Artists at Home, decoration 2]]> ]]> ]]> Artists at Home, decoration 3]]> ]]> ]]> Artists at Home, decoration]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884).]]> ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 69-72]]> December 16, 2016, by LM]]> ]]> Artists at Home]]> Artists at Home]]> Grandson of an eminent sculptor and son of a distinguished architect, Poynter began training as a child at Mr. Leigh's academy in Newman Street. Later, traveling abroad for his health, he concentrated on landscape painting until he met Frederic Leighton in Rome in 1853 and, under his influence and instruction, shifted his interest to the figure. He was admitted to the Royal Academy schools in 1855 but soon thereafter went to Paris, entering the atelier of Charles Gleyre as well asworking at the Ecole des Beaux-Arts and in a studio of his own. Poynter first exhibited a painting in London in 1859, when hecame to the attention of William Burges, who employed him to paint medieval designs on custom-made furniture; at the same time, he produced cartoons for stained glass windows by Messrs. Powell of Whitefriars. Settling in London in 1860, Poynter painted panels for Walltham Abbey church and made designs for woodcuts for the Dalziel Brothers' Illustrated Bible. He made his début at the R.A. in 1861, but was hardly noticed until 1864, with the exhibition of On Guard in the Time of the Pharaohs. He has continued to exhibit at the Academy ever since, receiving special praise for Israel in Egypt in 1867. He worked as an illustrator for Once a Week, among other papers, and on the strength of The Catapult was elected A.R.A. in 1869. Subsequently, Poynter designed mosaics for the South Kensington Museum and the Houses of Parliament; his decorations for the Grill Room at South Kensingtonare perhaps the most accomplished.
In 1871 Poynter was appointed the first Slade Professor of Fine Art at University College, London; in 1875 he became Director for Art at South Kensington and the next year was elected an R.A. Poynter's acknowledged masterpiece is A Visit to Æsculapius of 1880. His studio portrait shows the artist with one of the designs he is currently executing for the dome of St. Paul's.

 

]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 77-81.]]> ]]> ]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> The Portfolio 8 (1877): 11–14.]]> Edward J. Poynter, Ten Lectures on Art. 2d ed.. (London: Chapman & Hall, 1880). http://hdl.handle.net/2027/uc2.ark:/13960/t50g3mj36

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]]> Artists at Home. His most famous work, Harmony, was purchased by the Royal Academy.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by phototengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 43-44.]]>
]]> Artists at Home]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884)]]> ]]> ]]> Jeannie Deans was displayed at the Royal Academy. Stephens then recaps the highlights of Lawson’s career, providing a list of works and where they were shown, as well as their contributions to Lawson’s style. He begins by discussing the sculptor’s poetic and narrative works and then briefly describes some of his public portrait commissions. Stephens then lists the sculptures on view in Lawson’s studio at the time of the Mayall photograph.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 23-26]]> January 20, 2017, by LM]]>
]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 89-91.]]> January 20, 2017, by LM]]> ]]> ]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> Caractacus won him one of the First Premiums in the Westminster Hall Competition, funding his travel to Italy. Watts’s works in 1849 illustrated his desire to express his ideas of nature and progress of life by abstract embodiments of hope and ambition. In 1852, Watts was so preoccupied with public commissions that he did not exhibit any works at Trafalgar Square. In 1882, an exhibition of many of his works was held at Grosvenor Gallery.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 45-48.]]> The Nineteenth Century ]]> Life of Haydon]]> The Young Men of the Tribe of Benjamin seizing their Brides. In 1848, Millais and a group of like-minded colleagues formed the Pre-Raphaelite Brotherhood. In 1854, Millais married Euphemia (Effie) Chalmers and was elected an A.R.A. After his marriage he painted a number of portraits of notable persons, including W. E. Gladstone and Lord Lytton, and designed several book illustrations. In December 1863, he was elected a Royal Academician, and in the following years became an Officer in the Legion of Honor (1878) and was elected a member of the Institute of France (1882).]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 15-18.]]> January 20, 2017, by LM]]>

]]> The Victorian Artist: Artists' Lifewritings in Britain, ca. 1870-1910 (Cambridge: Cambridge University Press, 2003), p. 59]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 57-60.]]> ]]> ]]> The Art Journal, New Series, 5 (1879): 33-35.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 39-42.]]> ]]> ]]> Duke of Kent, “he Queen, Thomas Carlyle, and The Princess Alice and Her Daughters, executed in marble, bronze, and terra-cotta. Currently, Boehm is finishing up a colossal statue of Darwin for the Natural History Museum.]]>
]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 73-75.]]> January 17, 2017, by LM]]> The Athenaeum, no. 3295 (December 20, 1890): 861.]]>
]]> ]]> ]]> F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 29-33.

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]]> ]]> Studies in the Literature of Northern Europe. London: C.K. Paul & Co., 1879.]]> ]]> A Prior Attachment (Il y en a toujours un Autre) with the Chantrey Fund. ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 27-28.]]> January 20, 2017, by LM]]> he Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870–1910 (Cambridge: Cambridge University Press, 2003), 58.]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> Great Expectations, (London: Chapman & Hall, 1861).]]> Our Mutual Friend, (London: Chapman & Hall, 1865).]]> A Child's History of England, (London: Bradbury & Evans, 1852).]]> He Knew He Was Right, (London: Strahan and Co., 1869).]]> Artists at Home]]> Artists at Home exceptional. Announces the aim of the publication--"to introduce the homes of those artists whose names have acquired a deserved celebrity," thereby creating a record for posterity of the famous artists of the day.]]>

]]> Broken Vows from 1857 secured his reputation as a technically and stylistically skilled painter. Calderon became an Associate of the Royal Academy in 1864 and made his mark with the dramatic paintings The British Embassy at Paris, on the Day of the Massacre of St. Bartholomew, John Hampden’s Funeral, and In the Cloisters at Arles in the year he became an Associate. He became a full Academician three years later. By 1884 he had exhibited internationally, received a medal for his work in Vienna and a gold medal for Her Most High, Noble, and Puissant Grace, shownat the Paris Universal Exhibition in 1878, and was made a Knight of the Legion of Honour.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 65-68.]]> January 17, 2017, by LM]]> The Athenaeum, no. 3680      (May 7, 1898): 605.]]>