1 20 35 https://artistsathome.emorydomains.org/files/original/817ea125bf57fbe92c1a363c1922acbc.png b9c164b6aaa2370155ab5952b2cb72f5 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 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 Artists at Home, decoration 2 Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Sampson Low, Marston, Searle and Rivington, London publisher D. Appleton & Co., New York publisher 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). 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 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). December 6, 2016 https://artistsathome.emorydomains.org/files/original/7f27cfd5ef53164c9c7343d76f24b10d.png 0b7b586b26bea4bd6772df3c36334462 https://artistsathome.emorydomains.org/files/original/f987ac04818a6630236521c14aee07b0.png e6ebb920b2f996fb8d1eeab26cc90e3e 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 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 Artists at Home, decoration 3 Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Sampson Low, Marston, Searle, and Rivington, London pubisher D. Appleton & Co., New York publisher 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). 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 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). December 6, 2016 https://artistsathome.emorydomains.org/files/original/6c33c2d9181c27253bb97cbbd1afc7ba.png b45a62c942b66b61f7cca65a4b5d5db9 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 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 Artists at Home, decoration Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Sampson Low, Marston, Searle, and Rivington, London publisher D. Appleton & Co., New York publisher 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). 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 National Gallery of Art Library 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). December 6, 2016 https://artistsathome.emorydomains.org/files/original/11e778c3a996438d5eaae5538cbc26fe.pdf 94898d76cb8c8eed364b0cfb4774420f 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. BRITON RIVIERE, R.A., M.A. THE painter of “Circe and the Friends of Ulysses” and “Giants at Play” is descended from a Huguenot family which was already venerable when, just two centuries since, it was expelled from France by the Revocation of the Edict of Nantes. The family has long been devoted to art. Mr. D. V. Riviere, our subject’s grandfather, entered this world more than a century ago, became a Student in the Royal Academy, November 5, 1796, gained a medal in one of its schools in 1800, and contributed drawings of genre subjects and miniature portraits to the exhibitions of that body from 1823 till 1840. His son William, who was born in London, October 26, 1806, entered the Academy as a Student in 1824, and made his début at Somerset House in 1826 as the painter in oil of a “Portrait of a Gentleman,” and of an illustration to “King John.” He was a frequent exhibitor in the Academy till 1860, and one of the most energetic artists of his time. He was likewise the author of cartoons which, at Westminster Hall in 1843, represented “The Spirit descending” and “A Council of Ancient Britons.” The latter work attracted considerable attention. Among the pictures exhibited at the same place in 1844 were a fresco by him of “An Act of Mercy,” and an oil painting called “A Council of Ancient Britons.” To this hall he sent, in 1845, a sketch in oils of “Prince Henry submitting to Gascoigne,” and, in fresco, a portion of the same design. To the last exhibition in this hall, 1847, Mr. W. Riviere sent “An Act of Mercy,” a picture in oil. Some of his productions were lithographed, and he modelled in clay with a good deal of ability. He became so competent a draughtsman per se that the mastership of the Drawing School at Cheltenham College was won in competition by him in 1849. He held this post till 1859, when he removed to Oxford, and, as a teacher of drawing, painter, and I believe, writer on the subject, took a leading part in promoting the study of art in that University. In the Union Room at Oxford he painted three of the series of pictures illustrating the Arthurian legend. He died in Oxford, August 29, 1876. Besides these members of an artistic family we know of Mrs. W. Riviere at the British Artists’ Gallery in 1871, Miss F., sister of William Riviere, Miss Annette L., his daughter, and Henry Parsons, his brother, an Associate of the Society of Painters in Water-Colours since 1852, who resided many years in Rome, and is still painting. Mrs. Briton {70} Riviere is an artist whose studies of flowers have been noticed at the Royal Academy and the Dudley Gallery. My more immediate subject was born in London, August 14th, 1840. He began his literary education in the Cheltenham School, and simultaneously had his first artistic training at his father’s hands. With the family he removed to Oxford, and, becoming a member of the University, obtained the B.A. degree in 1867, the Mastership of Arts in 1873. Long before this, however, when he was only eleven years old, he had appeared as a painter by exhibiting at the British Institution of 1851, “Love at First Sight” and “Kitten and Tom Tit.” His next appearance was with three pictures in 1858 at the Royal Academy, being “The Broken Chain,” “Rest from Labour,” and “Sheep on the Cotswolds.” “On the Road to Gloucester Fair” was at the same gallery in 1859, and was followed in 1861 at the British Institution by “Elaine.” From this date there was a gap in Mr. Riviere’s contributions to the galleries till 1864, when he sent to the Academy “Iron Bars,” and “Romeo and Juliet”—the lovers’ parting scene. His pictures were thenceforth exhibited in nearly regular order; thus “Bevis,” a great dog, was at the Royal Academy, 1865; “Much Ado about Nothing,” “Minding Baby,” and “Dinner Time,” at the British Artists’ Gallery in 1866, and, at the Academy in the same year, came forth “The Poacher’s Nurse,” a dog licking his sick master’s hand. “Strayed from the Flock,” a dead lamb lying in the snow, which Mr. Stacpoole has since engraved, was proof that the painter had with true sympathy hit on a treasury of fancy the public could never turn from. With it the Academy of 1867 contained a still more touching appeal, in “The Long Sleep,” the scene of which is a lonely cottage, where, late one evening, a shepherd sat in his chair and slept by the fireside till the embers died with him, so that, when dawn brought the work of another day, there was no one to open the fold, and, although the eager watch-dogs clustered about his knees, and one of them leaped to lick his face, he stirred not at all. After this came, at the same gallery, “A Saint” and “The Last of the Garrison,” a dog, sole survivor of a siege (1868); “Prisoners,” a young man seated hiding his face, and watched by his dog (1869); “A Midsummer Night’s Dream” and “Charity,” a beggar girl sharing her dole with two hungry dogs, engraved by Mr. Stacpoole (1870); “Come Back!” an erring daughter’s return home welcomed by a glad dog, and “Circe and the Friends of Ulysses,” the men transformed into swine, a picture finely engraved by Mr. Stacpoole (1871); “Daniel” standing in the den of the lions, which has been engraved by Mr. J. C. Lewis (1872); “Argus” (now being engraved by Mr. Stacpoole) and “All that was left of the Homeward Bound,” a girl lashed to a mast floating on the sea, engraved by the same (1873); “Apollo” in a wood playing to the beasts, and “Genius loci,” the scene of which is a cave, with a lion sleeping at its mouth (1874); “War Time,” an old shepherd looking over a desolate landscape near a grey stone wall, and with, under his arm, a newspaper announcing the death of his son in battle, “C. Mansel Lewis, Esq., {71} with a favourite mare and dogs,” standing on the sea-shore, and (the first having been suppressed) the second version of “The Last of the Garrison” (1875); “A Stern Chase is always a Long Chase,” ducks and frogs in a pool, and “Pallas Athenæ and the Herdsman’s Dog,” a subject from the Sixteenth Odyssey (1876); “A Legend of St. Patrick” and “Lazarus” (1877). On January the 16th, 1878, Mr. Riviere was elected an A.R.A. In this year he sent to the