. In 1836, Gilbert made his first appearance as an exhibitor with two drawings of historical subjects in Suffolk Street, and in 1837 he sent two oil paintings to the British Institution. For many years, he contributed frequently to both of these exhibitions. Some of the most important of his pictures in oils exhibited at the British Institution were Brunetta and Phillis (1844), King Henry VIII (1845), and The Charge of Prince Rupert’s Cavalry (1849.) A portrait exhibited in 1838 was his first contribution to the Royal Academy. After 1851, he exhibited no more pictures at the Royal Academy until 1867. On February 9, 1852, Gilbert was elected an associate, and on June 12, 1854, he became a full member. He remained connected to that institution until his death. He exhibited approximately 270 works in the society's gallery, including numerous works focusing on themes from Don Quixote and Shakespeare. In addition, he was instrumental in the inauguration of regular winter exhibitions there in 1862, and in June 1871 was elected its president. Gilbert’s black and white work for book illustrations and pictorial journalism generated the most amount of revenue. The well-known collector John Sheepshanks encouraged Gilbert to learn more about drawing on wood. Gilbert began in 1838 illustrating a book of nursery rhymes. Given his great aptitude for illustration, he devoted most of his time to this branch of art. He illustrated the works of most English poets, some religious compositions, novels and tales, as well as books of ballads and other anthologies. The most famous of all of his illustrations are those which he designed for Howard Staunton’s edition of Shakespeare, published by Routledge in monthly parts beginning in December 1856. Gilbert, who resumed his contributions to the Royal Academy exhibitions in 1867, was elected an associate of the Academy on January 29, 1872. Soon thereafter, on March 14,1872, Gilbert was knighted, which both honored his own achievements in painting, engraving, and watercolor and indicated royal recognition of watercolor's importance as a branch of art. Gilbert died on October 5, 1897, a bachelor, at his home, Ivy House, Vanbrugh Park, in Blackheath, London, where he lived his entire life. Bibliography M. H. Spielmann, "Sir John Gilbert: a memorial sketch," Magazine of Art, 22 (1897–98), 53–64. R. Davies, "Sir John Gilbert," Old Water-Colour Society's Club 10 (1932–3), 20–43 "Sir John Gilbert's gift to the City of London," Art Journal, new ser., 13 (1893), 199–200 R. Ormond, "Victorian story-teller in paint: Sir John Gilbert," Country Life, 140 (1966), 400–03 R. Ormond, "Private life of a Victorian painter," Country Life 140 (1966), 462–65 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gilbert, John Date Created Date of creation of the resource. Gilbert, John (1817-1897), English painter, illustrator, and engraver Creator An entity primarily responsible for making the resource Omeka record contributed by Gabriella Meier References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Gilbert, John Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 30, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date March 18, 1813 Birthplace Gilmour Place, Edinburgh Death Date June 16, 1894 Occupation Sculptor Biographical summary William Calder Marshall was born at Gilmour Place, Edinburgh, on March 18, 1813, and was the eldest son of William Marshall, a goldsmith, and Annie Calder, his wife. He was educated at the local high school and university, He commenced his art studies at the Trustees' Academy in 1830, and four years later moved to London. Marshall worked under Sir Francis Legatt Chantrey and Edward Hodges Baily in the schools of the Royal Academy, where he gained a silver medal in 1835. In 1844, he was elected an associate of the Royal Academy, and in 1852 he was elected an academician. Marshall was elected A.R.S.A. in 1840, but ultimately resigned when he received the London honor. In recognition of his services as a British commissioner at the Paris Exposition of 1878, he was appointed chevalier of the Legion of Honor. He retired from the Royal Academy in 1890 and exhibited there for the last time the following year. He was a hard worker and produced a number of great works. Marshall produced commemorative monuments; he also designed schemes of architectural sculpture and several church monuments. He died at his home, 115 Ebury Street, Chester Square, London, on June 16, 1894. Bibliography R. Gunnis, Dictionary of British sculptors, 1660–1851, new edn (1964), 256–7 B. Read, Victorian sculpture (1982) R. L. Woodward, "19th century Scottish sculpture," PhD diss., U. Edin., 1977, 152–7. M. Greenwood, "Marshall, William Calder," The dictionary of art, ed. J. Turner (1996) W. D. McKay and F. Rinder, The Royal Scottish Academy, 1826–1916 (1917), 268–70 "Lives of the sculptors no. 3: W. C. Marshall, RA," The Sculptors' Journal and Fine Art Magazine, 1/3 (March 1963) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall, William Calder Creator An entity primarily responsible for making the resource Omeka record contributed by Gabriella Meier Subject The topic of the resource Marshall, William Calder, (1813-1894), Scottish Sculptor Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 30, 2016