2 20 35 https://artistsathome.emorydomains.org/files/original/7f24cb25e48f606c951eb96e72b3bba6.pdf 5dfbecf9b16edb2cde069df62e821ab8 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. WILLIAM FREDERICK YEAMES, R.A. THIS painter, although he is one of the more distinguished members of the Royal Academy, differs from many of his fellows in owing none of his technical training to that institution, which, although the public takes small notice of the circumstance, devotes the larger portion of its means to the gratuitous education of artists, and is even more energetic as a teaching than as an exhibiting body. Mr. Yeames is, so far as his native country is concerned, a pupil of the late Mr. J. S. Westmacott and the present Director of the National Portrait Gallery. Passing from the hands of these advisers, having, during a brief sojourn in this island, not obtained admittance to the schools at Trafalgar Square, he went to Italy and entered the Academy at Florence, where he remained two years under the charge of Professor Pollastrini and of Raffaelle Buonajuti, while his great natural powers ripened, so that he was soon on the way to distinction. Returning to the outset of his career, let me say that Mr. Yeames was born in December, 1835, at Taganrog, where his father, a man of culture and warm artistic sympathies, was British Consul. The family, in which the painter is the fourth son, belongs to Norfolk, and, as Mr. Fenn, to whose biography of his friend I am indebted for a few details of this sketch, states, both his parents zealously promoted the early declared artistic inclinations of their son. The student was not more than seven years old when his father took the whole family to Rome, on purpose, it is said, that they might become familiar with the treasures of the metropolis of bygone design. Between 1843 and 1848, a sojourn at Dresden favoured the general education of my subject. Removed to England, he, while a pupil of Messrs. Westmacott and Scharf, attended the anatomical classes at University College, London. After this he returned to Italy, and prosecuted his studies in Florence and Rome until 1858, when he settled in London, where he had determined to bring to fruit the labours of his youth. The effects of these Italian studies are always observable in his works. Mr. Yeames’s first exhibited pictures were at the Academy in 1859, and consisted of a {54} portrait of Mr. B. Wishaw of Cheltenham, and a humorous and pathetic example called “The Staunch Friends,” which, by representing a jester and his monkey, attracted a certain amount of attention in artistic circles, and heralded a wider success. It initiated a series of historical and domestic romances in art, the number of which already approaches a hundred. Of these, the majority were at the Academy; half-a-dozen, including the noteworthy “Trystinge Houre,” were at the British Institution; one, called “Sophy and Lionel,” was at Suffolk Street in 1861; many more were at the French Gallery and at the Dudley Gallery. Of the managing society of the last-named exhibition our painter was, during several years, a prominent, and, I believe, an active member. The more important of his productions have been seen in Trafalgar Square and at Burlington House. Of these the leading examples are as follows. Omitting the exhibition of 1860, when Mr. Yeames did not appear at the Academy, he made a considerable mark in 1861 with “The Sonetto,” which excelled in showing a young Italian bard (Petrarch) pacing up and down a long external gallery of an ancient Florentine house, where he had put aside his large lute, and maintained rapt in the act of poetic composition. The character of the face and the spirit of the attitude, the effect of morning on the house-tops seen from the gallery, the general representation of light in the whole work, and above all, an impression of originality in its sentiment and technique, commended this picture to painters. Therefore Mr. Yeames’s next year’s work was looked for with much interest. “The Toilette,” a comparatively unimportant example, accompanied “The Sonetto.” The picture of 1862 was styled “Rescued,” and showed a child fallen into the sea whom a bold sailor has rescued, and is now clinging for life to a jetty with the little one in his arms. The lookers-on are full of expression. In 1863 we had “The Meeting of Sir Thomas More and his Daughter,” the scene of which is a courtyard, after Sir Thomas had left the place of trial for that of his brief imprisonment. His daughter has broken through the line of the guards and struggles with two of them; her arms are extended towards her father, who has turned round for a last embrace; his pale and sad face showed profound tenderness and a heart-worn dignity; especially expressive emotion pervaded his undemonstrative attitude, and contrasted with the passion of the woman. The subordinate figures of the design were studied with quite as much care as those in chief; they included the children Margaret had left standing behind her, the soldiers, their officers, and several spectators. In 1864, the Academy contained “La Reine Malheureuse,” an interesting but less vivid example than the above of the artist’s power of dramatizing his themes. It represented Henrietta Maria taking refuge from Admiral Batten’s cannonade of Burlington Quay; the lady and her attendants shiver in the cold and snowy landscape; their aspects are woe-begone, while the rendering of their emotions and conduct was not without humour. The Jesuit Confessor of Her Majesty crouches in front of that terrified group, while behind her is Jermyn, her reputed lover. In {55} 1865 the subject chosen for delineation contrasted with the last in being a chivalric one; it was named “Arming the Young Knight,” and illustrated an “Old Ballad” beginning: -- “God speed thee, then, my own brave boy, Sith thou must forth in armour dight.” A much more important picture came from Mr. Yeames’s hands in the following year, and, with exceptional spirit and effectiveness, represented “Queen Elizabeth receiving the French Ambassadors after the news of the Massacre of St. Bartholomew.” Her Majesty sits on her throne facing us; the ambassador’s figure, with his back towards us in front, was the most important element in the design, and placed where his splendid satin dress gave a powerful and brilliant spot of light. It was doubtless owing to the strong impression made by the above-named works that Mr. Yeames, although he had exhibited so few examples of his skill, was elected an A.R.A. in 1867, a year in which he sent to the Academy “On Bread and Water,” and thus displayed an odd interior with figures, including that of a boy under punishment, seated, and sulkily munching meager food at the extreme end of a long table which is elsewhere loaded with rich viands; a serving-woman goes out of the room. “The Dawn of the Reformation” was with the above in the same gallery; it showed Wycliffe at the door of his parsonage at Lutterworth addressing some young men and youths, his disciples, and giving them copies of the Scripture he had translated. “The Chimney Corner” comprised a boy sitting by the fire in a convent chamber, or hospital, and wrapped in a blanket; a man approaches him. This picture was at the Academy in 1868, and with it the more important “Lady Jane Grey in the Tower” while listening to the argument of Feckenham, the Queen’s Confessor. The former significantly held the Bible in one hand, and grasped that hand with its fellow, as if to make doubly sure of the object of her trust. Her face was marked with pain, as if the mind within was pressed by physical fear, and yet held on bravely. The figure of the confessor was hardly inferior to that of the lady. “The Fugitive Jacobite,” which followed the above in the Academy of 1869, showed such a person about to hide in the chimney of a bedroom of an ancient house, while the family of the host are gathered in the chamber; a lady looks from a window as if to watch the arrival of the pursuers. The companion to this noteworthy piece of melodramatic genre was called “Alarming Footsteps,” and derived this title from the figure of a little boy approaching a corridor, and, boy-like, jumping from step to step of a staircase. Two lovers linger at a window, and are startled by the noise. 1870 saw three pictures of Mr. Yeames’s at the Academy: they were “Maundy Thursday,” a lady washing the feet of poor women in a castle hall; “Visit to the Haunted Chamber,” which, to their terror and that of the rats they disturb, some damsels have entered; and “Love’s Young Dream.” The remaining exhibited works of the painter will be remembered by my readers. They were “Doctor Harvey and the Children of Charles I.” {56} and “The Prisoner and his Guests” (1871); “The Old Parishioner” and “A Rest by the River Side” (1872); “Pleading the Old Cause,” “The Morning Rehearsal,” and “The Path of Roses” (1873); “The Appeal to the Podestà,” a Florentine incident, “Flowers for Hall and Bower,” “Pulpit Decorations for Harvest Home,” and “The Christening” (1874); “Pour les Pauvres” and “The Suitor” (1875); “La Contadinella,” “The Last Bit of Scandal,” and “Campo dei SS. Apostoli, Venice” (1876); “Waking,” “Amy Robsart,” the corpse of the lady lying at the foot of a staircase, two men staring at it from above with horror—this picture was bought by the Academicians with the Chantrey Fund—“The Fair Royalist,” a pastel study, and a portrait (1877). “When did you last see your father?” a picture which is, on the whole, our painter’s best, represented commissioners and soldiers of the Long Parliament questioning the inmates of a manor-house as to the whereabouts of its master. A commissioner addresses a question in the terms of the title to a handsome little boy who, standing on a stool at the foot of a table with his hands behind him, hesitates, with charming ingenuousness, to answer the perilous demand. The man sits looking at the child, and rests his chin upon the backs of his hands, which are folded together. A young girl, who is weeping, stands behind her brother, and is under the charge of a stalwart, not pitiless, soldier. The mother of these children and their elder sister are in the background watching the event; the former turns her face towards us with mingled hope, pride, and fear for the noble little fellow. The painter’s election as a Royal Academician on the 19th of June, 1878, was considered a foregone conclusion when this capital piece was exhibited. The force of pictorial and pathetic melodrama could no farther go. In 1879 we noticed at the Academy “By the Sea-side, portraits,” and “La Bigolante: Venetian Water Carrier.” The pictures of 1880 were “The Finishing Touch: green room at private theatricals,” and a portrait of “Thomas Turner, Esq., late Treasurer of Guy’s Hospital.” 1881 produced at Burlington House, “Here we go round the Mulberry Bush” and “Il dolce far niente;” 1882 gave us “The March Past,” “Prince Arthur and Hubert,” and “Welcome as Flowers in Spring;” the picture shown in 1883 was called “Tender Thoughts.” The Academy now contains “The Toast of the Kit Cat Club” and two portraits. Original Format Book pages 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 FREDERICK YEAMES, R.A. Biographical sketch of W. F Yeames Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 53-56. Subject The topic of the resource Yeames, William Frederick (1835-1918), English painter Date Issued Date of formal issuance (e.g., publication) of the resource. June 1884 Abstract A summary of the resource. W. F. Yeames was born in Russia, where his father was British Consul. The elder Yeames recognized his son's talents and took the entire family to Rome when Yeames was only seven, simply to acquaint his son with the art treasures there. Upon the family's return to London, Yeames studied with J. S. Westmacott and Sir George Scharf. Failing to gain a place in the Royal Academy Schools, he returned to Italy and entered the Academy at Florence. Finally, in 1858, Yeames settled in London and the next year exhibited a painting for the first time at the R.A. From that point on, Yeames produced large numbers of historical and domestic romances, most of which were exhibited at the Academy, though some were shown at the British Institution, Suffolk Street, the French Gallery, and the Dudley Gallery. He was elected an A.R.A. in 1867, the year after exhibiting his important Queen Elizabeth Receiving the French Ambassadors after the News of the Massacre of St. Bartholomew; and in 1877 his Amy Robsart was purchased by the Royal Academicians with the Chantrey Fund. But Yeames's best picture is "When did you last see your father?, showing a small boy standing up to interrogation by an intimidating line of commissioners and soldiers of the Long Parliament; the picture was such a success that Yeames's election as an R.A. in 1878 was almost a foregone conclusion. Relation A related resource FOLIO2011_134_004.tif References A related resource that is referenced, cited, or otherwise pointed to by the described resource. W. W. Fenn, "William Frederick Yeames," Magazine of Art (1881): 196-99. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Yeames.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC 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). September 25, 2016 https://artistsathome.emorydomains.org/files/original/4cd644c57d8bfb3c9845653868a477a8.pdf 3fac65672cc67ed13c982c937ef1375b 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format Book pages Text Any textual data included in the document MR. W. HAMO THORNYCROFT, A.R.A. ALL the authorities agree that this distinguished sculptor was born in London on the 9th of March, 1850. He is one of the younger members of a family of artists whose parents were successful sculptors. His father was an almost unfailing contributor to the Royal Academy Exhibitions from 1830 to 1874, and his mother (born Mary, daughter of Mr. John Francis, a sculptor of repute since 1820) had attained distinction long before her son now in question was born. The Thornycroft family came from Cheshire, and was of good social position. My subject was educated in the Grammar School at Macclesfield, and in the school of University College, London. There he remained four years, and, later, he spent some time in the college proper. After this, determining to follow the profession of his father and mother, in whose ateliers, without becoming a regular pupil, he had already worked with some éclat, the tyro entered the Royal Academy as a student in 1869. Diligence and natural gifts assured his progress, so that, in December, 1870, he obtained a silver medal for a restoration, and, in the same year, a second similar medal for a model from the antique. He combined work at Burlington House and in his father’s studio, and assisted the latter artist in several commissions, of which the fountain in Park Lane is the most important. Mr. Gosse, who supplied some of these details of his friend’s career, has told the world that the figures of “Comedy,” “Shakespeare,” and “Fame” blowing a trumpet, which pertain to this fountain, are entirely due to the younger artist. This studio work was continued during two or three years. In 1872 Mr. Hamo Thornycroft’s début was made at the Royal Academy by means (1) of a bust of “Professor Sharpey,” one of the more distinguished members of University College, London; and (2) a portrait in relief of “Mrs. Mordant.” In this year the student won the Academy silver medal for a drawing from the life, and he went to Italy, where, naturally enough, his previous studies having been chiefly directed to the antique, he was much impressed by the genius of Michael Angelo. In 1873, “Fame,” as above, appeared at the Academy. In 1874, a statuette of Lord Mayo on horseback, designed, I believe, in competition for an Indian commission, was at the same place, and attracted {50} those who searched the sculpture galleries for meritorious productions, as well as other observers to whom the bruit of the schools and the young artist’s friends had carried the name of the “sculptor of the future.” With “Lord Mayo” we had at the Exhibition a bust of “Dr. Mouat.” 1875, when Mr. Thornycroft did not exhibit, was distinguished in the annals of the Royal Academy as the year in which a gold medal was to be awarded for a design in sculpture produced in competition. According to the regulations of the body, the Council indicated the subject for the contest, and selected “A Warrior bearing a Wounded Youth from Battle.” Greek reliefs afforded several capital illustrations of this theme, and showed the just method for treating it; but Mr. Thornycroft’s vigorous interpretation, to which the prize was given, was his own, and commanded the admiration of his judges and competitors. This admiration was generally shared when, in 1876, the laureated example was exhibited in Burlington House. A bust of “F. Tagart, Esq.” accompanied it. The “Warrior” has been reproduced by the Art Union of London as a standing prize for its subscribers. 1877 was a blank year at the Academy, so far as Mr. Thornycroft was concerned. We were in 1878 more than compensated for this abstention by the display of a statue of “Lot’s Wife,” looking back at the instant of transformation, which added greatly to the reputation of its author, and compelled all to look forward to his next year’s doings. A bust was exhibited with it. “Stepping Stones,” a group in marble, came forth in 1879, and represented a girl carrying her little brother in her arms. It was, we are told, an early work. A better instance was a sketch for a statue of “Dr. William Harvey,” discoverer of the circulation of the blood, which accompanied the group at the Academy. Far more effective than anything he had done before was the “Artemis” of 1880, a statue of the “Goddess of the Silver Bow” while hunting, attended by a dog, and in the act of drawing an arrow from a quiver slung over her shoulder. With it appeared a bust of “Sir Arthur Cotton,” and a very energetic and clever statuette in bronze representing an athlete “Putting the Stone.” The smaller example attested the spontaneity and energy of the artist’s conceptions with greater power than its companion work. If elections to the A.R.A.ship had been invariably secured by the merits of the chosen artist, Mr. Thornycroft need not have waited till January 20, 1881, for the less dignified Academical honour. As it happened however, he was, in company with Mr. F. Dicksee,<a title="" href="#_ftn1">[1]</a> elected on that day. A statue of “Teucer,” standing erect, with his feet placed side by side, and still holding at arm’s length the bow from which an arrow had flown, was one of the noteworthy elements of the Exhibition of 1881. There was no question of the {51} noble qualities of the marble statue of “Artemis” we all admired in the Exhibition of 1882; it showed a grand advance on the design of the same subject which has been already mentioned. With it appeared a statuette in bronze of the Earl of Beaconsfield, and the bronze reproduction of the above-named “Teucer,” which the Academicians bought with the Chantrey Fund and have deposited at South Kensington. 