Academy an illustration, which was afterwards engraved by Mr. Stacpoole, of a Persian legend, with the motto:-- “They say the Lion and the Lizard keep The courts where Jamshyd gloried and drank deep.” It is a picture of the ruins of Persepolis while wild beasts prowl among the columns by moonlight; with it were “An Anxious Moment,” geese inspecting a hat on the ground, “Sympathy,” engraved by Mr. Stacpoole, and “Victims.” After these came “The Poacher’s Widow,” “In manus tuas, Domine!” and “A Winter’s Tale” (1879); “The Night Watch,” “Endymion,” and “The Last Spoonful” (1880); “Envy, Hatred, and Malice,” reproduced by the last-named engraver, “A Roman Holiday,” “Let sleeping Dogs lie,” engraved by Mr. Atkinson, and “Hope Deferred” (1881); “The Magician’s Doorway,” “Cupboard Love,” a young lady and her poodle, “The King drinks,” and “Una” (1882); “The Unclean Spirits entering into the Swine,” “Old Playfellows,” “The Last of the Crew,” “Giants at Play,” navvies on Sunday, and an etching of “The King drinks” (1883); “The Eve of St. Bartholomew,” “The King and his Satellites,” a lion and jackals, “Actæon” attacked by his dogs, and “The Enchanted Castle” (1884). Mr. Riviere was elected a Royal Academician on the 5th of May, 1881; his diploma work is “The King drinks,” as above, a lion at a desert spring. On account of “Charity” the painter received a medal at the Vienna Exhibition. In 1878 a medal of the Third Class was awarded to him at the Exposition Universelle, Paris, for “Charity,” “Daniel,” and “The Last of the Garrison.” At Philadelphia he had a medal for “Circe,” and “War Time.” Mr. Riviere has produced a certain number of pictures which have not been exhibited. In addition to the above we have seen the following water-colour drawings at the Dudley Gallery:-- “Confessions” (1868); “A Game at Fox and Geese,” which is one of his best works (1869); “Fly Catching,” “Orphans,” lambs being fed with a bottle, and “Suspicion” (1870); “A Midsummer Night’s Dream,” “Entanglements,” and “Expectation” (1871); “Much Ado about Nothing” and “The Early Bird gets the Worm” (1872). The painter has been represented among the Cabinet Pictures in Oil at the Dudley Gallery since the opening of the gallery in 1867, by “Listening” and “Going to be Whipped” (1867); “The Long Sleep” and “The Blackbird” (1868); “A Trainbearer” and “The {72} Empty Chair” (1869); “Conscience” and “For Sale” (1870); “His only Friend” and “A Portrait” (1871); “Warranted Quiet to Ride or Drive” and “The Lion has come up from his Thicket” (1872); “A Prince of Orange” and “Equo ne credite Teucri” (1873); “A Double Entendre” (1875); “Poachers” (1877); and “Cave Canem!” (1879). He was an occasional contributor to the Exhibition of Works in Black and White. The picture called “Imprisoned” was engraved by Mr. S. Cousins; “Fox and Geese” is now at South Kensington. It is not too much to say, nor is it beyond my function on this occasion to point out that, despite the often recurring mood of sorrowfulness which the above copious list of work affirms, the painter is one of those who has chosen to illustrate by many instances the affectionate relationship of animals and man, e.g. “The Long Sleep,” “The Last of the Garrison,” “Prisoners,” “Charity,” “Come Back!” “Sympathy,” “Victims,” “The Poacher’s Widow,” “Argus,” and a dozen more. He is one of the few painters who have hit the happy mean between the utter savagery and brute force of Rubens’s and Snyders’s beasts and those somewhat genteel animals Sir Edwin Landseer painted after he “got into society.” Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BRITON RIVIERE, R.A., M.A. 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. 69-72 Subject The topic of the resource Rivière, Briton (1840-1920). English painter, etcher, and sculptor. Date Issued Date of formal issuance (e.g., publication) of the resource. July 1884 Abstract A summary of the resource. Briton Rivière descended from a Huguenot family. Many of his relatives were artists. His grandfather, D.V. Rivière, born in 1796, was a student of the Royal Academy, as was his son William, born in 1806, who exhibited frequently in the Academy until 1860. In 1849, William Riviere became an art teacher at Cheltenham College and in 1859 moved to Oxford to teach. Briton was born in 1840 in London. He was taught by his own father, and exhibited paintings at the British Institution at age 11. He received his B.A. in arts in 1867, and his M.A in 1873. After 1864, his painting were regularly displayed at the Royal Academy. On January 16, 1878, he was elected an A.R.A. of the Royal Academy, and on May 5, 1881, a Royal Academician. Rivière is most famous for his animal paintings, and for paintings that portray relationships between animals and man. 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_Riviere.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 Michelle Malmberg Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). September 29, 2016 Date Modified Date on which the resource was changed. October 27, 2016 (by LM) December 16, 2016, by LM https://artistsathome.emorydomains.org/files/original/5ab56404532523da9457de6f8d184543.png 539c53d1d307386221557fe989464fd2 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 CONTENTS. SIR FREDERIC LEIGHTON, P.R.A., D.C.L., LL.D. . . 1 WILLIAM CALDER MARSHALL, R.A., H.R.S.A. . . 5 THOMAS WEBSTER, Hon. Retired, R.A. . . 9 VALENTINE CAMERON PRINSEP, A.R.A. . . 11 JOHN EVERETT MILLAIS, R.A., D.C.L. . 15 SAMUEL COUSINS, Hon. Retired R.A. . . 19 GEORGE A. LAWSON . . 23 MARCUS STONE, A.R.A. . . 27 LAWRENCE ALMA TADEMA, R.A. . . 29 RICHARD REDGRAVE, Hon. Retired R.A. . . 35 JOHN PETTIE, R.A. . . 39 FRANK DICKSEE, A.R.A. . . 43 GEORGE FREDERICK WATTS, R.A., LL.D. . . 45 W. HAMO THORNYCROFT, A.R.A. . . 49 WILLIAM FREDERICK YEAMES, R.A. . . 53 JOHN MACWHIRTER, A.R.A. . . 57 SIR JOHN GILBERT, R.A. . . 61 PHILIP HERMOGENES CALDERON, R.A. . . 65 BRITON RIVIERE, R.A., M.A. . . 69 JOSEPH EDGAR BOEHM, R.A. . . 73 EDWARD JOHN POYNTER, R.A. . . 77 THOMAS OLDHAM BARLOW, R.A. . . 83 ROBERT WALKER MACBETH, A.R.A. . . 87 GEORGE ADOLPHUS STOREY, A.R.A. . . 89 THE RIGHT HON. W. E. GLADSTONE, M.P., Professor of Ancient History in the Royal Academy . . 93 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 CONTENTS, Artists at Home Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Sampson Low, Marston, Searle and Rivington, London publisher 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), n.p. Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Description An account of the resource The table of contents follows the Preface and precedes the first artist's biography. 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_Contents.jpg 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). October 16, 2016 https://artistsathome.emorydomains.org/files/original/122519ad0f0088214212a494c4f52347.png fec583ed221fc4f7488550b947a66c1a https://artistsathome.emorydomains.org/files/original/3fcc8b625247231f6c2fd588620fe72c.png d84d95ff0f81434b42708f20a89dd7e7 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 <div style="text-align:center;">THIS COLLECTION OF PORTRAITS OF HIS COLLEAGUES</div> <div style="text-align:center;">AND BROTHERS-IN-ARTS</div> <div style="text-align:center;"> IS, WITH SPECIAL PERMISSION, MOST RESPECTFULLY</div> <div style="text-align:center;"> Dedicated</div> <div style="text-align:center;">TO</div> <div style="text-align:center;">SIR FREDERIC LEIGHTON, P.R.A., ETC.</div> LONDON, March 1, 1884 Original Format Book page 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 Dedication page, Artists at Home Date Created Date of creation of the resource. March 1, 1884 Creator An entity primarily responsible for making the resource Sampson Low, Marston, Searle and Rivington, London publisher 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), n.p. Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Description An account of the resource Printed on the page following the title page and facing the printer's page. Abstract A summary of the resource. Dedication to Frederic Leighton 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_Dedication_3 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). October 16, 2016 https://artistsathome.emorydomains.org/files/original/6d6d904848824a1913c315f4be7f54df.pdf 9242a282124a6f1a12697af4172a3bd0 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. EDWARD JOHN POYNTER, R.A., MEMBER OF THE SOCIETY OF PAINTERS IN WATER COLOURS, AND OF THE BELGIAN SOCIETY OF PAINTERS IN WATER COLOURS THIS painter in oil and water colours, draughtsman on wood, decorator in glass and mosaic, etcher, and teacher of and lecturer on art, is the great grandson of Thomas Banks, R.A., who was one of the most learned and vigorous of the English sculptors, one of the first group of Students admitted (1769) to the Royal Academy, the first sculptor who (1770) won the Gold Medal of that body, the first Travelling Student of his profession who (1772) went to Rome; and, having been elected just a hundred years ago one of the earliest A.R.A.’s. Thomas Banks was not only a contributor to the Free Society of Artists’ Exhibitions in 1767—his first appearance before the Academy was founded—but he was favourably represented at the second gathering of the last-named body in 1770. His distinguished career ended in 1805. Mr. E. J. Poynter was born in Paris on the 20th of March, 1836, and was brought to England while yet an infant. His father is a still-living architect of distinction, who, in the practice of his profession, resided during several years of his son’s childhood at Poet’s Corner, Westminster, close to the Abbey and that famous school where out painter obtained part of his early education. Considerations affecting his health induced his removal for some time to the Grammar School at Ipswich. Young as he was, it appears that during the holidays he drew at Mr. Leigh’s academy in Newman Street, Oxford Street, and thus acquainted himself with the antique and fine types of life. Originally intended under his father’s guidance, to become an architect, the younger Poynter determined, in 1851, to prefer the career of a painter, and continued his studies accordingly. The winter of 1852-3 was spent in seeking strength at Madeira; meanwhile he familiarized himself with the magnificent contours and coloration of the landscape of that island, and sketched diligently from nature. Returning to London, he persevered in draughtsmanship, and, his health requiring a softer winter than England offered, he went to Italy at the end of 1853. Here he continued to study landscape until, meeting the present P.R.A., who was then in Rome and hard at work on “The Procession in honour of Cimabue’s ‘Madonna,’” {78} the influence of this artist directed Poynter’s studies to the figure, to profiting by which the senior painter gave every friendly aid, setting draperies—as Mr. Hamerton, to whom I am much indebted, has told us—on his lay-figure to be drawn from by the tyro, and allowing him to use the models employed for the large painting. Returning to London with the returning spring, Poynter resumed his practice in Newman Street, and, for a year, became a pupil of Mr. W. C. T. Dobson, R.A. He was admitted a Student of the Royal Academy in 1855, but did not work long in the schools at Trafalgar Square ere he went to Paris, and, during the Universal Exhibition of the last-named year, his choice of styles being still unmade, he was profoundly impressed by the dramatic energy of Decamps’ design, his vigorous chiaroscuro, and grand feeling for colour. The art of this great master was then at its zenith; his serious and picturesque motives could not but have their influence on the mind of our student, which was always gravely bent, and full of sympathy with majestic and dramatic themes. From the spring of 1856, when he entered the atelier of Gleyre, then greatly in vogue with English students, Poynter, with intervening visits to London, spent the greater part of four years in Paris. In this period he worked in the Ecole des Beaux-Arts, and in a studio of his own, where, in 1859, he painted a small picture from Shelley’s translation of the Homeric “Hymn to Mercury,” and an illustration of Dante. “The first of these pictures was offered to the British Institution, and rejected; the second was sent to the Royal Academy,” where it had a similar fate. “Instead of being discouraged by this failure, young Poynter sent the Dante picture a second time to the Academy in 1862, when it was accepted, but hung at the top of the room.” It is named below. In 1859 Poynter contributed to the British Institution his first exhibited picture, painted in Paris the year before, in “The Wandering Pifferari,” the price of which was forty guineas. W. Burges, since an A.R.A. and deceased, employed Poynter to paint panels of mediæval designs on cabinets such as the architect was accustomed to produce. Poynter’s works of this kind are now, doubtless, at the house in Melbury Road. He likewise drew cartoons to be produced in stained glass by Messrs. Powell of Whitefriars, including four windows for the Maison Dieu at Dover, which Mr. Ambrose Poynter had restored, and two similar works in the Chapel of St. Bartholomew’s Hospital, London. Two more windows were subsequently executed for the Maison Dieu. Quitting Paris to settle in London in 1860, our artist painted sixteen life-size panels of architectural character—being Signs of the Zodiac, Labours of the Year, and the Elements,—or the ceiling of Waltham Abbey church, which Burges was then restoring. These works were finished in the summer of 1860. Attracted by a drawing he had made of two girls carrying waterpots near the Nile, Messrs. Dalziel Brothers, who were then preparing their “Illustrated Bible” for publication, induced Poynter to make designs on wood for this work, and he selected incidents in the lives of Joseph and Moses. {79} This turned his attention to Egyptian biblical subjects, and evoked some of his very best designs, such as that of the “Triumphal Song of Miriam.” At the Academy his début was made in 1861, and in that unpretending North Room which contained architectural drawings, miniatures, and all sorts of works. His contribution was a small drawing, since destroyed, called “Alla Veneziana.” “Heaven’s Messenger,” the Dantesque subject above referred to, and “The Bunch of Blue Ribbons” were at the same exhibition in 1862. “A Day Dream” was the painter’s sole contribution of 1863. In this year was published “The History of our Lord,” by Mrs. Jameson and Lady Eastlake, enriched with etchings by Mr. Poynter. Hardly any attention was vouchsafed to either of the pictures I have mentioned, but the admiration of experts and critics in search of merit was arrested by the contributions of the following year, i.e. “On Guard in the Time of the Pharaohs,” a soldier on the roof of a frontier fort looking over the sea, during blazing sunlit weather, and “The Siren,” a nude figure holding a harp, an illustration of the Laureate’s poem of the same name. After this Poynter’s pictures were exhibited at the Academy in the following order:-- “Portrait of a Lady,” and “Faithful unto Death,” a soldier staying at his post in Pompeii during the destruction of the city, one of the most moving of the artist’s designs (1865); “Offerings to Isis” (1866); “Israel in Egypt,” the largest and most elaborate work until then produced by the artist, which chiefly occupied him nearly four years, and was exhibited in 1867 with great applause, and secured public attention for anything which might follow it from the same hands. At this period Poynter made many designs for “Once a Week” and other illustrated papers. He carried out the promises and enhanced the success of “Israel in Egypt” by means of “The Catapult” of 1868, in which equal learning, as much fruitful study, and greater skill had been applied to a more effective and epical subject than any of its forerunners possessed. “The Catapult” was, among the younger painters’ contributions, the picture of the year. It insured the A.R.A.ship of the artist, who was elected in January, 1869. He exhibited in this year “The Prodigal’s Return,” a portrait of “A. Walker, Esq.,” and a charming figure of “Proserpine,” which was repeated for a royal patron. A visit to Italy, in order that he might study the ancient use of mosaic, was made in 1868, and brought fruit the next year in a design for a large work in that material intended for the Lecture Room at the South Kensington Museum, but not yet executed. A mosaic of “St. George” was designed at the same period and has since been set up in the Central Hall of the Houses of Parliament. The cartoons for this work were at the Academy in 1870, and included that illustrating “Fortitude.” In the same exhibition was the oil picture of “Andromeda,” which is a lovely and pathetic instance of the artist’s finer powers. In this year six drawings of a larger series designed to illustrate Keats’s “Endymion” were executed; the book was published with these drawings only, and is thus far incomplete. Figures of “Phidias” and “Apelles” by {80} Poynter and executed in mosaic, were, about this time, placed above the arcade of the South Court at the South Kensington Museum, and are among the first completed modern works of the kind in this island. In May, 1871, he was elected a member of the Belgian Society of Painters in Water Colours, and in the same month he was chosen the first Slade Professor of Fine Art in University College, London, a post he occupied with exceptional advantage to others. “The Suppliant to Venus,” the subject of which is due to Mr. W. Morris’s “Earthly Paradise,” appeared at the Academy in 1871, accompanied by “Fording the Sacred Ibis in the Halls of Karnac.” “Perseus and Andromeda,” one of the large pictures now decorating the drawing-room at the Earl of Wharncliffe’s house called Wortley Hall, near Sheffield, was shown in 1872. At this time Poynter began to execute for Mr. Palmer the frescoes of “St. Stephen accused,” and “St. Stephen stoned,” which are in the church dedicated to the Proto-martyr at Dulwich. The picture exhibited in 1873 is the second of the Wortley Hall series, and represents the “Fight between More of More Hall and the Dragon of Wantley.” At or about this date the decorations were finished for the Grill Room in the South Kensington Museum, which Poynter had designed with great spirit and originality, combining panels of earthenware in camaïeu, representing subjects appropriate to the place, and decorative works of novel character. This is one of the most elaborate and fortunate examples of interior decoration known in this country, and, in its way, unsurpassed abroad in modern art-craft. 1874 produced at the Academy the small figure of “Rhodophe.” “The Festival,” Greek girls decorating a building, and “The Golden Age,” Greek young men gathering fruit from an apple tree, were shown in 1875. In this year, Mr. Redgrave having resigned the post he had long held as Inspector-General of the Art-Department, our artist was invited to succeed him with some change of duties, and, as Director for Art, he was employed to reorganize part of the curriculum of the Government schools at South Kensington, the Head-Mastership of which became vacant at the same period. Accepting this trust, the painter gave up the Slade Professorship he had held for two terms of three years each. On the 29th of June, 1876, he was elected a Royal Academician. He sent to the exhibition in this year, a “Portrait of Cecil Wedgewood,” with “Atalanta’s Race,” the third and most important of Lord Warncliffe’s pictures, which was engraved in line by Mr. Joubert, and published in 1881. A portrait of “Mrs. Archibald Milman,” and “The Fortune Teller,” were at the Academy in 1877. The latter is the artist’s diploma work. “Zenobia captive,” and a portrait of “Mrs. Langtry,” were exhibited in 1878, and followed in 1879, by a portrait of “A. Baldwin, Esq.,” and “Nausicaa and her Maidens playing at Ball,” the last of Lord Wharncliffe’s pictures. The painter’s masterpiece, so far as the world has yet seen, is the picture of 1880, called “A Visit to Æsculapius,” which the Academicians honoured themselves by buying {81} with the Chantrey Fund. A portrait of the “Earl of Wharncliffe,” “Helen” of Troy, and a portrait of “Mrs. R. Bell” were shown in 1882, “In the Tepidariam,” a small example, appeared in 1883, with a model showing the proposed decorations for the dome of St. Paul’s, the large painted cartoons for which now (1884) occupy the artist. “Psyche” sustained Mr. Poynter’s reputation in 1883, with “The Ides of March.” “Diadumenè,” a Greek damsel standing naked at the side of a bath while adjusting a fillet about her hair, a portrait, and medallions in bronze were shown in the present year. There is more than one version of “Diadumenè.” In 1883 Mr. Poynter was elected an Associate of the Society of Painters in Water Colours; in the present year he has been made a full member of the same body. He has contributed to its exhibitions. He frequently sent works to the Winter Exhibitions of Cabinet Pictures in Oil since the first gathering at the Dudley Gallery in 1867, when “Adoration to Ra” appeared. He was an active promoter of the General Exhibition of Water-Colour Drawings in the same gallery, since 1865, when he sent six examples, including some of his early landscapes drawn in Wales, Kent, Devonshire, France, and elsewhere. He was likewise a member of the Committee of the Black and White Exhibition, Dudley Gallery, and a contributor to the gatherings of that category. In 1878 he published “Ten Lectures on Art,” which are among the soundest and most effectual works of their kind. He wrote for Messrs. Sampson Low and Co., the larger portion of a concise “History of Classic and Italian Painting,” 1880. On the largest easel represented in the portrait before us is one of the designs for the dome of St. Paul’s; on the next easel is a small version of “The Ides of March;” on the third easel is a similar version of “The Meeting of Solomon and the Queen of Sheba,” an important work which is to be shown when it is finished. 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 EDWARD JOHN POYNTER, R.A. Biographical sketch of E. J. Poynter 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. 77-81. Subject The topic of the resource Poynter, Edward John (1836-1919), British painter Date Issued Date of formal issuance (e.g., publication) of the resource. August 1884 Abstract A summary of the resource. Grandson of an eminent sculptor and son of a distinguished architect, Poynter began training as a child at Mr. Leigh's academy in Newman Street. Later, traveling abroad for his health, he concentrated on landscape painting until he met Frederic Leighton in Rome in 1853 and, under his influence and instruction, shifted his interest to the figure. He was admitted to the Royal Academy schools in 1855 but soon thereafter went to Paris, entering the atelier of Charles Gleyre as well asworking at the Ecole des Beaux-Arts and in a studio of his own. Poynter first exhibited a painting in London in 1859, when hecame to the attention of William Burges, who employed him to paint medieval designs on custom-made furniture; at the same time, he produced cartoons for stained glass windows by Messrs. Powell of Whitefriars. Settling in London in 1860, Poynter painted panels for Walltham Abbey church and made designs for woodcuts for the Dalziel Brothers' Illustrated Bible. He made his début at the R.A. in 1861, but was hardly noticed until 1864, with the exhibition of On Guard in the Time of the Pharaohs. He has continued to exhibit at the Academy ever since, receiving special praise for Israel in Egypt in 1867. He worked as an illustrator for Once a Week, among other papers, and on the strength of The Catapult was elected A.R.A. in 1869. Subsequently, Poynter designed mosaics for the South Kensington Museum and the Houses of Parliament; his decorations for the Grill Room at South Kensingtonare perhaps the most accomplished. In 1871 Poynter was appointed the first Slade Professor of Fine Art at University College, London; in 1875 he became Director for Art at South Kensington and the next year was elected an R.A. Poynter's acknowledged masterpiece is A Visit to Æsculapius of 1880. His studio portrait shows the artist with one of the designs he is currently executing for the dome of St. Paul's. Relation A related resource NGA_m48_pl_21.tif References A related resource that is referenced, cited, or otherwise pointed to by the described resource. P. G. Hamerton, "Edward J. Poynter, R.A.," The Portfolio 8 (1877): 11–14. Edward J. Poynter, Ten Lectures on Art. 2d ed.. (London: Chapman & Hall, 1880). <a href="http://hdl.handle.net/2027/uc2.ark:/13960/t50g3mj36">http://hdl.handle.net/2027/uc2.ark:/13960/t50g3mj36</a> 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_Poynter.