1883 gave us in Burlington House five works by Mr. Thornycroft, of which the more important was a charming statuette of “Miss R. Sassoon,” instinct with its purpose to suggest “A Sonata of Beethoven.” The present year has produced the sculptor’s best work, in the statue of “The Mower.” <div> <div> <a title="" href="#_ftnref1">[1]</a> Referring to the foregoing memoir of Mr. F. Dicksee, it is desirable to say that this painter’s more important work of 1881 was “The Symbol,” not “Miranda,” which was his father’s production. The former artist was elected as above stated; on the 28th of the same month, Messrs. Brett, Burgess, and Gow became A.R.A.’s. </div> </div> 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 W. H. THORNYCROFT A.R.A. Biographical sketch of William Hamo Thornycroft Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 49-51. Subject The topic of the resource Thornycroft, William Hamo (1850-1925), English sculptor Date Issued Date of formal issuance (e.g., publication) of the resource. June 1884 Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC 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). September 29, 2016 Abstract A summary of the resource. 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 his admiration for the antique from the works of Michelangelo. His sculpture of Artemis, completed in 1880, was considered superior to any of his previous works. In 1883, Thornycroft sculpted what was deemed to be his best work: a statue of The Mower. Identifier An unambiguous reference to the resource within a given context NGA_Thornycroft.pdf Date Modified Date on which the resource was changed. December 9, 2016 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Edmund Gosse, "Our Living Artists: Hamo Thornycroft, ARA," The Magazine of Art 4 (1881): 328–32. https://artistsathome.emorydomains.org/files/original/2aabf969faedf9e88eecf603c6af53db.pdf de8b6a90a0c61ed0ab908c717ba5c053 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. GEORGE FREDERICK WATTS, R.A., LL.D. (OXFORD AND CAMBRIDGE), KNIGHT OF THE LEGION OF HONOUR, AND OF THE ORDER OF S. LUIGI, LUCCA. THIS illustrious artist, who has given all his heart and mind to the development of a cultured mode of design in this country, was born in the north of London in 1818, and having, even in early childhood, shown marked predilections for painting, was, by his father, who delighted in their exercise, ardently encouraged to practise drawing. Some of his early studies having been brought to the notice of William Behnes, the boy-draughtsman was permitted to use the antique casts abounding in the workshops of that sculptor at 91, Dean Street, Soho. Behnes was a kind and art-loving man who, besides helping Watts in every way, had aided many another student. In Dean Street our painter made the drawings which, in 1835, procured his admission to the Schools of the Royal Academy. Finding there was “no teaching whatever” in that institution at this period, he very soon ceased to attend, and pursued his way single-handed. His studies being diligent and well-guided, his progress must have been exceptionally rapid and fortunate. As early as 1837, when he could not have been more than nineteen years of age, Watts contributed to the Academy Exhibition “A Portrait of a Young Lady,” “A Wounded Heron,” and a second “Portrait of a Young Lady.” Other portraits followed these works in the exhibitions of 1838 and 1840. In the latter year “Isabella e Lorenzo,” from Boccaccio, his first subject-picture put before the world, appeared to illustrate the expanded scope of the painter’s studies, and indicated the direction of those energies he has since, without ceasing, exercised in works of a high and poetic category. In the same year the British Institution contained “The Fount,” a subject borrowed from the Odyssey. The next year produced at the same place “Vertumnus and Pomona,” and, at the Academy, a “Portrait of Miss Brunton.” Part of 1842 was applied to the preparation of “Guiderius, Arviragus, and Belarius,” from Cymbeline, which was shown in Trafalgar Square in this year, and at the British Institution in the year following. The greater part of 1842 and early months of 1843 were devoted to the cartoon of “Caractacus led in Triumph through {46} the Streets of Rome,” which, in May, 1843, won the draughtsman one of the three First Premiums in the Westminster Hall competition for the decoration of the Houses of Parliament. At another competition held at the same place in 1847 Watts’s picture of “Alfred inciting the Saxons to prevent the Landing of the Danes by encountering them at Sea” obtained the national prize of five hundred pounds. It is now in one of the committee rooms of the House of Commons. With it at Westminster Hall was “Echo,” which commanded ample artistic praises. At the British Institution in 1843 the artist displayed the romantic subject of “Blondel.” Mr. Watts was already distinguished as a portrait painter, and, becoming acquainted with the late Lord Holland, who was then English Envoy at Florence, he lived from July, 1843, till the spring of 1847 in Italy, with that nobleman, and devoted himself to studies of Venetian art, without preparing anything for the exhibitions. The Academy of 1848 contained portraits of Lady Holland and M. Guizot, the technical qualities of which attest the searching mode of drawing and painting the student then affected. In 1849 he executed and sent to the Academy a large moral allegory called “Life’s Illusions,” the first of a class by which he, in many later instances, has striven to express his ideas of the nature and progress of life by “abstract embodiments of diverse forms of hope and ambition,” and the other great motive forces of humanity. “A Subject from Isaiah, a design for a fresco,” another ambitious work, appeared in the last-named exhibition. In the next year portraits of “Miss Virginia Pattle” (Countess Somers) and her sister “Mrs. Jackson,” accompanied a large ideal picture of “The Good Samaritan,” which, being designed to express homage for the noble philanthropy of Thomas Wright of Manchester, was in itself a noble example presented to the Town Hall at Manchester by the artist. A numerous series of portraits followed these works, and among them were likenesses of the under-mentioned noteworthy persons: Mr. John Ruskin, Col. (Sir Henry) Rawlinson, (Sir) Henry Taylor, Lord John (Early) Russell, H. T. Prinsep, Prince J. Bonaparte, Herr Joachim, Sir A. Panizzi, Lord Shaftesbury, Sir F. Leighton, Dean Stanley of Westminster, Lord Lyndhurst, Dean Liddell of Christ Church, Lord Lawrence, William Morris of the “Earthly Paradise,” Lord Tennyson, A. C. Swinburne, Robert Browning, W. E. Gladstone, Viscount Sherbrooke, Sir C. W. Dilke, Leslie Stephen, Thomas Carlyle, J. S. Mill, The Duke of Argyll, Sir Alexander Cockburn, Sir Edward Sabine, Lord Wensleydale, Dr. James Martineau, P. H. Calderon, Sir William Armstrong, W. Spottiswoode, Matthew Arnold, J. E. Millais, Mrs. Langtry, Viscount Stratford de Redclyffe, General Garibaldi, Prince of Wales, Prince de Joinville, E. Burne Jones, and Lord Campbell. The portraits of persons whose names are here printed in italics belong to the Little Holland House Gallery, and will, it is understood, be ultimately presented to the nation by the painter as records of some of the abler men of his time, whose {47} features and outward semblances of their inner selves deserve to be held in memory by men of the future. Mr. Watts painted several of the above more than once, e.g., the Laureate, Sir A. Panizzi, and Sir H. Taylor. In addition to these, he has delineated many gentlemen, ladies, and children, whose names are not on the lips of the world at large. Of course each of these portraits embodies subtle searchings of character rarely employed in modern likeness-taking, and is a work of art per se, distinct from all the others, and free from mannerism, although bearing emphatic and easily recognizable marks of the style of the master who produced it. Notwithstanding his success in artistic portraiture, Watts’s heart is devoted to higher flights of design, and works of deeper significance than the above have occupied most of his graver thoughts. Among the most important of these examples have been (1) a fresco in the Houses of Parliament representing “The Red Cross Knight overcoming the Dragon,” from Spenser’s Faery Queen; (2) “The School of Legislation,” which is in the Dining Hall of Lincoln’s Inn, and forty-five feet wide by forty feet high, and comprises thirty-three figures; it was finished in 1859;<a title="" href="#_ftn1">[1]</a> (3) “Christ in Glory,” over the chancel-arch of the Church of St. James the Less, built by Street, in Garden Street, Westminster; (4) “The Parting of Briseis and Achilles,” a composition in Lord Lansdowne’s house at Bowood; (5) “The Gods of Parnassus and Olympus,” painted on the walls of Mr. Hardy’s dining-room in Carlton House Terrace; (6) several paintings, now destroyed, on the walls of rooms and corridors of the first Little Holland House at Kensington, where Mr. Watts resided for many years, a house which has since been pulled down. It has given its title to a second building, where the painter now lives, in Melbury Road, and on the walls of which he has delineated a few figures of great beauty. During several years following 1852, the painter, occupied by his public commissions, did not exhibit any works at Trafalgar Square. “Isabella” appeared in 1859; “Sir Galahad” (1862); “Ariadne” (1863); “A Design for Sculpture—Time and Oblivion” (1864); “Esau” (1865); “Thetis” (1866); “The Meeting of Jacob and Esau” and “The Wife of Pygmalion” (1868); “The Return of the Dove,” “The Red Cross Knight,” “Una,” and “Orpheus and Eurydice” (1869); “Fata Morgana,” from Bojado, and “Daphne” (1870); “My punishment is greater than I can bear” (1871); “The Prodigal” (1873); “Dedicated to all the Churches,” a large composition representing the churches as children of Faith wrapt by the robes of the Supreme Being, which are gathered about His feet. “By the Sea—a Study” (1876); “The Dove” (1877); and “Britomart and her Nurse,” from Spenser (1878), the scene where the former describes the vision of her knightly lover. {48} Besides these, Mr. Watts has painted designs, which have appeared at the Grosvenor Exhibitions; of these let me name “Time, Death, and Judgment;” “The Three Goddesses,” of which there are more than one version; “Mid-day Rest,” a noble group of brewers’ horses and their drayman; “Love and Death,” which I consider to be his masterpiece—it shows Love endeavouring to repulse Death, in the form of a gigantic figure veiled from head to foot in opalescent white robes, when he enters the house of one who is doomed to change the phase of life for another. To these must be added “The Angel of Death,” “Love and Life,” “Diana and Endymion,” “Paolo and Francesca,” “Eve,” one of a series of compositions intended to illustrate the life of our first mother, “Watchman, what of the Night?” a knight in armour, “Eve penitent,” “Time and Oblivion,” “Ariadne deserted by Theseus,” a lovely illustration of romantic pathos, full of emotion, and rich in silvery colour; “Psyche,” “Dorothy,” “The Creation of Eve,” and “The Temptation of Eve.” Mr. Watts has taken up a distinguished position as a sculptor, and produced a nobly picturesque bust of Clytie turning with the intensest passion to the Sun. A colossal equestrian group of Hugh Lupus, Earl of Chester, by him, is just finished in bronze, and intended to be set up in the City of the Dee. Another colossal equestrian group on hand represents the artist’s ideal of Active Force as a conqueror like Pizarro or Alexander, scanning distant and unconquered lands, while he shades his eyes with one hand and reins up his horse with the other. Besides occasional contributions to “The Nineteenth Century,” Mr. Watts wrote an admirable essay on the public employment of artists, which is appended to the third volume of the “Life of Haydon.” He was elected an Associate of the Royal Academy in 1867, and a Royal Academician in 1868. In 1878 he obtained a First Class Medal as a contributor to the Exposition Universelle, Paris, and was made a Knight of the Legion of Honour. In July, 1880, he received the honorary degree of LL.D. at Oxford, and, in 1883, a like distinction at Cambridge. In the former year he was, as a representative English artist, invited to contribute his portrait to the Collection in the Uffizi Gallery at Florence of Portraits of Artists painted by themselves. A numerous collection of his works was formed at Liverpool a few years ago; later (1882), and on a still larger scale, a similar gathering was made of his pictures of all classes in the Grosvenor Gallery. The portrait before the reader comprises in the background, on our left, part of “Dedicated to all the Churches;” on the floor, “Cardinal Manning;” above the last, “Lady Lindsay (of Balcarres),” with a violin; over this, “Britomart and her Nurse;” on the ground at the painter’s left is the Duke of Devonshire’s portrait; over this, “The Meeting of Jacob and Esau;” “Paolo and Francesca” is on our right, on the floor. The chamber containing these pictures was built by the painter to contain his works, including those of the Little Holland House Gallery. <div> <div> <a title="" href="#_ftnref1">[1]</a> This was painted as a gift to the Inn, the Benchers paying for the materials, &c. After it was completed they presented to the artist 500 guineas in a silver cup. At this time, desiring to aid the development of mural painting, Mr. Watts offered to cover the walls of several other buildings, especially Euston Terminus, with frescoes; this offer was not accepted. </div> </div> Original Format Book pages 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 FREDERICK WATTS, R.A., LL.D. Biographical sketch of George Frederick Watts Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 45-48. Subject The topic of the resource Watts, George Frederick (1817-1904), English painter and sculptor Date Issued Date of formal issuance (e.g., publication) of the resource. June 1884 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. G. F. Watts, contributions to The Nineteenth Century G. F. Watts, essay in 3rd volume of Life of Haydon Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Watts.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC 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). September 28, 2016 Abstract A summary of the resource. Born in London in 1818, Watts was discovered by his father to have great talent in painting at a very young age. In 1835, he was admitted to the Royal Academy, yet left soon after, but at the age of nineteen contributed several works to the exhibitions at the Academy and the British Institution. In 1842-43, his cartoon 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. Date Modified Date on which the resource was changed. October 1, 2016 https://artistsathome.emorydomains.org/files/original/1091c00db3bf87257a0ceda9808834a4.pdf 316e3aa24cb6832fe7ea44ad981538fd 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. F. DICKSEE, A.R.A. MR. FRANK DICKSEE, a member of a family of artists, is the son of Mr. T. F. Dicksee, a well-known genre, historical, and portrait painter, who was a pupil of H. P. Briggs, R.A. The younger artist was born in London November 27, 1853; becoming a Student of the Royal Academy in 1871, he obtained a silver medal in the Antique School in 1872, and a gold medal for an historical picture in the Painting School in 1875, and having profited by the instructions given at that institution, as well as by his father’s example and counsel, made his débût as an artist in 1876, when he contributed to the Royal Academy the premiated work of the preceding year, being “Elijah confronting Ahab and Jezebel in Naboth’s Vineyard,” which attracted a considerable share of public attention. In the same year the young painter sent to the Winter Exhibition of Cabinet Pictures in Oil at the Dudley Gallery, a landscape entitled “Afternoon near Shiplake.” At the former gallery in 1877 appeared “Harmony,” which not only obtained the extraordinary distinction of being purchased by the Council of the Royal Academy with part of the Chantrey Fund, one of the earliest instances of that nature, but it was honoured by being made the subject of a brilliant and effective etching by M. Charles Waltner. In 1879 Mr. Dicksee showed at the Academy his very popular “Evangeline;” in 1880, to the same place he sent two pictures, namely, an exhaustive group of three-quarters length figures called “The House Builders,” portraits of “Sir W. E., and the Hon. Lady Welby Gregory;” he also contributed “Benedicta,” a head, which Mr. S. Cousins has engraved. In 1881 appeared “Miranda.” In 1882 Mr. Dicksee exhibited “A Love Story,” which was designed to illustrate Lord Tennyson’s lines: -- “In whispers, like the whispers of the leaves That tremble around a nightingale.” In 1883 an unusually large illustration of the ancient parable of “The Wise and Foolish Virgins” was displayed at the Academy by the newly-elected Associate. It bore the title “Too Late,” and its motto was: -- “Too late, too late! ye cannot enter now.” In March, 1881, the painter was, with four other artists, elected an A.R.A.; this five-fold election is supposed to have been an unprecedented event. His companions were Messrs. J. Brett, W. Burges, A. Gow, and H. Thornycroft. Our subject had contributed only five pictures to the Academy. Original Format Book pages 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, A.R.A. Biographical sketch of Frank Dicksee Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived F. G. Stephens, 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. Subject The topic of the resource Dicksee, Frank (1853-1928), English painter Date Issued Date of formal issuance (e.g., publication) of the resource. May 1884 Abstract A summary of the resource. This text presents biographical data on Frank Dicksee's life, highlighting his accomplishments at a young age, in the Royal Academy and as an artist from a family of artists. Dicksee studied under his father, T. F. Dicksee, who was also an accomplished artist. Dicksee was the youngest of the artists chosen for Artists at Home. His most famous work, Harmony, was purchased by the Royal Academy. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Dicksee.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, D.C. 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). September 26, 2016 Date Modified Date on which the resource was changed. November 15, 2016 Date Copyrighted Date of copyright. No copyright registered. https://artistsathome.emorydomains.org/files/original/e9d79ed22725ce46148f1ea512b3db82.pdf 17d4662e1c6d80e0e7cc24014d704dc4 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. JOHN PETTIE, R.A. ACCORDING to the best authorities, this brilliant and powerful artist, who was elected a Royal Academician in December, 1873, in the place of Sir Edwin Landseer, was born in Edinburgh in 1839, and, like several other living members of the Royal Academy, was educated in art in the Trustees’ Academy of the Scottish metropolis, which has facilitated the studies of nearly all the modern artists of the “north countree.” The gentlemen who may be said to have formed the style, and developed the powers of most of the painters in question, were Messrs. R. Scott Lauder and J. Ballantyne, instructors whose methods and influence are distinguishable in abundance wherever current Scottish pictures are shown. Some of Mr. Pettie’s earlier works were recognized in Edinburgh while he was still little more than a youth, and they illustrated romantic and dramatic subjects not dissimilar to those which the energy and tact of the artist has since made familiar in the galleries of London. His early pictures in Edinburgh were styled “The Prison Pet,” “False Dice,” “Distressed Cavaliers,” and “One of Cromwell’s Divines.” The Royal Academy knew nothing of Mr. Pettie till 1860, when he contributed “The Armourers” to that year’s display in Trafalgar Square. Since this date he has been an unfailing exhibitor in the same gallery, and yearly added to the large share of popularity which his early successes secured for his pictures. These works were, in the order of their exhibition, as follows: --“What d’ye lack, Madam? What d’ye Lack?” a scene outside a fripperer’s booth in London in the “olden Time” (1861); “The Sub-Prior and Edward Glendenning,” a scene from “The Monastery,” by Sir Walter Scott (1862); “The Trio,” with a motto from Chaucer’s “Romaunt of the Rose,” representing, in a humorous and satirical vein, a group of itinerant musicians exercising their craft in a public street (1863); “The Tonsure,” a monkish theme, and the more serious “George Fox refusing to take the Oath at Holker Hall, A.D. 1663,” a telling and dramatic illustration of one of the few subjects which, in a painter’s phrase, are “good,” and to be found in the “Journal” of George Fox, the Quaker missionary (1864); “A Drum-head Court Martial” (1865); “An Arrest for Witchcraft” (1866); “The Doctor,” and “Treason,” conspirators plotting while at a table (1867); “Pax Vobiscum!” “A Tussle with a Highland Smuggler,” and “Weary with {40} present Cares and Memories sad” (1868); “The Disgrace of Cardinal Wolsey,” and “The Gambler’s Victim” (1869); “A Sally,” “’Tis blythe May-Day,” and “Touchstone and Audrey” (1870). “The Pedlar,” “Portrait of John McWhirter, Esq.,” “The Love Song,” and “Scene in the Temple Garden,” an illustration of Shakespeare’s history of the origin of the distinctions of the White and Rose Red factions, as given in “Henry VI.,” Part I., Act II., Scene iv., appeared in 1871; “The Gipsey’s Oak,” “Terms to the Besieged,” “Portrait of G. B. Robertson, Esq.,” and “Silvius and Phebe,” from “As You Like It,” the scene of Phebe’s scornfulness and Silvius’s entreaties (1872); “Sanctuary,” Midnight Watch,” and “The Flag of Truce” (1873); “Juliet and Friar Laurence,” “A State Secret,” and “Ho! Ho! Ho!” (1874); “Scene in Hal o’ th’ Wynd’s Smithy,” a subject borrowed from Scott’s “Fair Maid of Perth,” “Portrait in the Costume of the Sixteenth Century,” “Portrait in the Costume of the Seventeenth Century,” and “Jacobites, 1745,” would-be rebels holding council while one of their number reads a political missive (1875); a “Portrait of Dr. Ullathorn,” of Birmingham, “The Threat,” which was much admired for its energetic melodrama, “The Step,” and “Portrait in the Costume of the Seventeenth Century” (1876); “Hunted Down,” a melodramatic subject borrowed from the penultimate event in the life of a Scottish “thief with the strong hand,” “A Knight of the Seventeenth Century,” a likeness of Mr. William Black, author of “A Princess of Thule,” &c., “A Sword and Dagger Fight,” the passion of which was intense, and “A Lady of the Seventeenth Century” (1877); “The Hour,” “Colin Hunter, Esq.,” “A Member of the Long Parliament,” “S. Taylor-Whitehead, Esq.,” “Rob Roy,” and “The Laird” (1878); “The Death Warrant,” Edward VI., when doomed to die, signing an order for the execution of a condemned person, “A. Watt, Esq.,” “A. Strahan, Esq.,” and “Portrait in the Costume of the Fifteenth Century” (1879); “Mrs. D. Gregg and Children,” “Before the Battle,” “His Grace,” a standing figure admirably associated with a costume of the seventeenth century; and “Mrs. E. Fox White” (1880). “Her Grace,” the apt pendant to “His Grace,” “Trout Fishing in the Highlands,” a single figure on the bank of a stream, “J. Ballantyne, Esq.,” and “Before his Peers,” appeared in 1881; “He Talked with Him of Cain,” an illustration of “Eugene Aram,” “The Duke of Monmouth’s Interview with James II.,” and “The Palmer” (1882); “A Queen’s Scholar, Westminster,” “Dost know this Water Fly?”, “The Ransom,” and “The Jester’s Merry Thought,” a large subject from Rabelais (1883). “The Time and Place,” a duelist waiting for his antagonist, was at the British Institution in 1864, and was followed in the same gallery by “Out of an Engagement,” and “The Wounded Despatch-Bearer” (1865). There can be no doubt of the energy and uncommon facility of the artist who, since 1860, has produced all these pictures, besides others not exhibited at all, or which have {41} been shown at other than the London galleries named above. All the paintings in costume are portraits. Mr. Pettie left Scotland, and settled in London in 1862; he was elected an A.R.A. in 1866; an R.A. as above stated. Several of his pictures, including “The Time and Place,” “Out of an Engagement,” “The Bible and the Monk,” “His Grace” and “Her Grace,” have been engraved. Original Format Book pages 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 PETTIE, R.A. Biographical sketch of John Pettie Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 39-42. Subject The topic of the resource Pettie, John (1839-1893), Scottish painter Date Issued Date of formal issuance (e.g., publication) of the resource. May 1884 Abstract A summary of the resource. Born in Edinburgh, John Pettie was educated under the instruction of R. Scott Lauder and J. Ballantyne. He began exhibiting at the Royal Academy in 1860, and has since exhibited popular paintiings every year without fail. He settled in London in 1862 and was elected an A.R.A. in 1866; he became a full Academician in 1873, taking the place of Sir Edwin Landseer. Pettie's subject matter is typically historical or literary, and many of his works have been engraved. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Pettie.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC 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). September 25, 2016 https://artistsathome.emorydomains.org/files/original/a5fa36c5e5125095f9ca4e43baf421f9.pdf 13d7d735ee6ae202b8a421f0b4cd39be 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format Book pages Text Any textual data included in the document MR. RICHARD REDGRAVE, HON. RETIRED R.A., COMPANION OF THE ORDER OF THE BATH, KNIGHT OF THE LEGION OF HONOUR ON the day before that on which this memoir is dated, the venerable artist and energetic public servant whose name it bears will have completed his eightieth year. It is our privilege to wish him “Many happy returns of the day.” Mr. Redgrave’s life began, as above suggested, on the 30th of April, 1804. The son of a manufacturer, he was, as we learn from an autobiographical note communicated (February, 1859) to the “Art Journal,” born in Pimlico, where, after leaving school, he entered the counting-house of his father, who entrusted him with the duties of making the designs and working drawings for the men employed, and journeying into the country to measure and direct the works in progress. According to the same authority, this business did not prosper, and the boy was allowed to follow his early-manifested inclination for art, which had been occasionally directed to landscape painting. He began to draw from the Elgin Marbles in 1822, from which date we may reckon his serious studies. His first appearance in an exhibition was at Somerset House in 1825, where, No. 273, “River Brent, near Hanwell,” was hung in the School of Painting, and attracted no attention whatever. He was admitted a Student of the Royal Academy in 1826. Compelled to gain a livelihood by his skill in landscape drawing, and having resolved not to burthen his father, he gave lessons during the days and studied at Somerset House in the evenings. He thus often worked fourteen in the twenty-four hours, but never worked on Sundays; these days being, as he told us, “always sacred to me.” This unflinching labourer in art tried to deserve the gold medal of the Academy, but, under the circumstances attending such divided toils, it is not wonderful he failed to win that distinction. Several years passed in these occupations. In 1829 Redgrave sent “A Portrait of a Gentleman,” and, in 1830, “Venus entreating Vulcan to forge Arms for Æneas,” to the gallery of the Society of British Artists, where his later works were seen on rare occasions. It was not until 1831 he again contributed to the Academy Exhibition, when a subject— {36} which, although it is a fine one, has seldom been selected by artists—was illustrated by his “Commencement of the Massacre of the Innocents—Alarm of a Hebrew Family.” In 1832 he sent “Rosalind and Celia” and “Cottages” to the British Institution. Three Welsh landscapes with figures, and “The Banishment of Posthumus,” were at the Academy in 1833. On later years the painter was represented at the Institution by pathetic, genre, and poetical subjects, including, as was common in those days, pictures which had been already shown at the Academy and returned unsold to the artist. Among these instances were “Thoughts of the Absent,” “The Disenchantment of the Lady in ‘Comus’” (1835), “Bad News from the Sea,” “The Trial of Griselda’s Patience” (1838), and “The Strawberry Gatherer.” It was at this gallery, and in 1837, my subject’s first sight of fortune was obtained by means of a noteworthy picture, which, having been bought for engraving, was repurchased at a later date by Mr. Sheepshanks, and is now in the national collection at South Kensington. By means of the print by Mr. Mollison it is well known as “Gulliver exhibited to the Brobdingnag Farmer.” In 1837 it was fortunate for Redgrave the Directors of the Institution rejected his “Ellen Offord,” a picture of a subject borrowed from Crabbe’s “Tales of the Borough,” which, in the following year, occupied an excellent place on the line at the Academy. Meanwhile, and later, the latter exhibition contained, of Redgrave’s productions, two subjects from “A Pilgrim’s Progress” (1835), a landscape, and “The Faery Queene.” After this the artist’s themes were taken severally from the life of Quentin Matsys and “The Vicar of Wakefield,” and represented “The Reduced Gentleman’s Daughter,” “The Wonderful Cure by Paracelus” (1840); “The Castle Builder,” “Sir R. de Coverley’s Courtship,” and “The Vicar of Wakefield finding his Daughter” (1841); “Ophelia,” “Cinderella,” and “Bad News from the Sea” (1842); “The Fortune Hunter,” “Going to Service,” and “The Poor Teacher” (1843); “The Seamstress,” which illustrated “The Song of the Shirt,” and “The Wedding Morning” (1844); “The Governess” and “Miranda” (1845); “The Suppliant,” “The Brook,” “Preparing to throw off her Weeds,” a widow disrobing, “Sunday Morning—The Walk from Church,” with a motto from George Herbert (1846); “Fashion’s Slaves,” a scene in a milliner’s shop, “The Guardian Angel,” and “Love and Labour” (1847); “The Awakened Conscience,” “The Lost Path,” a woodland landscape, “Foreshadows of the Future,” which included the Virgin and Child, “Little Red Riding Hood,” “Handy Jamie,” “The Well-known Footstep,” “The Growth of Love,” “The Emigrant’s last Sight of Home,” “The Strayed Flock,” and (1860) “The Children in the Wood.” Since 1830 the artist has never failed to exhibit one or more pictures in the galleries of the Royal Academy. His “Glade where the Pixies Hide,” was at Burlington House last year. It must have been painted long before his sight, which is now almost entirely gone, began to fail. Designed to serve as moral lessons, Mr. Redgrave’s subjects were often distinguished by motives which ambitious pictures more emphatically illustrated. {37} In addition to these we saw at the Academy and elsewhere a number of landscapes, all marked by a fine sense of sylvan beauty and extreme care. It would serve no considerable purpose to enlarge this list of paintings by Redgrave, which embraces many scores of exemplary works, the general purport and motive of which has been declared by their author to be that of “helping them to right that suffer wrong.” These objects he has pursued earnestly and constantly, the very titles given here indicate the prevailing goodness and high moral tone of the subjects chosen by him. The popularity of such works as “The Poor Teacher,” “The Seamstress,” “The Governess,” and others, many of which have found wide-world acceptation, attests the welcome the paintings have deserved. It is a welcome which has been enlarged by means of engravings and transcripts of other kinds. Besides the above named illustration of “Gulliver,” the national collection contains not fewer than six of Redgrave’s pictures, including “Cinderella,” “The Governess,” and “Ophelia.” His “Country Cousins” was painted for Mr. Vernon, and engraved by Mr. H. C. Shenton. With Sir (then Mr.) Charles Barry and Mr. Thomas Webster (see the preceding biography of this artist), Redgrave was elected an A.R.A. in November, 1840. He is therefore, except Mr. S. Cousins (as before stated) and Mr. Webster, his companion in election, the oldest member of the Academy. Cousins, Redgrave, and Webster are the survivors of this body as it existed in 1841, and, all told, comprised seventy-one persons. In 1851, when he produced the “Flight into Egypt,” Redgrave became a Royal Academician. By 1840 his professional success had relieved him from the drudgery of private teaching of drawing, a labour which, however ungratifying it may have been, qualified the artist for the next field of exertion which then, or soon after, was opened to him. This mode of duty took effect when, in 1847, he was made Botanical Teacher and Lecturer, and, in 1851, Head Master of the Government School of Design, which was then conducted in the rooms Sir William Chambers built at Somerset House for the Royal Academy and which this body occupied till it removed to Trafalgar Square. On the reorganization of the School in 1852, Redgrave became Art Superintendent in the Department of Practical Art as then constituted; in this capacity he devised the whole, or nearly the whole, of that system of instruction in “practical art” which was directed by the Department. In this year he wrote an elaborate report on the general state of design as applied to manufactures in this country. In 1855 the British artistic arrangements of the Paris Universal Exhibition were directed by him, and he received the Cross of the Legion of Honour on that occasion. In conjunction with T. Creswick, R.A., he arranged the English pictures at the International Exhibition of 1862. At a later date he had a considerable part in forming the Historical Collection of Water-Colour Drawings at South Kensington. In 1857 he was appointed Inspector-General for Art in the Department of Science and Art then formed. In the execution of this office he continued to promote the interest of the Department, {38} and to assist in developing its schools, museum, and collections at South Kensington. In 1858 he succeeded Mr. T. Uwins, R.A., as Surveyor of the Royal Pictures, and, as such, began to collect materials for an exhaustive and as yet unpublished catalogue of those very numerous works. In 1880 Mr. Redgrave resigned the above named offices in connection with the Royal Household and the Art Department, and, two years later, he entered the grade of the Honorary Retired Royal Academicians. Mr. Redgrave, besides designing on wood, is a member of the Etching Club, and, as such, has contributed largely to its publications, including the “Poetical Works of Oliver Goldsmith.” He has compiled and delivered many public addresses in connection with the business of the Art Department. Some of these essays have been printed and published. In conjunction with his brother, the late Mr. Samuel Redgrave, he wrote “A Century of Painters of the English School,” 1866, the most comprehensive and valuable work of the kind. Among his other writings is “An Essay on the Gift of the Sheepshanks Collection.” He was the intermediary selected by Mr. Sheepshanks for the transfer to the nation of this magnificent body of pictures. Distinguished by an honourable performance of so many important duties as these, Mr. Redgrave has with universal respect retired from active life. 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 RICHARD REDGRAVE, Hon. Retired R.A. Biographical sketch of Richard Redgrave Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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.35-38 Subject The topic of the resource Redgrave, Richard (1804-1888), English painter Date Issued Date of formal issuance (e.g., publication) of the resource. May 1884 Abstract A summary of the resource. Stephens provides an outline of Redgrave’s early life, describing his background in his father’s business and his self-education in art. This short biography is followed by an overview of Redgrave’s career, including his turn to the pathetic genre subjects that made him popular. Stephens lists a long string of works exhibited by Redgrave, illustrating how regularly his works were shown, and then provides some description of Redgrave’s various posts in public service and a list of some of his publications. Stephens ends his texts by praising Redgrave’s long and varied career and telling the reader that Redgrave has now retired from public life. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Richard Redgrave, “British Artists: Their Style and Character,” Art Journal 21 (1859): 205. Richard Redgrave, “Autobiography of Richard Redgrave,” Art Journal 12 (1850): 49. J. Dafforne, “British Artists: Their Style and Character. No. XLV.—Richard Redgrave, R.A.,” The Art Journal 5 (July 1, 1859): 205-7. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Redgrave.