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 Is Referenced By A related resource that references, cites, or otherwise points to the described resource. “Some Fine Art Books.” The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point." 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/65338dc846110c8cefd61ddca420ae58.png 7e94daf3ff9c4cbce2f2b99a1ea4f5da 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 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. NEW YORK: D. APPLETON AND COMPANY, 1884 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 Frontispiece, Artists at Home Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource J. P. Mayall (1839–1922) Sampson Low, Marston, Searle and Rivington, London pubisher D. Appleton & Co., New York publisher 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) 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 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). December 6, 2016 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/4f26146758112d08a072271b681ac7e5.pdf 977a15e28a5aae15423e5938005e8043 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 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 ADOLPHUS STOREY, A.R.A. Biographical sketch of G. A. Storey 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. 89-91. Subject The topic of the resource Storey, George Adolphus (1834-1919), English painter Date Issued Date of formal issuance (e.g., publication) of the resource. August 1884 Abstract A summary of the resource. G.A. Storey was born on January 7, 1834. Skilled in both math and art, he was unsure of which career path he would ultimately choose. In 1848 he traveled to Paris to study under M. Morand, a mathematician at the Athenée-Royale. Eventually Storey became more inclined towards the arts, and returned to London in 1850, and studied under Mr. Leigh at his art school in Newman Street. At 19, in 1852, he managed to enter a painting into the Royal Academy Exhibition. In 1853 he was admitted as a student into the Royal Academy and began to exhibit many paintings with the Academy. In 1876 he was elected an A.R.A. 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_Storey.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 Michelle Malmberg Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). September 29, 2016 Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Milk, Joanna (MacFarland). “Artists at Home: Artifice and Presence.” n.d. http://www.academia.edu/4168571/Artists_at_Home_Artifice_and_Presence “Some Fine Art Books.” The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point." Date Modified Date on which the resource was changed. October 1, 2016 January 20, 2017, by LM 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/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/0cef56cd5f9fa8dcb1ade4b2d5fdc7bf.pdf d2947577645c6d56814c3507fa37a6b2 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 MACWHIRTER, A.R.A., HONORARY MEMBER OF THE ROYAL SCOTTISH ACADEMY. MR. MACWHIRTER, the son of a paper manufacturer seated at Colinton, near Edinburgh, was born at Slateford in the same district, on the 27th of March, 1837, and educated at Peebles. The late Mr. Dafforne, of “The Art-Journal,” in a biographical notice of this highly popular A.R.A., told us that the elder MacWhirter was a “botanist, geologist, and enthusiastic lover of nature.” This parent died when his son was twelve years of age, before he left school, and intended the boy should become a painter or engraver; nevertheless, the guardian of the latter caused him to be articled for five years to a publisher of Edinburgh. This engagement proving distasteful to the person chiefly concerned, was soon brought to an end, and the youth was entered as a student in that renowned Trustees’ Academy which has produced a host of well-known artists, among whom, as we have already stated in the memoir of that gentleman, was Mr. Pettie. The school was at the time, so far as our painter was concerned, under the direction of Messrs. R. Scott Lander and John Ballantyne, who instructed their pupils to work in that manner which is copiously illustrated on the walls of the Royal Academy, and, however various its applications may be, possesses what is almost unique in this island, the very distinct character of a School in the artistic sense of that term. With, it is said, unusual diligence, Mr. MacWhirter applied the instructions of his masters to his favourite landscapes, and when little more than a boy, travelled in several parts of Scotland, especially in the Isle of Skye. Some time after this, the student visited Italy, and found materials which have been made use of in London as well as in Edinburgh. Later, he went to Norway, Belgium, and Tyrol, and, later still, he was in the Salt Lake City, California, the Yosemite Valley, and other parts of the United States. Meanwhile, he made such rapid progress, and commanded so much attention in the Scottish metropolis, that, in 1864, having been fully represented in the gallery of that society, he was elected an Associate of the Royal Scottish Academy. At a more recent date, being disqualified for the Academicianship proper by non-residence in the land of his {58} birth, Mr. MacWhirter was elected to that higher honorary grade he now occupies. In 1865, he made a double appearance in London by sending, (1), to Trafalgar Square, a small picture, which was hung in the South Room and attracted no great attention; it was called “Temple of Vesta, Rome;” and (2), to the Dudley Gallery, two drawings, each of which was called “Wild Flowers, Norway.” These works were followed in the latter exhibition, and with some exceptions, from year to year, by “Highland Cornfield,” “Shells,” “Norwegian Wild Flowers,” “Glenfinlas,” and “Ellen’s Isle, Loch Katrine.” The Winter Exhibition of Cabinet Pictures in Oil in the same gallery contained, in 1871, “Moorland Road, Sunset,” and, in later years, “The Golden Gate—Entrance to San Francisco Bay,” “Old Rome,” “Thunder Storm on the Grand Prairie,” and “A Summer Storm, Venice.” The artist, who has practised drawing in that material with peculiar success, contributed a study in charcoal to the Exhibition of Black and White. Returning to an enumeration of pictures at the Academy since 1866, we find nothing by Mr. MacWhirter in the gathering of 1867, but in 1868, having in the interval quitted Edinburgh for London, he sent to Trafalgar Square “Old Edinburgh—Night,” an effective illustration of picturesque buildings and their gigantic shadows, which commended itself to many observers, and was succeeded in the next year by “Loch Coriusk, Skye,” a telling picture of that place of dreary grandeur, and stony wilderness. It was much noticed at the time for the impressiveness of the gloomy tarn, relieved, or made more ghastly, by a band of pale light on the sky-line. “Daybreak” was the picture of 1870; it aimed to illustrate verses beginning:-- “A wind came up out of the sea, And said, ‘Oh mist, make room for me.’ It hailed the ships and cried ‘Sail on, Sail on, ye Mariners, the night is gone,’ And hurried landward, far away, Crying, ‘Awake! it is the day!’ It crossed the graveyard with a sigh, And said, ‘Not yet, in quiet lie.’” “Into the Depths of the Forest,” and a pathetic landscape representing the motive of the lines, “A great while ago the world began With ‘Heigh ho! the wind and the rain!’” were at the Academy in 1871. After these came, in the following order, “In the Isle of Skye,” and “Moonlight” (1872); “Desolate,” and “The Fishermen’s Home” (1873); “Out in the Cold,” and “Night, most glorious night, thou were not made for slumber.” (1874); “Nemo me impune lacessit,” a picture of a Scottish thistle, as large as life, “Strayed Sheep,” and “Land of the mountain and the flood,” {59} (1875); “Spindrift,” “The Lady of the Woods,” a birch tree standing alone near the foreground of a hillside, a picture which charmed many visitors to the Academy, and has been engraved in line by Mr. Sadler (1876); “Over the Border,” a view of a wild heath, with a pool in the front, at one side of which a rough road ran, while, on the road, a horseman was urging his steed to a furious gallop. He is flying from pursuit, from one country to another. With this telling piece of dramatic landscape we had, “The Source of a River.” No works were shown in 1877. Those of 1878 were “The Vanguard,” and “The Three Graces,” i.e., three birch trees, a companion painting to “The Lady of the Woods.” In 1879, Mr. MacWhirter made his appearance as an A.R.A., with “The Last Days of Autumn,” “A Valley by the Sea,” “A Highland Solitude, Glencoe,” and “A Highland Pastoral.” “June,” “The Lord of the Glen,” a gigantic pine (engraved as a companion to “The Lady of the Woods”), and “May,” were at Burlington House in 1880. “Roses and Rabbits,” “Mountain Tops,” “Sunday in the Highlands,” and “Summer Evening, Venice,” illustrated in 1881 the varied tastes of the painter. The works of 1882 were “Ossian’s Grave,” “A Highland Auction,” “A Rainy Day, Venice,” and “Il Penseroso;” those of 1883 were “Corrie, Isle of Arran,” “Sunset Fires,” “Nature’s Mirror,” and “A Highland Harvest.” This year, 1884, we recognize the “Roman hand” of the artist in “A Sermon by the Sea,” “The Windings of the Forth,” “The Home of the Grizzly Bear,” and “A Forest Solitude.” 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 MACWHIRTER, A.R.A. Biographical sketch of John MacWhirter 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. 57-60. Subject The topic of the resource MacWhirter, John (1839-1911), Scottish painter Date Issued Date of formal issuance (e.g., publication) of the resource. June 1884 Abstract A summary of the resource. Born in Slateford, near Edinburgh, MacWhirter studied in Scotland under R. Scott Lander and John Ballantyne. In his youth he traveled widely in search of subjects for landscape paintings, and he made such rapid progress in his art that by 1864 he had been elected an Associate of the Royal Scottish Academy. Since 1865, he has exhibited oil paintings and drawings at the Royal Academy and the Dudley Gallery in London, primarily landscapes, often with poetic themes. Relation A related resource FOLIO2011_134_008.tif References A related resource that is referenced, cited, or otherwise pointed to by the described resource. James Dafforne, "British Painters: John MacWhirter, A.R.S.A," The Art Journal, New Series, 5 (1879): 33-35. 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_MacWhirter.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/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/3804b44c7e54d6ee4ff1a0d5489efdc9.pdf 167f97acf7ffed7850338417fc80fea3 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. JOSEPH EDGAR BOEHM, R.A., SCULPTOR IN ORDINARY TO THE QUEEN, MEMBER OF THE ACADEMIES OF FLORENCE AND ROME. THIS able sculptor, who, although he has hardly yet passed the middle of the life artistic, has already produced more public statues than any artist of this country, from Flaxman to Foley, was born of Hungarian parents at Vienna, on the 6th of July, 1834. He was educated in the Austrian capital, where his father, Herr Daniel Boehm, Director of the Imperial Mint, and a design-loving man of much distinction, had formed a considerable collection of works of art amid which his son found ample opportunities for gaining knowledge of antiquity. In 1848, having been brought to this country, he worked from the Elgin Marbles and other relics of antiquity in the British Museum. He remained here till 1851, when he removed to Italy for a while, after which for three years he continued to study in Paris. Intermediately, he was in Vienna, where he obtained the First Imperial Prize in 1856. In 1862 he settled in London, and in 1865 became a naturalized Englishman. His first appearance in London was a modest one, and by means of “A Bust of a Gentleman, in terra-cotta,” which was at the Royal Academy in 1862. Terra-cotta was a material little affected by the modellers a quarter of a century ago, so that this work attracted attention on that account, as well as by means of its intrinsic merits. Another example in this material appeared at the same gallery in 1863, being a portrait of “C. Bowyer, Esq.” With it were produced statuettes of “Mr. and Mrs. Millais.” The artist rose so rapidly in popularity and aristocratic favour, that the next Academy Exhibition contained not fewer than six of his works, among which a bronze equestrian statuette of “Miss Edwards,” a statuette of “W. M. Thackeray,” and a racehorse named “Johnny Armstrong,” were recognized with favour. The statuettes were harbingers of a numerous class of similar works. A marble bust of “Viscount Stratford de Redcliffe,” and a bronze group in small of “Mr. William Russell and a favourite Horse,” appeared with other works in 1865. From a constantly increasing number of sculptures contributed to the Academy may be selected the following more important instances: “Lady Spencer;” “Colonel Loyd- {74} Lindsay, V.C.;” “The Duke of Beaufort;” “The Countess of Cardigan;” “H. M. The Queen,” terra-cotta statuette; “Monsieur Ricard, painter;” “General C. Grey;” “Alphonse Legros, Esq.;” “The Marquis of Lansdowne,” a bust for Westminster Abbey; “The Prince of Wales;” “The Horse and his Master;” “The Queen,” marble; “Thomas Carlyle,” a marble statue for Lord Rosebery; “St. George and the Dragon,” a statue; busts of “Sir Henry Cole,” “Professor Hewitt,” and “E. Armitage, R.A.;” “A Colossal Equestrian Statue of H.R.H. the Prince of Wales,” for Bombay, as well as similar works representing “Lord Napier of Magdala,” for Calcutta, and “Lord John Russell,” for the Houses of Parliament; busts of “Professor John Ruskin,” “Mr. (Sir) F. Burton,” “The Right Hon. W. E. Gladstone,” and “Professor Huxley.” Then came “Thomas Carlyle,” a statue in bronze for Chelsea; “Sir Francis Drake,” a statue for Tavistock, and another of the same navigator for Plymouth; “J. E. Millais, R.A.,” bust; a statue of “The late Archbishop of Canterbury,” for Canterbury Cathedral; “The Earl of Derby,” bust; “Lord Wolseley,” bust; “Herbert Spencer,” bust; and portraits of “Lord Shaftesbury,” “Mr. John Bright,” and “Mr. Mundella.” In addition to these exhibited works Mr. Boehm has executed a monument to the late Duke of Kent, for St. George’s Chapel, Windsor; “John Bunyan,” a colossal statue in bronze, for Bedford; “The Duchess of Bedford,” a colossal statue, for Woburn Abbey; “Sir John Burgoyne,” an heroic statue, for Waterloo Place; “Lord Cardigan,” at Deene; “The Earl of Northbrook,” for Calcutta; “The King of the Belgians,” for St. George’s Chapel; “Sir W. Gregory,” for Colombo, Ceylon; “The Princess Alice and her Daughters,” a monument group for the Frogmore Mausoleum; an effigy of “The Prince Imperial,” intended for Westminster Abbey, which was set up at Windsor; a statue of “John Lord Lawrence,” for Waterloo Place; “W. Tyndall,” statue for the Northern Embankment; and other figures of “Lord Beaconsfield,” “Lord Stratford de Redcliffe,” and “Dean Stanley,” for Westminster Abbey; “Dean Stanley,” for Rugby School Chapel; “Dean Duncombe,” for York Minster; and “The Duchess of Westminster.” Besides these there is a very numerous array of busts, statues, statuettes, reliefs, and other works representing persons of less reputation than the above, and executed in marble, bronze, and terra-cotta. At present the artist is engaged on a second statue of “Lord Lawrence,” for Waterloo Place, a substitute for the present one with which he is dissatisfied. He is now finishing a colossal statue of “Darwin,” to be set up in the Natural History Museum at South Kensington, a statue of “Sir Ashley Eden,” for Calcutta, and an effigy of the late “Prince Leopold,” for the Albert Chapel at Windsor. He is preparing designs for the equestrian statue of the “Duke of Wellington,” for Hyde Park Corner. A marble statue of the late “Duke of Marlborough,” for Blenheim, and a marble effigy of the late “Dean Wellesley,” for St. George’s, Windsor, are nearly finished. {75} Mr. Boehm was elected an A.R.A. on the 16th January, 1878; an R.A. in January, 1882; a Member of the Academy of Florence in 1875; and of the Academy of Rome in 1880. In Paris, at the Exposition Universelle, 1878, he obtained a Second Class Medal. In August, 1882, he received a gold medal for his contributions to the exhibition at Vienna in that year. Mr. Boehm has lectured on sculpture at the Royal Academy, although he has not accepted the long vacant Professorship of the art in that institution. In the background of the portrait is a bust of Professor Huxley. 