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Karuna Srikureja 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). September 29, 2016 Date Modified Date on which the resource was changed. October 27, 2016 (by LM) December 6, 2016, by LM https://artistsathome.emorydomains.org/files/original/8bb9e8d3dbbbb52e06aca4d9d4268763.pdf 42e13030e5c587686e49dc53d2128254 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. LAWRENCE ALMA TADEMA, R.A., MEMBER OF THE INSTITUTE OF FRANCE, THE SOCIETY OF PAINTERS IN WATER COLOURS, AND OF THE ACADEMIES OF EDINBURGH, AMSTERDAM, MUNICH, BERLIN, STOCKHOLM, NAPLES, VIENNA, AND MADRID, OFFICER OF THE LEGION OF HONOUR, AND OF THE ORDER OF THE LION OF NASSAU; KNIGHT OF THE ORDERS OF LEOPOLD, THE DUTCH LION, ST. MICHAEL OF BAVARIA, AND OF THE CROWN, AND “POUR LE MÉRITE” OF PRUSSIA THIS artist was born, says the best authority (himself), January 8th, 1836, at Dronriyp, near Leeuwarden, in Friesland, a province so long allied to Holland that the outer world takes, although erroneously, its natives to be Dutchmen. His patronymic is a very ancient one, and associated with a part of the history of the Zuider Zee, according to which a Tadema held lands in that now submerged district. After the catastrophe the family found a refuge in Ameland. At the Reformation they were settled in Friesland, and their head was Pastor of the Mennoniet Sect: to him our painter’s pedigree can be traced. In English the name means Adamson, the prefix “t” being equivalent to the English suffix “son.” Alma is a cognomen and independent of the bearer’s surname. The painter’s father, a notary by profession, was officially Notary of Leeuwarden. He had considerable skill and some reputation in music. He died in 1840. The young Lawrence began to practice drawing when he was little more than four years old, and his vocation was found when a friend gave him a box of water-colours. Educated at the Lycée of Leeuwarden, he, instead of devoting himself mechanically, and almost exclusively, to the dead languages, cultivated that knowledge of antique life and men which now distinguishes his art. His mother intended he should be educated at an university, and practice one of the learned professions. They therefore opposed the boy’s artistic proclivities. The reports of a local doctor that he was not robust enough to bear severe studies obtained for my subject leave to follow that art of painting which was supposed to be easy, if not lucrative or very honourable. His first models were family portraits of a {30} jejune kind; his first teacher was a village drawing-master; Da Vinci’s treatise on painting, and the “Jesuit’s Perspective” were his first guides, and with characteristic energy he exhausted the latter. Thus it became impossible for the student, whether by means of colour, light, shadow, or outlines, to be satisfied with less than perfect representation of form in the solid. In the verisimilitude and logical technique of the master we see fruits of this training. His first complete painting in oil was (1849) a portrait of his sister. A nearly life-size portrait of himself, painted in 1851, which we saw at the Grosvenor Gallery in 1882, was Tadema’s most noteworthy production ere he obtained leave to devote himself to art; its sterling qualities attested the tenacity and astonishing diligence of the youth who was then, in every sense, busily making himself. It shows with intense energy a boy with thin set lips, seated at an easel, and with eager eyes already searching nature. Hard, sharply defined, crude, and dark in its brown shadows, and pallid in its flesh, there is much in this remarkable exercise which predicates the solidity, searching modeling, and true drawing of many another picture in the following list. Mr. Gosse’s memoir, to which I am indebted for some details in addition to those furnished by our common friend, the artist, states that when it was determined to obtain better instruction for the latter than Leeuwarden afforded, a painter of Amsterdam was requested to become his master; but, “as no one coveted a Frisian pupil,” the boy was in 1852 sent to the Royal Academy at Antwerp, which is the lineal descendant of the Guild of St. Luke founded in the fifteenth century by the Duke of Burgundy. The ruling master at Antwerp was M. Wappers; from him Tadema’s first art-teaching was obtained. In a year Wappers gave place to Professor Dyckmanns, whose smooth, academical, but intensely popular “Blind Beggar” is in our National Gallery. Given his own resolute and energetic genius, Tadema could not have found a better teacher than the laborious professor under whom he continued to study technical art until he was twenty years of age. The learned antiquary, M. De Taye, Professor of Archæology at Antwerp, assisted the youth in those studies of antiquity which from childhood he had never ceased to affect. It was not, however, as a painter of antiquity Tadema made his débût. His first finished picture (1856) must have been in the Dyckmanns manner; thus he produced “A Poacher returning Home.” Dutch history supplied the subject of the next year’s work, which represented “The Inundation of the Biesborch in 1421.” “The unfavourable Oracle,” which followed, has been damaged, but retains interest as the first of Tadema’s series of Egyptian subjects. It represents the envoys of the Kind of Egypt imparting an unfavourable answer to him after they had consulted an oracle with regard to the life or death of his sick heir. “The Destruction of the Abbey of Ter Doest,” embodying a highly energetic and dramatic design, was received with a little applause in the Brussels Exhibition of 1856, and marked the first success of the painter. In 1859 praise attended “Clotilda weeping over the Tomb of her Grandchildren.” This picture was at the Grosvenor Exhibition, 1882. {31} It was evident, however, that the artist had yet to educate his public, or to teach himself that large canvases were not in demand. Some of the works produced before 1861 were, on being returned unsold to him from the exhibitions, more or less effectually destroyed by their author, who was, in fact, disappointed by the result of his previous studies, and perhaps a little at issue with himself. We except from this record of destruction “A Bargain,” which, being dated 1860, was probably finished immediately after Tadema’s next departure was made; it bears distinct evidence of the influence of Van Eyck, the model of our artist’s next, and most effectual master, to whom we now come. In 1860, being then in his twenty-fifth year, he found the right path on becoming an assistant of Baron H. Leys, who, while painting on a large scale at Antwerp, required help from a master of architectural perspective. Becoming Leys’s pupil, my subject soon produced “The Education of the Grandchildren of Clovis,” which is now in the Palais du Roi at Brussels (this picture fell as a prize to the King of the Belgians, who had subscribed to the Art-Union Society of Antwerp). When exhibited no one would buy it. The King’s entire subscription was 10,000 francs. This work was at the Grosvenor Exhibition, 1882, and it marked a prodigious advance in power and skill. This noble drama has been engraved, and well deserves that honour. A visit to Cologne, during which he was much impressed by the old German pictures gathered there, occupied part of the year 1861. In the next year the already distinguished artist painted “Venantius Fortunatus and Radagonda” (this is the only Tadema now in Holland), and “Gonthran Bose,” which was sold for £100. The latter concluded the first stage of his art, which, although far below it, was not unlike that level where the complete master stands. In 1862 Tadema made his first visit to London, and obtained ample welcome. In 1865 he painted “How the Egyptians amused themselves 3,000 Years Ago,” which, with two other works of his, was exhibited in the French Gallery, Pall Mall, in 1865, and thus made him known in England. It had appeared with great éclat in Paris in 1864, and won the admiration of all the great French artists. Several other works of his have been shown in Pall Mall since 1865, including “Tibullus’s Visit to Delia,” “The Honeymoon,” “Going to Mass,” “A Roman Dance,” “A Roman Poet,” “Ancient Roman Wine Merchants,” “In the Temple,” and “An Improvisatore.” In 1863 Tadema married a French lady and visited Italy, where he was profoundly impressed by the remains of Roman art and life, and thenceforward was induced to devote his genius and rapidly developing powers chiefly to subjects of antiquity. In 1864 he illustrated the Merovingian history by means of “Fredegonda and Prætextatus,” a noble dramatic piece. Tadema’s fortune did not grow so rapidly as his reputation. Therefore, in 1864, while in Paris for the first time, he, stipulating that at least half the number should represent {32} antique subjects, was glad to accept a commission from Mr. Gambart to paint, “at low but ascending prices,” not fewer than twenty-four pictures. In 1865 our artist settled in Brussels and began the series of Roman subjects in which we mostly know his genius, learning, skill, and industry. As a painter of all sorts of effects of light he, by this series, secured honour. This is apart from the marvelous felicity of his technique, the subtlety of his character-rendering, a sub-vein of humour which he possesses, his inexhaustible archæology and indomitable energy. In 1865 he produced that brilliant new reading of antiquity and intense love-poem in painting, “Catullus at Lesbia’s,” where fresh fire was breathed into those cold ideals of “classicality,” the bequests of David to art. Much had yet to be achieved by the painter, but his way was now clear. For the first time classical genre subjects were represented with verisimilitude, learning, and technical mastery; the graces of the antique overcame the heaviness of the Belgian Leys, while the deep tones and splendid coloration of Venetian and early Low Country painting were united in the exposition of designs of the most dramatic movement. After this we had, in chronological order, the following chief works: “The Egyptian at his Doorway,” “The Soldier of Marathon,” “Agrippina visiting the Ashes of Germanicus” (1866); “The Mummy” and “Tarquinius Superbus destroying the Poppies” (1867); “Phidias at the Parthenon,” “Flowers,” “A Roman Flower-Market,” and “A Roman Amateur” (1868); “The Pyrrhic Dance,” and “The Roman Wine Shop” (1869). “The Vintage” (1870), which has world-wide honours in the plate by M. Blanchard; “The Grand Chamberlain of Sesostris,” and “The Discovery of Claudius” (etched by M. Rajon), were exhibited at the Academy in 1871; “The Mummy, Roman period” (1872); “The Siesta,” and “The Death of the First-Born” (1873); “The Picture Gallery,” and “Joseph, Overseer of Pharaoh’s Granaries” (1874); “The Sculpture Gallery,” and “Water Pets” (1875); “An Audience at Agrippa’s,” and “Cleopatra” (1876); “The Seasons,” four picture (1877); “A Sculptor’s Model,” and “A Love Missile” (1878); “A Hearty Welcome,” “Down to the River,” and “In the Time of Constantine” (1879); “Spring Festival,” “Not at Home,” and “Fredegonda” (1880); “Sappho” (1881); “An Oleander” (1883). At the Summer Exhibitions of the Grosvenor Gallery have been shown: “Sunday Morning,” “A Mirror,” “A Bath,” “Sunflowers,” “A Bacchante,” “Hide and Seek,” “Architecture,” “Sculpture,” “Painting,” “Cherries,” “A Question,” “A Pastoral,” “Ave Cæsar! Io Saturnalia,” “A Torch Dance,” “An Audience,” “Antony and Cleopatra,” and “Amateurs.” The Winter Exhibition of 1882 at the Grosvenor Gallery comprised one hundred and thirty of Alma Tadema’s works, including nearly all the above, and “A Juggler” (1870); “Une Fête Intime” (1871); “A Widow” (1872); “A Staircase” (1871); “Visit to the Studio” (1876); “The Sculptor” (1877); “After the Audience,” and “A Well-Protected Slumber” (1879), and “Tepidarium” (1881). Besides these examples in oil, Mr. Tadema has produced so many admirable water-colour drawings, that his position in {33} that respect is second to none. A large proportion of his works have been engraved by MM. Blanchard, Rajon, Lowenstam, and others. He has painted many portraits which are distinguished by great vigour and verisimilitude. The distinctions and honours which have illustrated the labours thus concisely described are far too numerous for exhaustive mention here. Suffice it that among other professional honours not named above, Mr. Alma Tadema received a French Medal in 1864; another, of the Second Class, at the Exposition Universelle, Paris, 1867; and a third, of the First Class, at the Exposition Universelle, Paris, 1878. His first wife died in 1869. He settled in London in 1870; married Miss Laura Epps, herself now an artist of position, in 1871; was elected an Associate of the Society of Painters in Water Colours, his first English honour, in 1873, and a member of the same body in 1875. He was elected an A.R.A. in January, 1876, and an R.A. in June, 1879. He received letters of Denization from the Queen in 1873. All London sympathized with him when, October 2nd, 1874, his house, a very treasury of art, was shattered by the explosion of a barge’s cargo of gunpowder and benzoline. That now reinstated house would require a volume for its illustration. The view before us gives part of the painter’s studio, with a bronze bust of Mrs. Alma Tadema standing over the fireplace and backed by a curtain of cloth of gold. Original Format Book pages 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 L. ALMA-TADEMA, R.A. Biographical sketch of Lawrence Alma-Tadema Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. Subject The topic of the resource Alma-Tadema, Lawrence (1836-1912), English painter of Dutch origin Date Issued Date of formal issuance (e.g., publication) of the resource. May 1884 Abstract A summary of the resource. The text provides a brief overview of Alma-Tadema’s early years, artistic education, and career. It describes his early days as a pupil of several important masters who had influenced his art and his subsequent rise to eminence, first in his own country and then in England and France. The text makes note of his numerous awards and provides a list of his main works. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Alma-Tadema.pdf Contributor An entity responsible for making contributions to the resource Stuart A. Rose Manuscripts, Archives, and Rare Book Library, Emory University, Atlanta, GA Omeka record contributed by Ekaterina Koposova 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). September 30, 2016 Date Modified Date on which the resource was changed. October 1, 2016 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Gosse, Edmund. Studies in the Literature of Northern Europe. London: C.K. Paul & Co., 1879. https://artistsathome.emorydomains.org/files/original/d14b68407f4eee30d33deb4907ad385c.pdf 23fdd814acd11d626f7235d6e9b9c96c 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. MARCUS STONE, A.R.A. THIS gentleman is the son and pupil of the late well known genre painter, Mr. Frank Stone, A.R.A., from whom, as he died when my present subject was but nineteen years of age, the latter had but brief time for learning the art they both practiced with éclat. It is said that Frank Stone himself never had a lesson in drawing, and it is certain that, although previously distinguished in water-colour art, and an associate of the “Old Society,” he was not less than thirty-seven years of age before he exhibited a picture at the Academy. It is remarkable that the son has inherited a considerable portion of his father’s mantle, and, without the least plagiary, obtained reputation by means of pictures like those among which he spent the first years of his life. Artistic sons generally depart from the predilections of their fathers, and usually avoid the examples of their early days. Mr. Marcus Stone, who was born July 4, 1840, was, according to the ordinary authorities, a draughtsman before he was four years old, and received Dickens’s praise for a design in 1853. Not being a Student of the Royal Academy, the painter obtained none of the distinctions of that body, such as medals or the Travelling Studentship, until January 24, 1877, when he was elected one of its Associates, having, however, at that time, already contributed to its exhibitions since 1858, when his first essay before the world was named “Rest,” and illustrated the verses:-- “In all my wand’rings round the world of care, In all my griefs—and God has given my share,-- • • • I still had hopes, my long vexations past, Here to return—and die at home at last.” “Silent Pleading,” which represented a tramp sleeping in a shed, holding a child in his cloak, and visited by policemen, who hesitate to arrest him, appeared at the Academy in 1859, and was followed in 1860 by “The Sword of the Lord and of Gideon,” the picture of a Puritan hero, which attracted the admiration of many visitors to the exhibition, and deserved to be praised as the work of a young painter who, by its means, won his spurs. {28} Mr. Marcus Stone was, we understand, one of the most precocious artists of his time, and it has been said of him that he began to practice art before he could remember. Extraordinary facility, and what may be called the clearest reading of his subjects, attended this long-sustained practice, and stood him in good stead when, in 1859, the sudden death of his father left him dependent on his own efforts for guidance. The picture of 1864 showed how much progress the painter had made under those conditions. It was entitled “Claudio, deceived by Don John, accuses Hero,” and owed its subject to “Much Ado about Nothing,” Act vi, 1. “A Painter’s first Work” came forth in 1862, and the more important “On the Road from Waterloo to Paris” followed it in 1863. The latter was more ambitious than most of Mr. Stone’s paintings. Its subject was borrowed, as the catalogue of the exhibition tells us, from Béranger. “Working and Shirking” (1864) and “Old Letters” (1865), were succeeded by “Stealing the Keys,” a daughter taking possession of the keys of her father’s prison-chamber, which was shown in 1866. Next in their order severally came, “Nell Gwynne begging aid for the Old Soldiers” (1867), “An Interrupted Duel” (1868), “The Princess (afterwards Queen) Elizabeth obliged to attend Mass by her sister Mary” (1869), “Henry VIII. and Anne Boleyn observed by Queen Katherine” (1870), “The Royal Nursery, 1538” (1871), “Edward II. and his favourite, Piers Gaveston,” a telling episode in an historical drama (1872), “Le Roi est Mort; Vive le Roi!” (1873), and “My Lady is a Widow, and Childless” (1874), “Sain et Sauf” (1875), “Rejected,” and “An Appeal for Mercy, 1793,” had places in 1876. “Sacrifice,” a damsel burning love letters in the presence of an elderly admirer and a lady, and “Waiting at the Gate,” signalized the year of Mr. Stone’s election to the A.R.A.ship, and were succeeded by “The Post Nag,” “Head of a Girl,” “The Time of Roses,” and “The Fruit Seller,” all shown in 1878, and, in 1879, by “In the Shade,” “Summer Time,” and “Discord.” In 1880 we remember “Olivia and Dick Primrose,” and “Amour ou Patrie;” in 1881 was exhibited “Married for Love,” and, in 1882, “Il y en a toujours un Autre,” which was bought by the Academy with the Chantrey Fund, “Bad News,” “The Foundling,” and “Miss Frances Sterling.” Of last year the subjects were “An Offer of Marriage” and “Asleep.” Mr. Stone has designed the illustrations of several books, including “Great Expectations,” “Our Mutual Friend,” and “The Child’s History of England,” by Dickens, Mr. A. Trollope’s “He knew he was Right,” &c. Original Format Book pages 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 STONE, A.R.A. Biographical sketch of Marcus Stone Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 27-28. Subject The topic of the resource Stone, Marcus C. (1840-1921), British painter and illustrator Date Issued Date of formal issuance (e.g., publication) of the resource. April 1884 Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Stone.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC 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). September 28, 2016 Abstract A summary of the resource. Highlights of Marcus Stone's career until 1884, beginning with a description of the artist's precociousness. Charles Dickens was a close friend of his father, genre painter Frank Stone, and an early admirer of Marcus's drawings. Stone received training from his father, whose death in 1859 pushed the young artist to produce many "more ambitious" works in the following years to support himself and his family. The artist became an Associate of the Royal Academy in 1877, and in 1882 the Academy purchased his painting A Prior Attachment (Il y en a toujours un Autre) with the Chantrey Fund. Date Modified Date on which the resource was changed. December 2, 2016 January 20, 2017, by LM Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Julie F. Codell, “Biographical Functions, Mediations, and Exchanges,” in The Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870–1910 (Cambridge: Cambridge University Press, 2003), 58. “Short Notices.” 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." References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Charles Dickens, Great Expectations, (London: Chapman & Hall, 1861). Charles Dickens, Our Mutual Friend, (London: Chapman & Hall, 1865). Charles Dickens, A Child's History of England, (London: Bradbury & Evans, 1852). Anthony Trollope, He Knew He Was Right, (London: Strahan and Co., 1869). https://artistsathome.emorydomains.org/files/original/ddce64f7ba3bbd76ab91c5cdbff55cc3.pdf ec30eda63e3dd127390ef142b3a3bc99 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format Book pages Text Any textual data included in the document MR. GEORGE A. LAWSON, SCULPTOR. MR. GEORGE A. LAWSON was born in Edinburgh in 1832, and, after receiving a sound scholastic education there, followed a very early bent of his mind and feeling by becoming a pupil of Mr. Alexander Ritchie, a Scottish sculptor who had attained some reputation in that metropolis. From the atelier of this artist my subject, being still but a lad, became a Student of the Royal Scottish Academy, and, a few years later, having passed through the curriculum of that institution, visited Rome while the intense classicism of Gibson’s ideal still ruled in the Eternal City. Avoiding this scholastic influence, which had guided many promising men, Mr. Lawson examined the antique for himself, and resolved not to follow the academical leader, but to impart greater vitality to his designs than the canons of traditional art allowed, although, strangely enough, the learned overlooked the Elgin Marbles, which are at once the most animated and the noblest monuments of Greek art. Returning from Italy, Mr. Lawson settled for a few years at Liverpool, and soon enlarged that reputation which certain vigorous designs of romantic and domestic figures and groups in terra-cotta, and some noteworthy portrait-busts, had won for their author in the North, at Edinburgh and elsewhere. A series of dramatic and picturesque works increased this reputation of Mr. Lawson’s, which, however, did not reach London until 1862, when a statuette in marble, entitled “Jeannie Deans,” appeared at the Academy, and compelled some attention to its author. A cast of this production is on our right among the figures shown in the view of the studio, which follows here. Removing in the interval to London and a wider field, the artist allowed four years to elapse before, in 1866, he again contributed to the gallery in Trafalgar Square. On this occasion two works were shown, being “A Group” and “Prayer, an ideal bust,” both of which examples proved that graver notions than before obtained force with him were active in the sculptor’s mind. He sent “The War Song,” terra-cotta group, to the Dudley Gallery in the next year, it being the only plastic design in the room. It was afterwards bought by the “Association for the promotion of Fine Arts,” and presented to the National Gallery of {24} Scotland. To the Academy of this year he sent “Cupid’s Messenger,” a terra-cotta figure. In 1868 we had “Diana Vernon,” a spirited statuette in bronze, and the humorous figure of “Dominie Sampson” standing as if just rising from his knees among the books which load the floor before his gaunt form, while he is in the act of exclaiming “Prodigious!” With these works we remember a portrait-bust, and the graceful group called “The Maiden’s Secret,” a cast of which is still in the studio, see below. “The Ancient Mariner” and “Tubal Cain” were at the Dudley Gallery in 1869. The last-named year produced, at the Academy, “The Maiden’s Secret,” in marble, and “The Murmur of the Shell.” “The Invocation” was at the Academy in 1870, in marble, and in terra-cotta at the “Dudley,” with “The Friar,” a small figure of much vivacity of design. Succeeding years produced the following, among other, but less important pieces—“Psyche,” “Come unto these yellow Sands,” a group (1871), “The Minstrel,” “Girl and Tortoise,” “Hubert and Prince Arthur,” “Nymph at the Pool,” “The Ramblers.” Of the motive of the last-named example there are two versions, each of which is a finely designed and composed and very graceful group of two girls. The maidens are walking side by side, and their draperies and attitudes are charming. One of the best of our sculptor’s works came forth in 1879, being the seated figure of the laurel-crowned boy, “Callicles” in the act of steadying the lyre in his lap while, with the often-tried magic of its strings, he essays to soothe the heart of his master Empedocles, Mr. Matthew Arnold’s moody poet, who is supposed to be contemplating death in the crater of Etna. The pose and execution of the figure are alike beautiful, the sculptural style employed is pure and severe without hardness or crudity, the finish is fine, and the face, of a good Greek type, is full of a grave and tender sentiment. “In the Arena” (1878) is a large and extraordinarily energetic group of a man who, being condemned, bare-handed and unarmed, to fight a panther, has thrown the furious beast upon its back and stoops over it while grappling its body with his hands, as if about to tear it to pieces; his knee binds the creature to the earth. The style of this group being instinct with something that is Etruscan in its force and austerity, is much more pronounced and emphatic than that of “Callicles,” which is altogether Greek. With the lyre-player we had, in 1879, a terra-cotta bust called “A Corsair,” and two portraits. 1880 gave to the world an example of progress in a softer style than that of “Callicles,” being the life-sized naked figure of Daphnis of Mitylene, the graceful youth whom Chloe loved, half standing and half leaning against a tree, holding his pipe, and seeming to hesitate to play again. It is an excellent piece of careful modelling. It is needless to describe the large draped statue of Cleopatra, which was at the Academy in 1881; it appears in the view of the studio, and is in the act of leaning back in the chair while the asp’s poison works its will. “Automate” was at Burlington House two years ago in the form of an heroic size, fully draped statue of the Danaid, who, having slain Busiris, her {25} betrothed, was condemned to toil perpetually, filling a vase with water and emptying it. With the heavy vessel at her hip and clutched between her clasped hands, the neglected drapery drooping from her shoulder, the woman drags her hopeless feet along and slowly swings herself in the weary path she has to tread for ever. “The Girl and Tortoise” of 1883 is shown in the view of the studio. Besides the above poetical examples, Mr. Lawson has executed several important public statues. These include that of the Duke of Wellington, which surmounts the column at Liverpool; “Admiral Cochrane,” which is at Valparaiso; “John Wheelwright,” destined for the same city; “Pease,” for Darlington; “John Vaughan” (Bolckow, Vaughan, & Co.), to be unveiled at Middlesborough on Easter Monday next, and a statue of the late Mr. Moorhouse, for Auckland, New Zealand. At present he is finishing for the Academy a nude figure of an antique Retiarius, or wielder of a net and trident in a Roman arena. Turning to the portrait, the reader will, beginning on his left, recognize the sculptures in the following order: 1, a figure of Lord Beaconsfield, placed on a pedestal between two allegorical statues; 2, “The Girl with a Tortoise”; 3, “Cleopatra”; 4, a bust progressing in clay, being a portrait of the late Mr. Dorman; 5, “Come until these yellow Sands”; 6, “The Nymph at the Pool”’ 7, “Jeannie Deans”’ 8, a terra-cotta group of “Hubert and Arthur”; 9, “The Maiden’s Secret”; 10, on the ground, with one arm raised on high, is a small model for the Retiarius in the act of swinging his ponderous trident, while he cries “Ave Cæsar!” 11, likewise on the ground, represents a handsome, loose-jointed, lounging fellow, lazily looking about him. It is the model of a statue to be. 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 A. LAWSON Biographical sketch of G. A. Lawson Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 23-26 Subject The topic of the resource George Anderson Lawson (1832-1904), Scottish sculptor Date Issued Date of formal issuance (e.g., publication) of the resource. April 1884 Abstract A summary of the resource. Stephens begins with a brief sketch of Lawson’s early development, outlining his early life and education in Edinburgh, his travels in Italy, his subsequent move to Liverpool, and finally his introduction the London art scene in 1862, when his marble sculpture 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. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Lawson.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Karuna Srikureja 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). September 29, 2016 Language A language of the resource English Date Modified Date on which the resource was changed. October 1, 2016 January 20, 2017, by LM Is Referenced By A related resource that references, cites, or otherwise points to the described resource. “Short Notices.” 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." https://artistsathome.emorydomains.org/files/original/1fa5ac14682b0a816df3a3c5d1ed03ff.pdf 5c00c3f8aaabd3e1279ecea441c2a7db 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. SAMUEL COUSINS, HON. RETIRED R.A. ALTHOUGH Mr. Cousins, who was born on the 9th of May, 1801, being sixteen months younger than Mr. Doo, is not the Doyen of the English engravers, he is, having been elected in 1835, in the place of James Fittler, an Associate Engraver of the Royal Academy, the oldest member of that body. Of the members of fifty years ago he is the sole survivor. Mr. Webster, who was admitted a Student of the Academy in 1821, is the oldest artist associated with the body in any degree, and therefore its veritable Doyen. Although Mr. Cousins was elected at this date, he had not previously contributed to the exhibitions; his first appearance on the walls was in 1837, when he sent proofs from the famous plates after Wilkie’s “Maid of Saragossa,” and Landseer’s “Bolton Abbey in the Olden Time.” Mr. Cousins having, as above stated, been an A.E.R.A., was elected an Associate Engraver in the New Class in 1854, the first of that category, and a Royal Academician Engraver, February 10, 1855. Mr. Doo followed him in this grade, and they remained in it till 1867, when it was dissolved, and Mr. Cousins became an R.A. proper, and Mr. Doo entered the ranks of the Honorary Retired R.A.’s. In this respect Mr. Cousins followed his colleague in 1880. In 1855 he received a French Medal of the Second Class as a Graveur Étranger. He was born at, and had his schooling in Exeter. His first artistic practice seems to have been copying engravings in pencil; by diligence and natural gifts he attained such skill in this mode of draughtsmanship that at thirteen years of age his reputation as a taker of portraits in pencil was secured in his native city. When eleven years old he received the silver palette of the Society of Arts for a pencil copy of “The Good Shepherd” by Murillo, after an engraving by James Heath, and, a year later, he won the society’s silver medal for a drawing in black and white. By means of Sir Thomas Dyke Acland, who generously helped the lad, Cousins was sent to London and, September, 1814, articled for seven years to S. W. Reynolds, one of the best engravers and most successful teachers of his time, who is famous for his mezzotint reproductions of Sir Joshuas. Cousins remained with this master a full term of seven years, and, as an assistant in the workshop, four years {20} longer. Some of Reynolds’s plates were much indebted to my subject, as four of them bear the names of both engravers. The master had an affectionate pride in his pupil, and, in order to display the skill of the lad of thirteen, took him to Ashburnham House in Sussex, when he went to work there for the Earl of Ashburnham, and introduced the boy to the peer’s family in order that he might draw their likenesses in pencil, according to the above-named mode of his, which he was accustomed to exercise at the rate of five shillings a portrait. Lady Jane Swinburne, one of the earl’s daughters, who survives and is the mother of Mr. Algernon Swinburne, preserves a number of capital drawings of her family made by Cousins on this occasion, and displaying amazing spirit, solidity, and veracity. Photographic copies of these drawings were lately exhibited in the gallery of the Fine Art Society, New Bond Street. According to Mr. Cousin’s memoranda, imparted to Mr. C. Pycroft, Mr. T. H. Ward (to whose biographical sketches of the engraver I am much indebted), and myself, the plates bearing the master’s and pupil’s names conjointly are “Sir J. Banks,” after Phillips, the “Rev. T. Lupton,” after Allan, “Viscount Sidmouth,” after Thompson, and the “Rev. J. Mitchell,” after John Graham, of the Trustees’ Academy, Edinburgh. It was Sir T. Dyke Acland who enabled Cousins to start independently by giving him a commission to engrave Sir Thomas Lawrence’s portrait of “Lady Acland and Children.” This was in 1826, and the result was so successful that Lawrence desired to secure the skill of the engraver to himself alone. Not agreeing to this honourable, but somewhat restricting invitation, Cousins next, with even greater success than before, reproduced the much-admired picture of “Master Lambton,” which is at Lambton Castle, the property of the Earl of Durham, and one of the best and most typical of Lawrence’s portraits. The picture owes a great deal to the print. When Messrs. Thomas Agnew and Sons formed a large collection of prints engraved by Cousins, and exhibited the whole in London and Manchester in 1877, the total number of works was 180. Mr. Pycroft, in his “Art in Devonshire,” added twelve more prints to this reckoning of a life’s work. The Exhibition of the Fine Art Society, 1883, comprised in a total of eighty-six examples, a few not included in the greater number. No doubt, therefore, the engraver has produced not fewer than 200 plates. I have to thank him for the following chronological list of what he considers the more important examples of his stupendous labour. “Lady Acland and Children,” “Master Lambton,” “Prince Metternich” (1826), “Pius VII,” (1827), “Duke of Wellington,” three-quarters length, by Lawrence (1838), “Sir Astley Cooper,” “Lady Grey and Children,” “Lawrence,” by himself, “Lady Dover and Child” (1830), “Lady Gower and Child,” “Lady Peel” “Early of Aberdeen” (1831), “Miss Peel,” “Lady Grosvenor” (1832), “W. Wilberforce,” “Statue of Canning,” after Chantrey (1833), “Maid of Saragossa” (1836), “Bolton Abbey,” “Abercorn Family” (1837), “The Queen,” whole-length, “Return from Hawking,” “Lady {21} Clive” (1839), “Lady Evelyn Gower,” “The Queen receiving the Sacrament,” after Leslie (1840), “The Queen and two Children” (1844), “Christ weeping over Jerusalem,” “Beauty’s Bath,” or “Miss Eliza Pell” (1846), “The Duke of Wellington,” “Prince of Wales as a Sailor Boy,” “Group of the Royal Family,” “Shakespeare,” from the Chandos portrait, “Mrs. Fry” (1849), “Sir R. Peel,” “Viscount Palmerston,” “Mr. Adams,” the astronomer (1851), “The Order of Release,” “The First of May, 1851” (baptism of Prince Arthur), “Duke of Connaught,” and “Duke of Wellington” (1854), “Infant Samuel,” after Mr. F. Sant (1853), “Empress of the French,” “Princess Royal of England” (1856), “A Midsummer Night’s Dream” (1857), “Mdlle. R. Bonheur,” “Sir B. Frere,” “Saved!” (1858), “Mitherless Bairn,” “Mr. F. Huth” (1859), “Duke of Northumberland,” “Mrs. Bradyll,” “Sir H. Rawlinson,” “Marie Antoinette,” after E. M. Ward (1861), “Lord Clyde,” “Maid and the Magpie” (1861), “From Dawn to Sunset” (1863), “Piper and Pair of Nutcrackers” (1865), “Lady Mary Hamilton,” “My First Minuet,” “Connoisseurs,” “Earl Spencer,” “Sir T. Watson,” “The Queen” (1870), “The Strawberry Girl,” and “Yes or No!” (1873). Between 1870 and 1873 Mr. Cousins, thinking his share of work in the world was done, and remembering that he had passed the later extremity of “three score and ten” years, determined to leave off work, and did nothing in the interval. Nevertheless, so strong is energy in a healthy frame that, in due time, he took up the graver and plate again, and set to work with something like the zeal of youth. Wonderful to relate, he produced some masterpieces including “The Age of Innocence,” “Penelope Boothby,” “Simplicity,” and “Miss Bowles,” after Reynolds, in 1874, “Lady C. Montagu,” “Sylvia,” “No!” “Moretta,” “Countess Spencer,” “Hon. Ann Bingham,” “Lavinia,” “Lady Spencer and her Sons,” “Miss Rich,” “Yes!” “Princess Sophia of Gloucester,” “Head of an Italian Girl,” “Cherry Ripe,” “Duchess of Rutland,” “Ninette,” “Muscipula,” and “Pomona.” The painters of these pictures are Sir T. Lawrence, Sir D. Wilkie, Sir E. Landseer, C. R. Leslie, Sir J. Reynolds, E. M. Ward, J. E. Millais, and Sir F. Leighton. Among other kindly things of Mr. Cousins’s doing was the unostentatious gift of £15,000 to the Royal Academy in trust for the benefit of deserving and poor artists, seven of whom now receive £80 a year a-piece. The photograph gives a view of Mr. Cousins’s sitting-room; the prints on the walls are those of his own works, being “The Calling of Samuel,” after Mr. Sant; “Marie Antoinette and Louis XVI. in the Prison of the Temple,” after E. M. Ward; and “A Mother and Child,” after C. R. Leslie. Original Format Book Pages 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 S. COUSINS, R.A. Biographical sketch of Samuel Cousins Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 19-21. Subject The topic of the resource Cousins, Samuel (1801-1887), English engraver Date Issued Date of formal issuance (e.g., publication) of the resource. April 1884 Abstract A summary of the resource. The text provides a short biography of Samuel Cousins until the year 1884. Stephens speaks of Cousins’s momentous rise to prominence as a gifted young artist, very skilled in the making of portraits. The text mentions the important patronage of Thomas Dyke Acland (though accounts of Cousins’ early patron differ). Stephens provides a long list of what Cousins himself deemed the most important of his works, and identifies three of the four reproductions visible in Mayall's studio portrait. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Cousins.pdf Contributor An entity responsible for making contributions to the resource Stuart A. Rose Manuscripts, Archives, and Rare Book Library, Emory University, Atlanta, GA Omeka record contributed by Ekaterina Koposova 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). September 30, 2016 Date Modified Date on which the resource was changed. October 1, 2016 January 20, 2017, by LM References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Pycroft, George. Memoir of Samuel Cousins, R.A., member of the Legion of honour. Exeter: Daily Gazette, 1887. Ward, Thomas Humphry. Notes on the Engraved Works of Mr. Samuel Cousins, etc. London: Fine Art Society: Catalogues of exhibitions, 1883. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. “Short Notices.” 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." https://artistsathome.emorydomains.org/files/original/b1e404cb96cef29ff7386204f29c24f9.pdf 5a6100b948e0011ccce306c470cd5beb 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. JOHN EVERETT MILLAIS, R.A., D.C.L., MEMBER OF THE INSTITUTE OF FRANCE, AND OF THE ACADEMIES OF EDINBURGH, ANTWERP, MADRID, AND ROME; OFFICER OF THE LEGION OF HONOUR, ETC. AS the life of an artist is in his works, and Mr. Millais’s labours have been almost as numerous as his successes, the biographers of the painter find only too much material at their hands if, within narrow spaces, they attempt to produce just portraits of him. It is therefore impossible to delineate him at full length unless what may be called a life-size canvas is available for the purpose. A prodigy in childhood, as a youth the most prominent leader in a movement which worked wonders in the practice of art, a member of the Academy when some of his contemporaries were still in the schools, Millais is one of the few living men whose pictures appeal to us from the level of the great ancient masters. A thorough painter per se and proper, whose technical skill is equal to a sixth sense, and, in being exhaustively artistic, is far more than merely scientific, this R.A. is among the fittest men in England to represent painting according to the illustrious mode of yore, when each master, as Titian, Raphael, or Velazquez did shone in the courts of kings, and was not of them. Add to these fine endowments indefatigable industry, the keenest sense of the logic of art, a noble physical presence, perfect savoir vivre, fidelity in friendship, and a genial manner that never tires, and we have the elements of that success which, by merely growing, assured its own magnificence. So many concise studies and deftly-made sketches of Millais have been published that hardly any new thing is left for me to say. That on the 8th of June, 1829, he was born in Portland Place, Southampton, was due to a concatenation of circumstances which determined he should not be a native of Jersey. His mother (born Mary Evamy) was English to the heart; his father, John William, who belonged to an excellent old Jersey family settled at Tapon in that island, in the militia of which he was an officer, was hardly so much as half a Frenchman. Of this union our subject is, by his mother’s second marriage, the second son and younger child. His own elder brother is a well-known landscape painter. The future “English Velazquez,” as, in regard to portraiture at least, he has been not unwisely called, lived in Jersey, till he was nearly six years of age, when the family removed to an old tower on the fosse at Dinan in Brittany, where some picturesquely-clad {16} French artillery officers fixed his attention so strongly that he concentrated on their portraits all the draughtsmanship which must have been already at his hand and latent in his mind. He succeeded in these drawings to the astonishment of his models and some other French officers, who bet a dinner that he would not repeat the feat. In 1837 Millais’s parents, anxious to decide the future of their son, brought him to England, where they settled, and shortly afterwards consulted Sir M. A. Shee, the P.R.A. of that day, on the subject. Shee declared at once it was better to make a boy a sweep than indulge his inclinations for art. When, however, some studies of Millais’s were shown to the P.R.A., his words were changed—“Make an artist of him, by all means,” he said. “Nature has provided for his success.” Accordingly, the boy was placed in the most frequented drawing school of that day, which was established in Bloomsbury, and conducted by Mr. F. Sass, the first trainer of a very large number of painters. He was succeeded by Mr. F. S. Cary, who taught in the same place. In 1838, when he was only nine years old, and still younger in appearance, Master Millais received from the astonished Duke of Sussex, who adjusted his spectacles to look at the little boy approaching his rostrum to take the prize, a silver medal awarded to him by the Society of Arts, for an excellent drawing from the Antique. In 1840, being the youngest person ever admitted to the schools, Millais became a Student in the Royal Academy. A little later than this period the boy-painter used to take likenesses in oil for three, four, or five pounds each, and draw actors for ten shillings apiece. In this stage Millais continued to draw diligently from the Antique, and, chiefly on account of his youth, did not enter the Life School at the Academy until after he had, in 1843, gained a silver medal for a drawing from a statue. He received no more such distinctions until 1847, when, having entered the Lie and Painting Schools in the interval, he won the gold medal for an original picture in oil, the subject being “The Young Men of the Tribe of Benjamin seizing their Brides.” (This was shown at the British Institution in 1848.) Millais had, however, already descended into the arena of art, and in 1846 attracted considerable attention to his prowess by means of “Pizarro seizing the Inca of Peru.” At this time he was busy with the much more ambitious “Widow’s Mite,” a picture in oil, which, in 1847, had an honourable reception at the Westminster Hall Exhibition of works by artists competing for the decoration of the Houses of Parliament. This was an astonishing achievement for a youth of seventeen, who designed its life-size figures with grace and spirit, and painted them with freedom approaching power. This example measured 10 feet 7 inches by 14 feet 3 inches, and has since been cut in two; one half is now in Tynemouth, while the other is in America. In 1847 Millais contributed to the Academy a noteworthy picture representing Elgiva, wife of Kind Edwy, seized by Odo, which occupied a bad place in the second tier of the old Octagon Room in Trafalgar Square, and was sold for 120l. He likewise painted for a house in Leeds four panels representing “Childhood,” “Old Age,” “Youth,” and “Manhood.” In the early part of the year 1848, that friendly company, the renowned Pre-Raphaelite Brotherhood, of which Millais soon became the best-known member, was formed. In {17} accordance with the views of this society his pictures assumed a totally new character, so that nothing could differ more completely from “Elgiva” than the production of the next year, which was named “Isabella” because it represents the banquet scene in Keats’s “Pot of Basil.” Pre-Raphaelitism was neither more nor less than a protest of sincerity against the fatuousness of conventional art, which ruled before its inception. It owed absolutely nothing but the example of sincerity to foreign or ancient artists of any kind; it illustrated that sincerity with greater devotion than any preceding mode of design, and produced nothing which is in the slightest degree like what had gone before it. Nor did the works and technical motives of the brethren in any respect not controlled by their great rule of sincerity, bear the least resemblance to each other. The effect of Pre-Raphaelitism on the practice of its professors was magical and revolutionary. This is not the place to discuss its aims, characteristics, or stupendous effect. Suffice it that, so far as Millais’s development and practice was concerned, his exhibited Pre-Raphaelite pictures are “Isabella,” “Portrait of a Gentleman (Mr. J. Wyatt, of Oxford), and his Grandchild;” “Ferdinand lured by Ariel” (for which I sat), “Christ in the House of his Father” (all at the Academy in 1850); “Mariana of the Moated Grange,” “The Return of the Dove to the Ark,” “The Woodman’s Daughter,” from Mr. C. Patmore’s poem (R.A. 1851); “Portrait of Mrs. Coventry K. Patmore,” “A Huguenot,” “Ophelia,” comprising a likeness of Mrs. D. G. Rossetti (R.A. 1851); in 1853 we had “The Order of Release, 1745,” comprising a likeness of the present Mrs. J. E. Millais, and “The Proscribed Royalist, 1651,” for which Mr. Arthur Hughes sat. The small whole-length portrait of Mr. Ruskin standing near a waterfall was produced in 1854, after the last-named two pictures. This is the outcome of Pre-Raphaelitism in Mr. Millais’s hands. After “Ferdinand” appeared, the astonishing tenacity of the painter’s second manner was relaxed (so to say), step by step, in favour of a less stringent, but not less potent or brilliant mode: pathetic his art cannot fail to be, it is generally dramatic, “The Woodman’s Daughter” was begun before “Christ” made progress, so that it really preceded “Mariana” in the order of the painter’s technical development. But the changes of his practice were not sudden in their effect. “The Royalist” had its due sequel in “The Rescue of Children from a House on Fire,” painted in 1855, exactly as “Autumn Leaves,” “L’Enfant du Régiment,” “Peace Concluded” and “The Blind Girl,” productions of 1856, succeeded the resplendent so-called “fire-picture” of 1855. In 1855 Millais exhibited portraits of “A Young Lady” and “Mrs. John Leach.” In 1854 Mr. Millais was married to Euphemia Chalmers, eldest daughter of Mr. George Gray, of Perth; he was elected an A.R.A., being, except Lawrence, the youngest man who has attained that distinction, and he exhibited no pictures. To “The Blind Girl” succeeded “News from Home,” “Sir Isumbras at the Ford,” “The Escape of a Heretic, 1559,” (1857); “The Vale of Rest,” “Spring,” “The Love of James the First of Scotland” (1859); “The Black Brunswicker” (1860); “The Ransom,” “Trust Me,” “Parable of the Sweeper” (1862); “My First Sermon,” “The Eve of St. {18} Agnes, “The Wolf’s Den” (1863); “My Second Sermon,” “Charley is my Darling,” “Leisure Hours” (1864): “The Romans leaving Britain,” “Satan Sowing Tares,” “Joan of Arc,” “Esther” (1865); “Jephthah,” “The Minuet” (1867); “Sisters,” “Rosalind and Celia,” “Stella,” “A Souvenir of Velazquez” (1868); “The Gambler’s Wife,” Vanessa” (1869); “A Flood,” “The Knight Errant,” “The Boyhood of Raleigh,” “A Widow’s Mite” (1870); “Chill October,” the first of Mr. Millais’s landscapes proper; “Yes or No,” “Joshua,” “A Somnambulist” (1871); “Flowing to the River,” “Flowing to the Sea,” “Hearts are Trumps,” portraits of the Misses Armstrong (1872); “Early Days,” “New Laid Eggs,” portrait of Miss Millais (1873); “Scotch Firs,” “Winter Fuel,” “The Picture of Health,” “The North-West Passage,” Still for a Moment,” and “A Day Dream” (1874); “The Fringe of the Moor,” “The Crown of Love,” “No!” (1875); “Forbidden Fruit,” “Over the Hills and Far Away,” “Getting Better” (1876); “A Yeoman of the Guard,” “The Sound of Many Waters,” “Yes!” (1877); “A Good Resolve,” “The Princes in the Tower,” “A Jersey Lily,” portrait of Mrs. Langtry, “St. Martin’s Summer” (1878); “The Tower of Strength,” a landscape (1879); “Cuckoo!” (1880); “Cinderella” (1881); “Une Grande Dame,” “The Grey Lady,” and “Forget Me Not” (1883). “The Bride of Lammermoor,” “Cherry Ripe,” “Pomona,” “Effie Deans,” and “The Stowaway,” were not at the Academy. Mr. Millais has painted portraits of many celebrated persons, including Mr. G. Grote, Sir J. Paget, Sir W. S. Bennett, Lord Lytton, the Early of Shaftesbury, Mr. Gladstone, Mr. J. Bright, himself (for the Uffizi Gallery at Florence), Mr. Luther Holden, the Early of Beaconsfield, Sir H. Thompson, Cardinal Newman, Mr. Irving, Mr. J. C. Hook, and the Marquis of Salisbury. He designed a very large number of illustrations to books, including “Once a Week,” “Good Words,” “Framley Parsonage,” “The Small House at Allington,” “Orley Farm,” and “Poems by A. Tennyson.” A large proportion of the above-named paintings have been engraved, including “My first Minuet,” “Yes, or No?” “New Laid Eggs,” “The Order of Release,” “Cherry Ripe,” “Pomona,” “The Princes in the Tower,” “The Picture of Health,” “No!” and “Yes!” by Mr. S. Cousins. By Mr. T. O. Barlow, “A Huguenot,” “My First Sermon,” “My Second Sermon,” “Awake,” “Asleep,” “Sir J. Paget,” “Sir W. S. Bennett,” “Effie Deans,” “A Jersey Lily,” “Mr. Gladstone,” “The Bride of Lammermoor,” “Mr. J. Bright,” “The Stowaway,” and “Mr. Irving.” Mr. W. H. Simmons engraved “The Proscribed Royalist,” and “Rosalind and Celia.” Mr. Lumb Stocks engraved in line “A Souvenir of Velazquez,” and Mr. M. C. Waltner etched “The Gambler’s Wife,” and “Chill October.” Mr. Millais’s house, a view of the studio in which is before the reader, was erected for him by Mr. Hardwick; he painted most of his early works in what is now No. 7, Gower Street. He was chosen a Royal Academician in December, 1863; he obtained a French Medal of the Second Class in 1855, a Medal of Honour in 1878; he became an Officer in the Legion of Honour in 1878, and, in the place of Duprè, the Italian sculptor, was elected a member of the Institute of France (Beaux-Arts), in 1882. Original Format Book pages 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, R.A., D.C.L. Biographical sketch of J. E. Millais Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 15-18. Subject The topic of the resource Millais, John Everett (1829-1896), English painter Date Issued Date of formal issuance (e.g., publication) of the resource. April 1884 Abstract A summary of the resource. Millais was a child prodigy, destined for success as an artist from a young age. At nine years old, Millais earned a silver medal from the Society of Arts for a drawing from the antique; at eleven, he was the youngest person ever admitted to the Royal Academy Schools; at fourteen, he gained a silver medal for a drawing from a statue; and at eighteen, he won a gold medal for 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). Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Millais.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC 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). September 28, 2016 Date Modified Date on which the resource was changed. November 19, 2016 January 20, 2017, by LM Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Julie F. Codell, "Biographical Functions, Mediations, and Exchanges," in The Victorian Artist: Artists' Lifewritings in Britain, ca. 1870-1910 (Cambridge: Cambridge University Press, 2003), p. 59 “Short Notices.” 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." https://artistsathome.emorydomains.org/files/original/26d4f3f7e6d99b4ecd7e8bb926d2da18.pdf 6c082f34bf363ea643a3f722370f3e06 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. VAL. C. PRINSEP, A.R.A. MR. VALENTINE CAMERON PRINSEP is the younger son of Mr. Henry Thoby Prinsep, Member of the Council of India, and Sarah, third daughter of Mr. James Pattle of the Bengal Civil Service. The Prinseps have been connected with India for more than three generations, and were originally from Warwickshire, where my subject’s grandfather held a vicarage, whence, in the days of the great Clive, his son proceeded to seek a larger fortune. Not fewer than seven of his sons attained official honours, and did good service in our eastern dependency, which they helped to form and consolidate. Mr. James Prinsep, one of these, distinguished himself as the author of “An Essay on Indian Antiquities,” the continued use of which attests the learning of the writer, who issued other works of historical importance, and, in 1830, produced “Benares Illustrated,” a folio of lithographic drawings from his own sketches. Mr. Val. Prinsep was born in Calcutta in 1838, and lived there till he was five years old, when he was removed to England, and, being destined for the Indian Civil Service, entered the “Company’s” College at Haileybury, where he remained less than two years ere, his strong inclinations for art coming to free play, he threw up his Civil Service appointment, and became in effect a pupil of <a title="Mr. Watts." href="http://artistsathome.emorydomains.org/exhibits/show/victorian-artists-at-home/george-frederick-watts--r-a---">Mr. Watts.