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 JOSEPH EDGAR BOEHM, R.A. Biographical sketch of Joseph Edgar Boehm 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. 73-75. Subject The topic of the resource Boehm, Joseph Edgar, 1st Baronet of Wetherby Gardens (1834-1890), English-Hungarian sculptor and medalist Date Issued Date of formal issuance (e.g., publication) of the resource. July 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_Boehm.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. Boehm was born to Hungarian parents in Vienna, where his father, Daniel Boehm, was the Director of the Imperial Mint. Boehm's first appearance in London was with a bust made of terracotta, which attracted enormous attention, and he rapidly gained favor among aristocrats and royalty. He became the Sculptor in oOrdinary to Queen Victoria. Many of his notable works included Duke of Kent, “he Queen, Thomas Carlyle, and The Princess Alice and Her Daughters, executed in marble, bronze, and terra-cotta. Currently, Boehm is finishing up a colossal statue of Darwin for the Natural History Museum. Date Modified Date on which the resource was changed. November 17, 2016 January 17, 2017, by LM Is Referenced By A related resource that references, cites, or otherwise points to the described resource. [ F. G. Stephens] “Sir Joseph Edgar Boehm, Bart., R.A.” The Athenaeum, no. 3295 (December 20, 1890): 861. 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/76b3bd4f4f8f76727eaacc3f241c62bc.jpg abc3e9aa623ba7daa176418749d42ba6 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 NOTE. It may be readily imagined that Mr. J. P. Mayall’s task as the photographer of “Artists at Home” has not been an easy one. The recent improvement in photography by the introduction of the Rapid Dry Plate has alone rendered the thing possible. In Mr. Mayall’s hands, the photographs may fairly lay claim to a success beyond the average, more especially when the difficult task of photographing interiors is taken into account. The process by which these photographs have been reproduced on copper-plates, though not absolutely new, has now for the first time been so modified as to make it possible to give pictures which are not merely absolute facsimiles of the originals, but which bring out admirably the middle tints so often found wanting in the photograph from which they are taken, and which have hitherto been a characteristic only of high-class steel engravings. It may be said, the finer the photograph the finer the reproduced result. The intention of the work will be to introduce the homes of those artists whose names have acquired a deserved celebrity, thereby making “Artists at Home” an historical record of the famous artists of our time. S. L. M. & Co. Original Format Text page 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 NOTE, Artists at Home Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource S. L. M. & Co. [Sampson Low, Marston, Searle and Rivington, London publishers] Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Abstract A summary of the resource. Identifies and describes the technological advances in photography and photogravure that make Artists at Home exceptional. Announces the aim of the publication--"to introduce the homes of those artists whose names have acquired a deserved celebrity," thereby creating a record for posterity of the famous artists of the day. 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_Preface1.jpg 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). October 16, 2016 https://artistsathome.emorydomains.org/files/original/a5b8aefff064e3b4ed3be5f305e78d16.pdf 1ddbf1d171f20fa8255c0afcbdaf7d56 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. PHILIP HERMOGENES CALDERON, R.A. HONORARY MEMBER OF THE SOCIETY OF BRITISH ARTISTS, KNIGHT OF THE LEGION OF HONOUR THIS artist, who is descended from that old family to which Spain’s great dramatic poet likewise belonged, is the only son of the Reverend Juan Calderon, a native of La Mancha, and Professor of Spanish Literature in King’s College, London. The painter was born at Poitiers in May, 1833, came to England when about twelve years of age, and was educated principally by his father. It may be noticed that Dante G. Rossetti’s father was, not long previous to the office-holding of Professor Calderon, Professor of Italian Literature in the same college. Calderon began life early as a pupil of a Civil Engineer, who permitted the lad in leisure hours to amuse himself by drawing from prints after Raphael. In the end this indulgent and discerning master persuaded Calderon’s father to allow him to become an artist, and procured for the student introductions to Uwins and Baily, R.A.’s, through whom he became a student at the British Museum and National Gallery. Under these circumstances it came about that although fond of drawing even in boyhood, the young Calderon did not seriously devote his attention to art as a profession until he was nearly seventeen years of age, when, in 1850, he became a pupil of Mr. Leigh, at the well-known drawing and painting school in Newman Street, Oxford Street, where, after no great amount of practice with chalks, he began to paint in oils from the life, and generally by gaslight. After some time he removed to Paris, and for a year attended the atelier of M. Picot, one of the ablest teachers of his time, whose method of instruction being the reverse of that adopted in Newman Street, compelled the pupil to draw carefully from the model with chalk, and delineate the outlines of the subject with scrupulous attention, abstaining from brushes and pigments altogether. M. Picot was a Member of the Institute, who retained many of the severe principles of the School of David and the artists of the French neo-classic period. After a year of this strict training our student returned to London and Mr. Leigh’s school, {66} where for nearly two years he worked, as he said, “somewhat irregularly,” painting in the evening, and copying Paolo Veronese and Rubens in the National Gallery on two days a week. He did himself less than justice when describing his preliminary studies as desultory. It is certain that he sent no mere trivial sketch to the Academy in 1853, when he was less than twenty years of age, being an illustration of the beautiful lament: “By the waters of Babylon there we sat down, Yes, we wept when we remembered Zion.” The exhibition in the same gallery, 1855, contained “Lord! Thy Will be done,” while “Maria, vide Sterne” was at the British Institution and priced at five guineas. In the latter place we saw, in 1856, “Inez,” priced at an equal sum, and at the gallery of the Society of British Artists a more ambitious example, which was priced at forty pounds, because it had several figures and attested a great advance in technical matters. The painter’s reputation was secured by the highly finished and pathetically designed “Broken Vows” at the Academy in 1857, a lady who heard her false lover devote himself to her rival. The British Artists displayed in the same year “Una hija del Sol” (“A Daughter of the Sun”), and a panel called “Queen Nymphalin and her Lord Treasurer,” while the British Institution contained “Spanish Ballads.” In 1858, until when the artist had been much occupied in portraiture, we had at the Institution “Far Away,” illustrating:-- “Still in her heart she heard the funeral dirge of the ocean, But with its sound there was mingled a voice that whisper’d ‘Despair not.’” “The Gaoler’s Daughter” and “Flora Macdonald’s Farewell to Charles Edward” were at the Academy in this year, while “Ave Maria!” was in Suffolk Street. At the former place, in 1859, appeared “Man goeth forth to his Work, and to his Labour, till the Evening,” and “French Peasants finding their stolen Child.” In 1860 we had at the Academy “Never More,” and at the Institution “Dressing for the Fair.” In 1861 the Academy contained fine proofs of