</a> He studied painting at Versailles, in the Parisian atelier of Gleyre, and afterwards at Rome. As the Little Holland House circle included most of the Pre-Raphaelite Brotherhood, it may be taken for granted that our young painter, on returning to England in 1859, would be more or less influenced by Dante G. Rossetti, the recognized leader of many who have since achieved renown. Rossetti, warmly appraising his disciple’s powers, induced him to share in decorating the Debating Room of the Oxford Union Society, where, although comparatively little more than a student, he illustrated one of the Arthurian cycle of romances with a mural picture, the {12} subject of which is “Sir Pelleas brought as a prisoner before the Lady Ettarde.” His colleagues in this scheme of decoration were, besides Rossetti, Messrs. E. Burne-Jones, William Morris of the “Earthly Paradise,” R. Spencer-Stanhope, and others. Prinsep’s next picture, 1858, was in oil, and represented the queen who “eats bread and honey” while standing and feasting before a cupboard of quaint device. This work possessed such fine qualities of tone and colour that John Phillip, a master in these matters, commended it warmly when, in 1859, it appeared at the first Hogarth Club. Ere long Prinsep, powerfully affected by the highly-cultured artist Sir Frederic, then <a title="Mr. Leighton" href="http://artistsathome.emorydomains.org/exhibits/show/victorian-artists-at-home/sir-frederic-leighton--p-r-a--">Mr. Leighton</a>, directed his practice to other than Pre-Raphaelite lines, and sent to the Academy of 1862 a picture showing “How Bianca Capello sought to poison her brother-in-law the Cardinal de’ Medici.” From this date pictures succeeded each other in the Exhibition, of which the following are the more important: 1863, “Il Barbagianni;” 1864, “Berenice,” “My Lady Betty,” and “Benedick and Beatrice;” 1865, “The Scarlet Bow,” and “Belinda;” 1866, “La Festa di Lido,” a Venetian scene: 1867, “Miriam watching the Infant Moses,” and “A Venetian Gaming House in the 16th Century;” 1868, “A Venetian Lover,” and “A Greek Widow at a Tomb;” 1869, “Hetty,” and “Bacchus and Ariadne;” 1870, “The Death of Cleopatra,” “Reading Sir C. Grandison,” and “The Dish of Tea;” 1871, “News from Abroad,” “A Beauty and a Beast,” and “Odin, the Northern God of War;” 1872, “Penelope,” and “The Harvest of Spring;” 1873, “Lady Teazle,” and “Devonshire House;” 1874, “A Safe Confidante;” 1875, “A Minuet,” “I Believe!” and “Home from Gleaning;” 1876, “À Bientôt,” and “The Linen Gatherers;” 1878, “Martaba;” 1879, “Roum-i-Sultana;” 1880, “The Imperial Assembly held at Delhi by the Viceroy;” 1881, “The Young Solomon,” and “Fresh Flowers from the Country;” 1882, “At the Golden Gate,” “Phyllida,” and “The Death of Siward the Strong;” 1883, “After the Honeymoon,” and “Titian’s Niece.” The picture of 1880 was of Imperial importance and interest. Four years before, the artist was instructed to depict, on a large scale, the declaration of Her Majesty’s assumption of the title of “Empress of India.” Mr. Prinsep, long familiar with Indian ways, costumes, and motives, was the best artist for the purpose. Officially armed, he traversed the country far and near, taking the portraits of the native royalties, princes, ministers, and others. He travelled from Bombay to Allahabad, to Cashmere, to Madras, and Mysore, and thus, much hampered by etiquette, the hideousness of Western accessories, and routine, he collected materials for the work of thirty feet long, which now hangs in Buckingham Palace, having been presented by the Indian nation to Her Majesty. This tour was fruitful in other than pictorial achievements. Mr. Prinsep gathered notes for that sketch of his experiences and impressions which are embodied in “Imperial {13} India,” a book which had a great circulation, was touched with humour and pathos, and very spirited and original. It is not his sole literary work. In 1879, he entered on a path never before trodden by an artist of distinction, by writing a lively drama entitled “Cousin Dick,” which, when performed at the Court Theatre, attracted numerous audiences, and encouraged the author to put forward in the next season the well-constructed and expressive little piece called “M. Le Duc,” which had a reception equal to its forerunner’s. The painter has written other plays which have not yet been “put upon the boards.” Mr. Prinsep has delivered public discourses on Art and Art-teaching, some of which have been published in the “Architect.” His pictures, “Devonshire House,” “The Garden Gate, “À Bientôt,” and “The Minuet,” have been engraved. The painter was elected an A.R.A. in January, 1879. Mr. Prinsep’s house was designed for him by Mr. Philip Webb, and, in its stately homeliness and breadth of character, is well suited to the ways and studies of the owner. Large, solid, and massive without, and admirably finished in design and execution, its wide and comfortable windows, smooth, dark red brickwork and high-pitched roofs of tiles, are, without being heavy or austere, very sincere and picturesque. Within, rich and sober colours prevail, and set off an abundance of sumptuous porcelain and other ceramics, sketches made in India and in Italy, studies for pictures by the artist and his friends, antiquities and oriental arms. Some of Mr. Prinsep’s Japanese ware is well known to collectors and of extraordinary preciousness. Considerably over six feet in height, and of massive proportions, the painter himself sits in the photograph before his easel, as if he had just turned from the portrait of a lady, which, till the moment, occupied him. On our right is a charming picture destined for the next Academy, and entitled “The Bookworm.” Its design explains itself. Other paintings and some portraits are on the walls and easels; a piece of tapestry hangs on the railing of the gallery which extends along the wall of the chamber on that side. This studio, although it is by no means the largest of its class, is a capital example of a modern chamber of that sort. Lighted chiefly by an immense northward facing window, it is warmed by more than one stove, and fitted with all the appurtenances of a painter’s use. The walls are coloured dark maroon-red; the coved ceiling which appears in the photograph, with the dormer windows on the south side admitting sunlight at will, is white. Large tables are loaded with books, drawings, prints, implements and studies of all kinds. It is needless to say that Mr. Prinsep is a zealous and faithful member of the Artist’s Volunteer Corps, of which he is an original member, and, since the retirement of Sir F. Leighton from the active command, the senior major of the regiment. Original Format Book pages 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 VAL. C. PRINSEP, A.R.A. Biographical sketch of Val Prinsep Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 11-13 Subject The topic of the resource Prinsep, Valentine Cameron (1838-1904), English painter Date Issued Date of formal issuance (e.g., publication) of the resource. March 1884 Abstract A summary of the resource. Belonging to a refined and stately family with a longstanding connection to India, Prinsep was destined for the Indian Civil Service; however, his strong inclinations toward art led him to pursue a career in painting. He studied in Versailles and Rome, and George Frederic Watts served as his mentor. Growing up in Little Holland House, a frequent meeting place for the Pre-Raphaelite Brotherhood, Prinsep was influenced by founding member Dante G. Rossetti. While still a student Prinsep helped Rossetti decorate the Debating Room of the Oxford Union. Sir Frederic Leighton also powerfully influenced Prinsep’s works. Prinsep’s long familiarity with “Indian ways, costumes, and motives” resulted in several paintings of imperial importance as well as a book titled Imperial India. Following his return to England, he also wrote the dramas Cousin Dick and M. Le Duc. He was elected an A.R.A. in January 1879, and was a faithful member of the Artist’s Volunteer Corps. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. James Prinsep, An Essay on Indian Antiquities (London: J. Murray, 1858). James Prinsep, Benares Illustrated in a Series of Drawings (Calcutta: Baptist Mission Press, 1831-1833). Val Prinsep, Imperial India: an Artist's Journals (London: Chapman and Hall, 1879). Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Prinsep.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC 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). September 28, 2016 Date Modified Date on which the resource was changed. November 19, 2016 https://artistsathome.emorydomains.org/files/original/6c509034900771ce2aa21ee1c69667b2.pdf 55bcf521d6ddcd74e946e3f15e18707c 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. THOMAS WEBSTER. HON. RETIRED R.A. MR. THOMAS WEBSTER is not only the Doyen of the painters in the Royal Academy, but, having been admitted a Student so long ago as 1821, the oldest artist associated with the body in that degree. Born March 20th, 1800, he is, I believe, the Doyen of the three artistic professions at large in England. In these respects the venerable painter is, apart from other claims, entitled to a high place in this roll of men of note. He was born in Ranelagh Street, Pimlico; his father being a member of the Royal Household, was removed to Windsor with his family in 1801, where his son remained, and became a chorister in the Chapel Royal, St. James’s. He continued about the Court till the king’s death in 1820. Like most artists whose powers are innate, my subject even when a boy preferred painting to psalmody, and when this inclination became distinct and his abilities were developing, they were wisely yielded to, and the preliminary studies being achieved, the aspirant entered the Academy schools in his twenty-first year. Until then he can scarcely be said to have had regular instruction in art. It is therefore the more to his honour that, in 1823, the young painter exhibited at the Academy “Portraits of Mr. Robinson and Family.” In 1824, and at the British Institution, Mr. Webster’s first genre subject appeared with the appropriate title of “The Truant Boys;” this was a picture of 2 feet by 3 feet. In 1825 he obtained a medal for a copy of a picture, made in the School of Painting of the Royal Academy. The following list of pictures exhibited in London from 1824 till 1830 will, better than any other record, signalize the energy of the artist, and indicate the direction of his taste and practice. At the Royal Academy in 1827 appeared “The Children of T. Drane, Esq.,” and, in 1829, “Gunpowder Plot.” At the British Institution Mr. Webster’s works of this interval were, in 1826, “Malvolio, Olivia, and Maria;” in 1828 “The Soldier’s Return,” “A Committee of Taste,” and “The Cottage Diorama;” in 1829, “The Prisoner,” “A Foraging Party Routed,” “The Favorite,” “The Modern Diogenes,” “The Disputed Title,” and “A Society of Antiquaries,” and, in 1830, “The Sick Child.” To the Society of British Artists’ Gallery, 1825, he contributed “Lavinia and Her Mother;” 1826, “The Fortune Teller;” 1827, “Young Rebels shooting a Prisoner;” {10} 1828, “Rebels defeated,” and, in 1830, “The Dog in the Manger.” It will be observed that nearly all these subjects comprise children, and that the choice of such themes has been maintained by the artist till recent times. A complete list of Mr. Webster’s pictures which have been shown to the world would add little of value to the above. The following examples were, however, noteworthy in their various ways. At Suffolk Street was, in 1831, “Il Penseroso,” the last of the painter’s works in that place. At the Academy the under-mentioned pieces secured popular attention. 1832, “Smugglers;” 1833, “The Lantern,” and “A Village School;” 1835, “Bird Catchers,” and “The Intercepted Letter;” 1836, “Going to School,” which is now in the National Gallery, and “Coming out of School;” 1838, “Breakfast;” 1839, “Foot-ball;” and 1840, “Punch.” The above-named and other pictures secured the painter’s election as an A.R.A., which occurred in 1841, when “The Boy and many Friends,” “The Smile,” and its companion, “The Frown,” appeared, and have wide-world recognition by means of the engravings made from them for the Art Union of London. These works were succeeded by a group of portraits of the artist’s father and mother, painted in 1843, to commemorate their golden wedding, “The Dame’s School,” which is in the National Gallery, and has been engraved by Mr. Lumb Stocks, “Good Night!” “A Village Choir,” now at South Kensington, “The Internal Economy of Dotheboys Hall,” “A Rubber,” “A See-Saw,” “A Slide,” “A Cherry Seller,” “A Farm-house Kitchen,” “A Chimney Corner,” “A School Play-ground,” “A Letter form the Colonies,” “Village Gossips,” “The Grandmother,” “The Impenitent,” “Sunday Evening” and “Grace,” “Going to the Fair,” and “Returning from the Fair,” are at South Kensington, with “Sickness and Health,” and “Contrary Winds.” Besides these we have had “The Battle of Waterloo,” “Politicians,” “Odd and Even,” “An Interested Adviser,” “The Race,” “A Tea Party,” “Wreck Ashore,” “Waiting for the Bone,” “The Letter,” and a portrait of the painter in his donkey-chair, with the quotation: -- “As the soft after-glow lights up the western skies, So is my evening bright with fond memories.” A very considerable proportion of the above and several other of Mr. Webster’s works have been engraved by various hands. The artist was elected a Royal Academician in 1846. His latest exhibited picture was at the Academy in 1879, and entitled “Released from School.” He became an Honorary Retired Academician in 1877. Since 1856 he has resided at Cranbrook in Kent, where, seated in his own garden, he is represented by the photograph. Original Format Book pages 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, Hon. Retired, R.A. Biographical sketch of Thomas Webster Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 9-10 Subject The topic of the resource Webster, Thomas (1800-1886), English painter Date Issued Date of formal issuance (e.g., publication) of the resource. March 1884 Abstract A summary of the resource. This text presents biographical data on Thomas Webster's life, highlighting his many accomplishments. He is the oldest of the Artists at Home group and the "doyen" of several artistic practices. Webster spent the latter half of his life in Cranbrook, painting homely images of rural life and leading a group of peers referred to as the Cranbrook Colony. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Webster.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, D.C. 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). September 26, 2016 Date Modified Date on which the resource was changed. November 15, 2016 https://artistsathome.emorydomains.org/files/original/aaf1d064c71d9c6235c06e995c971f42.pdf fd85131fbebd3474046bd026045e0285 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. WILLIAM CALDER MARSHALL, R.A., H.R.S.A. KNIGHT OF THE LEGION OF HONOUR. The Doyen of the English sculptors, an artist still active in his profession, and, as the photograph shows, devoted to the production of large and thoughtful works, was born in Edinburgh in 1813, and received his education in the High School and University of that city. As a student of the Trustees’ Academy, the only school of art at that time in Edinburgh, he was instructed in drawing under Sir William Allan. At this early period of his career he showed a taste for sculpture, and several of his works were admitted to the Exhibition of the Royal Scottish Academy. Sir Francis Chantrey, while on a visit to Edinburgh, seeing some of his drawings, advised his coming to London, which he did on being admitted to the Royal Academy as a student in 1834. Chantrey kindly allowed him to have the run of his studio, but after a time, preferring a more poetic treatment of art, he became a pupil of Baily, paying a premium for a year. “A Head of Camilla,” which was at the Academy in 1835, was Calder Marshall’s first public essay in London. In 1836 he sent to the same exhibition “Hero guiding Leander across the Hellespont,” “Innocence,” and “Samson.” In this year he went to Rome, where he remained until 1838, and, meanwhile, executed the statue of “Hebe,” now in the Scottish National Gallery. In 1837 he completed a figure of “Psyche,” which attracted much praise in Trafalgar Square in that year. In 1839, “Cupid feeding the Doves of Venus,” “Sterne’s Maria,” and “The Dead Ass,” likewise from Sterne, which were at the Academy, illustrated two modern genre subjects such as the author has sometimes treated at later dates. To the British Institution he sent “Rebecca at the Well.” At the latter gallery in the following year was “Hercules rescuing Hesione,” and the Academy contained “The Creation of Adam,” “Cupid and Psyche,” “Una and the Lion,” and “Ophelia.” The artist was in this year elected an Associate of the Scottish Academy; at a later date he was chosen an Honorary R.S.A., non-residence rendering him ineligible as an Academician. In 1841 he obtained the Royal Academy gold medal for “Venus rescuing Æneas from Diomedes.” From this period Calder Marshall has but once (1861) failed to contribute to the chief {6} London exhibitions. He frequently appeared at the British Institution. His very numerous works are marked by the care and learned execution proper to the views of an artist who accepts the long-honoured canons of sculpture, and believes that his powers should be exercised in the pursuit of beauty, so, like the great Greeks, he selects forms from Nature best suited to express the type and sentiment of his works, not, as the realists do, copying individual and common nature. He has seldom produced portrait busts such as those to which most modern sculptors look for their daily bread, and he has consistently applied his powers to pathetic and poetic subjects, of which many illustrations have found wide acceptance, including “Sabrina,” nymph of the Severn celebrated by Milton, a statue which Copeland reproduced in small. The even better-known group of boy and girl lovers, called “The First Whisper of Love,” was chosen for reduction, and obtained a £300 prize in the Art Union of London. “Rebecca” and other examples were correspondingly fortunate. “The Dancing Girl reposing” obtained an Art Union premium of £500, and large numbers of reductions of the statue were distributed among subscribers to that society. In 1844 Mr. Marshall was selected with two other sculptors at the great competition held in Westminster Hall for the statues for the Houses of Parliament, of which he executed Clarendon and Lord Somers. Among his equally important commissions were the group of Peel and attendant figures of the Arts, Sciences, and Commerce, at Manchester; “Jenner,” now in the Kensington Gardens; “Campbell,” in Poets’ Corner; “Crompton,” inventor of the mule for spinning, which is at Bolton; “Sir George Grey,” at Cape Town; “Captain Coram,” in front of the Foundling Hospital; “Lady John Manners,” in Rowsley Church; three important bas-reliefs, being adjuncts to the Wellington Monument in St. Paul’s; the pediment of the Town Hall, at Bolton; “Griselda,” in the Mansion House, London, and various other public and private commissions of note. The most important of his works were exhibited in the following order: 1841, “Caractacus before Claudius,” “Puck,” and a bust of “Ophelia;” 1842, “The Broken Pitcher,” and “Venus rescuing Æneas,” the prize work of the preceding year, “The Fountain Glass,” from Ovid, and “Eve and the First-born;” 1843, “Paul and Virginia,” and “David with the Head of Goliath;” 1844, “Little Red Riding Hood,” and “Christ blessing little Children.” In this year the artist was elected an Associate of the Royal Academy. 