the artist’s energy and progress in “La demande en Mariage,” and “Liberating Prisoners on the young Heir’s Birthday.” The latter was a very effective and brilliant picture. In the same year the British Institution contained in “The Return from Moscow,” the last of Mr. Calderon’s works on its walls, while at the British Artists’ gathering was “La Chiffonière.” “After the Battle,” Mr. Calderon’s picture at the Academy in 1862, made a still stronger and deeper mark than “Broken Vows.” It showed the interior of a cottage where a little boy, deserted by his people, who had fled before victorious soldiery, sits on a table, and is half lost in wonder, half in fear, while the victors, still flushed with conquest and hot with warlike fury, gather about the child, and with varied emotions gaze in his tearful face. “Katherine of Arragon [sic}and her Women at Work” accompanied the last-named example. The work of 1863 insured Mr. Calderon’s A.R.A.ship in 1864, and holds a high place among the more potent dramatic histories of the English School. My readers {67} will remember it as “The British Embassy at Paris, on the Day of the Massacre of St. Bartholomew.” “John Hampden’s Funeral,” and “In the Cloisters at Arles,” were at Trafalgar Square in 1864. In 1865 the painter gave us nothing, but the next year made ample amends by the stately splendor and courtly movement, vivid local colours, powerful coloration, and brilliantly illuminated costumes and accessories of the charming “Her most high, noble, and puissant Grace,” which represents a little royal damsel proceeding with wealth of attire, attendance, music, and heraldry, along with an arrassed gallery, while accompanied by gallantly-clad ladies and other courtiers. This picture has been engraved, and when in 1867 it appeared at the Parisian Exposition Internationale, the painter obtained for it the only gold medal awarded to an English artist. With it at the Academy were “In the Pyrennes,” women spinning and driving turkeys, and “On the Banks of the Clain, Poitiers,” a landscape. “Home after Victory,” full of well-restrained energy, was with “Evening,” at the Academy, in 1867. “The Young Lord Hamlet” riding on Yorick’s shoulders showed the painter’s power of, so to say, re-dramatizing Shakespeare by means of a subject merely hinted at in the text. “Œnone,” “Whither?”, his diploma work on election as an R.A. in 1867, and “With slumber and soft dreams of Love oppressed,” were in Trafalgar Square in 1868. 1869 brought forth “Catherine de Lorraine, Duchesse de Montpensier, urges Jacques Clément to assassinate Henry III.;” “Sighing his Soul out in his Lady’s Face,” two lovers in a boat, where the youth, resting on his oars, regards the fair and stately damsel steadfastly; and “The Fruit Seller.” In 1870 we were charmed by “Spring driving away Winter,” a half naked and somewhat voluptuous damsel pelting a withered crone with flowers in a sunny landscape. “The Orphans,” “The Virgin’s Bower,” and “Mrs. Bland,” a portrait, accompanied it. These works were followed in 1871 by “The new Picture—Portraits,” and “On her way to the Throne,” a sequel to “Her most high, noble, and puissant Grace.” 1872 gave us “H. S. Marks, Esq., A.R.A.,” “A high-born Maiden,” from Shelley; “Summer,” and “Mrs. Cazalet.” The pictures of 1873 were “Good Night!”, “Take, O take those lips away That so sweetly were forsworn,” “The Moonlight Serenade,” “Victory!”, and “W. R. Elwyn, Esq.” After these came “Half hours with the best Authors,” girls asleep; “The Queen of the Tournament,” and “Cynthia” (1874); “Refurbishing (St. Trophime, Arles);” “Les Coquettes, Arles;” “Toujours fidèle,” and “Great Sport” (1875); “The Nest,” “Margaret,” “Watchful Eyes,” and “His Reverence” (1876); “Joan of Arc,” “Constance,” “Home they brought her warrior dead,” {68} “Reduced Three Per Cents. (Bank of England),” “The Fruit Seller,” and “The Marchioness of Waterford” (1877); “Mrs. Bayley Worthington,” “The Nunnery of Loughborough,” “Mabel,” portrait, “The Marquis of Waterford,” and “La Gloire de Dijon” (1878); “Summer Breezes,” “A Voyage round the World,” portraits, “Twilight,” “Emily, daughter of the Right Hon. W. H. Smith, M.P.,” and “The Ambush,” portraits (1879); “The Olive,” “The Vine,” “Captives of his Bow and Spear,” and “Mrs. Brocklehurst” (1880); “Flowers of the Earth,” and “Daisy,” a portrait (1881); 1882 gave us no picture at the Academy. “Dymphna,” “The Faithful Heart,” “Joyous Summer,” and “Mrs. J. E. Champney,” a portrait, were shown in 1883, followed, in 1884, by “Night,” “Cherries,” “Currants,” and “Mrs. Henry Fellows.” Mr. Calderon had two works at the International Exhibition, 1862, and, since 1858, he has occasionally contributed to the Winter Exhibitions at the French Gallery, including “Rigolette,” “Drink to me only with thine Eyes” (to which was awarded the prize of £100 for the best picture in the gathering), and “Attempted Escape of Mary Stuart from Lochleven Castle” (1865); “Hide and Seek,” and “The Letter” (1866). He was one of the committee and a promoter of the Dudley Gallery Exhibition of Pictures in Oil, to which he sent “Isabel,” “A Lesson of Charity,” &c. He has likewise added examples to the General Exhibition of Water-Colour Drawings in the last-named gallery. In 1873 he was represented at Vienna, and received a medal. In 1878, having been selected to exhibit an extra number of works, he contributed seven pictures to the Exposition Universelle, in Paris, received a rappel of a first-class medal, and was made a Knight of the Legion of Honour. He has been occasionally represented in the Grosvenor Exhibition, where, last year, he broke fresh ground with a nude figure, and repeated the effort this year with “Aphrodite.” With the latter picture was a female head. For the Fine Art Society’s Exhibition of Pictures of English Children, he produced “The Captain of the Home Eleven,” which has been engraved. One of his best pictures has never been exhibited, called “She Sang a Song of ‘Willow.’” It shows Desdemona singing sadly just before her death. Painted in 1863, it belongs to G. E. Schwabe, Esq., who has munificently bequeathed his entire collection to his native town of Hamburg. 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 PHILIP HERMOGENES CALDERON, R.A. Biographical sketch of Philip Hermogenes Calderon 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. 65-68. Subject The topic of the resource Calderon, Philip Hermogenes (1833-1898), British painter Date Issued Date of formal issuance (e.g., publication) of the resource. July 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 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 Identifier An unambiguous reference to the resource within a given context NGA_Calderon.pdf Abstract A summary of the resource. The grandson of "Spain's great dramatic poet" and the son of a professor of Spanish literature at King's College, Philip Calderon began his life as a student of civil engineering before he became a painter, practicing an art very different from that of his accomplished relatives. At seventeen, he studied under James Leigh in his Newman Street studio and continued his education with François-Édouard Picot in Paris. Stephens provides a catalogue of Calderon's paintings exhibited at the Royal Academy, claiming that Broken Vows from 1857 secured his reputation as a technically and stylistically skilled painter. Calderon became an Associate of the Royal Academy in 1864 and made his mark with the dramatic paintings The British Embassy at Paris, on the Day of the Massacre of St. Bartholomew, John Hampden’s Funeral, and In the Cloisters at Arles in the year he became an Associate. He became a full Academician three years later. By 1884 he had exhibited internationally, received a medal for his work in Vienna and a gold medal for Her Most High, Noble, and Puissant Grace, shownat the Paris Universal Exhibition in 1878, and was made a Knight of the Legion of Honour. Date Modified Date on which the resource was changed. October 1, 2016 January 17, 2017, by LM Is Referenced By A related resource that references, cites, or otherwise points to the described resource. [F. G. Stephens] “Mr. Philip Hermogenes Calderon, R.A., Keeper.” The Athenaeum, no. 3680 (May 7, 1898): 605.