1845 produced “Paul and Virginia,” and “The First Whisper of Love.” In 1846 he exhibited “Eve,” “Sabrina,” and “Hero guiding Leander;” 1847, “Eurydice,” and “The First Step;” 1848, “The Dancing Girl reposing,” and “The Last Drop,” see below; 1849, “The Grecian Maid,” “Thomas Campbell” (for Poets’ Corner), and “Zephyr and Aurora;” 1850, “Nymphs,” and “A Mermaid on a Dolphin’s Back,” and, in 1851, “Hebe rejected.” In 1852, Mr. Marshall became a Royal Academician, and exhibited “The Hindoo {7} Girl” only. Minor examples of his were, during this period and later, exhibited at the British Institution, including, in 1857, “Ariel” and “The Refuge.” In the last-mentioned year the artist obtained the first prize of £700 for a design for the national monument of the Duke of Wellington. The public commission for this work was afterwards given to Alfred Stevens. 1869 produced “The Venerable Bede translating St. John,” and “The Mother of Moses;” 1871, “A Christian Martyr,” and “A Fishing Girl;” 1872, “Briseis,” and “Ruth;” 1873, “Wilder’d Fancies,” and “Tali Players,” two figures, being an illustration of an immemorial game with knuckle-bones which was often represented in antique art, and is still played all over the world; 1875, “Estia,” “Margaret,” from Faust, “Nausicaa,” from the Odyssey, and “Convalescence;” 1876, “Pygmalion me fecit,” the statue awakening; 1877, “The Prodigal Son;” 1878, “Whispering Vows to Pan;” 1879, “Stepping Stones,” and “Hermia and Helena;” 1880, “Miranda;” 1881, “Noonday Idleness,” “The Last Day of Pompeii,” “Sabrina thrown into the Severn,” “The Prodigal Son” (this statue was purchased by the Academy with part of the Chantrey Fund), and “Mother and Child;” 1882, “Cinderella,” and “Œdipus at Colonus;” and 1883, “Thetis dipping Achilles into the Styx.” Mr. Marshall’s intended contribution for the present year may be seen in the nude statue which in the photograph is extended behind his own seated figure. The sculpture represents Psyche fainting, having indulged a forbidden curiosity. The sculptor’s house is a large, modern, and roomy one in that region which, since Chantrey and Westmacott made fortunes there, may be said to be consecrated to statuary, and where, having added studios and workshops to its domestic offices, he has resided more than thirty years. The photograph shows Mr. Marshall’s inner studio, his sanctum, which is accessible by a long gallery filled with examples of art, and through an outer studio where new works are in progress. Grouped with the master himself the reader may see casts from some of the above-named productions of his skill. The hooded figure on our left is a sketch of the “Venerable Bede;” the nearly naked maidens seated in a group are the “Tali Players;” the large statue in a modern costume placed on a higher level and beyond the marble girls, is a cast of the statue of Crompton; the statuette beyond the swooning “Psyche” is Pygmalion’s mistress. An erect draped figure on the shelf represents the “Mother of Moses.” Near it, the plump young satyr drinking from a rhyton, is a cast from the figure called “The Last Drop,” which, having attracted the praise of Gibson, who said that had it been dug up in Italy he would have taken it for an antique, is now deposited in the Royal Academy as Mr. Marshall’s diploma work. A Royal Commissioner and Juror at the Exposition Universelle Internationale, Paris, 1878, to which the sculptor contributed the “Jouers de Tali” and “Nausica [sic],” Mr. Marshall has a Knight’s Cross of the Legion of Honour. 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 CALDER MARSHALL, R.A., H.R.S.A. Biographical sketch of W. C. Marshall Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived 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. 5-7 Subject The topic of the resource Marshall, William Calder (1813-1894), Scottish sculptor Date Issued Date of formal issuance (e.g., publication) of the resource. March 1884 Abstract A summary of the resource. William Calder Marshall was born in 1813 in Edinburgh. He studied at Edinburgh University and attended the Trustees Academy. In 1834 Marshall moved to London and entered the Royal Academy. Marshall was a prolific sculptor, producing poetic and ideal works in the Classical style, as well as memorial statues. He received many commissions for public statues, architectural works, and church monuments. Specifically, he designed and executed statues of Michelangelo and Titian on the façade of the Burlington House in 1873. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Marshall.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Gabriella Meier 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). September 29, 2016 Date Modified Date on which the resource was changed. October 1, 2016 https://artistsathome.emorydomains.org/files/original/e2da7f0d2ce08f2247ff3889ec734696.pdf 93cce3094e7cac13607ec8a6dc04742f 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 Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document SIR FREDERIC LEIGHTON, P.R.A., D.C.L., LLD. CORRESPONDING MEMBER OF THE INSTITUTE OF FRANCE, MEMBER OF THE ACADEMIES OF EDINBURGH, DUBLIN, ST. LUKE, FLORENCE, ANTWERP, ETC. A LIFE so fully occupied, fruitful of good things, and rich in honours as that of Sir F. Leighton, demands more than these pages can contain. An outline only can be given here, and even of that some parts must be imperfect, while all things but correctness yield to conciseness. The P.R.A.’s family was originally of Salpian stock removed to Yorkshire, where, at Scarborough, on the 3rd of December, 1830, he was born. Sir James Leighton, his grandfather, was Physician to the late Empress of Russia, and in high public employment in that country; his father, likewise a physician, was at one time settled in Bath. When my subject was little more than a child, he, an artist by nature, drew so well at nine years old that Haydon’s pupil, Lance, supported his wish to become an artist. Nevertheless, Mr. Leighton checked rather than encouraged this wish, and promoted his son’s school education, so that, apart from the dead languages and general attainments, French, German, and Italian became as familiar to him as English, and he now discourses with distinguished taste and style in each of these tongues. His first teacher in art was Signor Meli, who, at Rome in 1840-41, found him a most able pupil. In 1842, and later, the youth was successively in Berlin, Munich, and Frankfort, and he worked heartily in each place, schooling and art-training going on together. Until Mr. Hiram Powers the sculptor said, “Sir, your son may be as eminent an artist as he pleases!” Mr. Leighton did not accede to the wishes of the student, who, soon after this, was sent to the Accademia delle Belle Arti at Florence, where he drew, and to the hospital, where he witnessed dissections. He soon began to paint in oil; the first essay, a portrait of himself, still declares the promises which have been splendidly realized. More schooling at Frankfort was followed by the art-teaching of Professor Becker of that city, where, in 1848, the outcome of this course appeared in a picture of “Cimabue finding Giotto,” which was admired for its colour, and “Othello and Desdemona.” Studies in {2} Paris from Titian and Correggio, and at a life-school, occupied part of 1849. Returning to Frankfort, Leighton entered the atelier of Steinle, and (1850-3) obeyed that master so diligently that he is, in effect, his pupil in the full sense of that term. After this, sojourning in Rome, the student produced “Tybalt and Romeo,” “The Death of Brunelleschi,” both pictures, and a cartoon of a very remarkable design representing the Pest in Florence. These works having the profit of Steinle’s counsel, attest that the pupil’s style was formed, and, above all—as Mrs. Pattison, to whose biography I am greatly indebted—has judiciously remarked, they show that in draughtsmanship he was aiming at that fine quality in line which distinguishes every one of his works and is as precious as it is rare. Thus formed by nature and armed and chastened by severe studies the ever-diligent pupil was permitted to go again to Rome, where examples of energy and picturesqueness were rife, and the companionship of painters and sculptors of renown was not wanting. Such self-command had been inculcated by Steinle, that Leighton exercised himself in nearly every direction and method of design ere entering the arena of art’s contests. This—remembering always that he was an Englishman—he did by sending to the English Academy of 1855 the since famous “Procession of Cimabue’s Madonna,” which carried all the learned world of art before it, established the honours of the painter, and showed what an Englishman could do on the highest levels of design. The Queen bought this picture. The contemporaneous “Reconciliation of the Montagues and Capulets” is in America. It is not to be supposed that the artist who could be thus laborious, devoted to design, and energetic, denied to life and mankind whatever his youth could bring of happiness in society and physical exercises. Trained in these respects, and inheriting a taste for music from his mother, the painter, while devoted to the greatest, developed all his other gifts, bodily and mental, aesthetic and social. After the success attending “Cimabue” had demonstrated his powers, Leighton settled for a time in Paris, and, in 1856, sent thence to the Academy a picture entitled “The Triumph of Music,” and representing Orpheus redeeming Eurydice from Hades. A recrudescence of popular (not critical) bewilderment with regard to “Cimabue” attended the exhibition of its successor. Those who analyzed fine works of art appreciated the new work more than “the general,” who, in the previous year, had more warmly than wisely echoed the plaudits of students in honour of our artist. In 1857, he devoted himself to “The Feigned Death of Juliet,” and “The Fisherman and the Siren,” from Goethe’s ballad, which were in the Academy in 1858. “Pan” from Keats, “Samson Agonistes,” and “Nymph and Cupid,” were produced about this time. Leighton came to London, found many friends and ample welcome here, and, being afterwards at Rome and Capri, contributed to the Exhibition of 1859, “Pavonia,” “La Nanna,” a very masculine piece of painting, and another work. In 1860, he took up his abode in Orme Square, where he resided till Mr. Aitchison built for him the graceful and well-proportioned house of which the studio here {3} represented is the largest element. “Capri—Sunrise,” a poetic landscape which, with delightful taste, illustrated the art of selection from nature, prepared us for new exercises by its author, and attracted much attention in the Academy of 1860. Five pictures appeared in 1861, including an almost Greek portrait of the artist’s sister, a work such as had rarely been seen in the Academy before that time, and the highly poetical “Lieder ohne Worte” and “Paolo e Francesca.” The next year produced six pictures, including “Odalisque,” which has been engraved, “The Star of Bethlehem,” “Michael Angelo nursing his dying Servant,” and the beautiful “Sea-Echoes.” “Jezebel and Ahab,” an ambitious Scripture subject, the masterpiece of grace called “A Girl feeding Peacocks,” and two others, were at the Academy in 1863. In 1864, the painter was elected an A.R.A., and he exhibited the sumptuous “Golden Hours,” and the graver “Dante in Exile.” Of 1865’s work, “David” and “Helen of Troy” were the more important pictures of five. In the next year it was obvious that the painter had attained the fullness of his powers by means of the thoroughly characteristic and original “Syracusan Brides leading Wild Beasts in Procession to the Temple of Diana.” The magnificent success attending the display of this work proved even more than its merits, for it made known that, as all men of power before him had done, Leighton had educated his public. In this year he was in Spain, and several Spanish pictures followed from his easel. “Venus disrobing for the Bath” (1867), a life-size, whole-length nude figure, showed that powers of draughtsmanship of a very high order had been exercised with masterly knowledge of style, that rarest of English achievements in art, and it displayed that care for finish and surface which is one of the tests of a pure taste. A fresco of “The Wise and Foolish Virgins” was painted at this period in Lyndhurst Church. In 1867, the A.R.A. was in Greece, a visit which marked its effect on nearly everything he has painted since. “Actea,” a nymph of the beach, the lovely group of “Acme and Septimius,” and “Ariadne abandoned,” were, in 1868, most worthy sequels to “Venus,” and secured the election of the author to the R.A.ship. “St. Jerome,” “Daedalus and Icarus,” and “Electra,” 1869, preceded a visit to Egypt, where his fame induced the Khedive to furnish our painter with a state steamer for the Nile voyage. These works were followed by more and more proofs of their author’s skill and energy, the chief of which are “Hercules wrestling with Death for the Body of Alcestis,” and “Cleobulus instructing his Daughter Cleobuline.” “Summer Moon,” a gracefully and thoroughly representative group of girls sleeping in moonlight, holds the highest place among the more beautiful and less ambitious works of the Academician, who was soon to be employed on those great lunettes on the wall of the South Kensington Museum, which may well be taken for his masterpieces, and in respectively representing “The Arts of War” and “The Arts of Peace,” are types of industry and patriotism. The heroic tragedy of “Clytemnestra” exhibited tremendous force of design. The {4} “Procession of the Daphnephoria,” at once solemn, animated, graceful, and dramatic, marked the acme of successful genius, skill, labour, and research, in exercising which “Cimabue,” “The Syracusan Brides,” “Electra,” “Venus,” and not a few more examples were produced. I have not room for even the names of the pictures which followed the above. A certain number of the President’s romantic and beautiful, but hardly any of his grander works, has been engraved. As a book illustrator, the artist distinguished himself in respect to designs for “Romola” and “The great God Pan,” which were published in the “Cornhill Magazine.” Much more important than these, and indeed among the most important art-productions of our time, is the famous statue of the “Athlete struggling with a Python,” which belongs to the Royal Academy, and will soon be succeeded by a contrasting statue called “The Sluggard,” the model for which may be seen in the background of the portrait, while the “Athlete” model stands on the table by its maker’s hand. In the background are the design for a rondel destined for the dome of St. Paul’s, and several minor pictures, which may be sent to the next Academy. A considerable share in the decoration of the dome of the Metropolitan Cathedral has been entrusted to the P.R.A. The artist was elected President of the Royal Academy in 1878, and shortly afterwards he received the honour of knighthood. Of the beauty, sumptuousness, abundance of colour, and ever-present chastity of design and ornamentation of Sir F. Leighton’s house much has been written, but not a word too much. The lovely Arab Hall and noble studio might be sketched in a page a-piece, but not in less space. The P.R.A. is ex officio one of the Trustees of the British Museum; his colleagues in that post have elected him one of the Standing Committee, and thus made him one of the governing body of the institution. The goal of one of Sir Frederic’s courses of honour was attained but a few days since, when he received from the members of the Artists’ Volunteer Corps a testimonial which, in the form of a large richly-embossed silver bowl and a handsomely bound album inscribed with the donors’ names, expressed their sense of the value of his services during fifteen years’ command of the regiment, from the active duties of which he has recently retired. Original Format Book pages 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 FREDERIC LEIGHTON, P.R.A., D.C.L., L.L.D. Biographical sketch of Frederic Leighton Subject The topic of the resource Leighton, Frederic, 1st Baron Leighton of Stretton (1830-1896), English painter Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Date A point or period of time associated with an event in the lifecycle of the resource c. 1884 Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Relation A related resource Identifier An unambiguous reference to the resource within a given context NGA_Leighton.pdf Date Issued Date of formal issuance (e.g., publication) of the resource. March 1884 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Mrs. [Mark] Pattison (later Emilia, Lady Dilke), “Sir Frederic Leighton, P.R.A..” in Modern artists a series of illustrated biographies, edited by François Guillaume Dumas, 2 vols. (London: J. S. Virtue & Co., [1882]). Date Created Date of creation of the resource. c. 1884 Source A related resource from which the described resource is derived 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. 1-4. Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC 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). September 5, 2016 Abstract A summary of the resource. The son and grandson of distinguished physicians, Leighton was naturally gifted. His father discouraged his artistic inclination but provided an excellent education, and Leighton became fluent in many languages as he attended school, and began to acquire artistic training, in many European capitals. Finally, at the urging of the sculptor Hiram Powers, Leighton's father sent his talented son to the Academy in Florence to study art and anatomy. Of all the studios in which he was trained, that of Steinle in Frankfurt proved the most influential. In 1855 Leighton sent to the Royal Academy his first important picture, Procession of Cimabue's Madonna, which was purchased by the queen. He lived in Paris for a time but eventually settled in London, continuing to send paintings to the Academy; in 1864 he was elected an A.R.A. His Syracusan Brides Leadin Wild Beasts in Procession of 1865 was a popular and professional triumph, but "the acme of successful genius" was Procession of the Daphnephoria. Leighton also distinguished himself as a sculptor, and he has produced designs for the decoration of the dome of St. Paul's Cathedral. In 1878 he was elected president of the RA and knighted. His house, designed by George Aitchison, and its most famous room, the Arab Hall, have been justly celebrated. He is a trustee of the British Museum and a member of the Artists' Volunteer Corps. Date Modified Date on which the resource was changed. October 1, 2016