]]> Professor Sharpey and a portrait in relief of Mrs. Mordant. Having traveled to Italy, he gained his admiration for the antique from the works of Michelangelo. His sculpture of Artemis, completed in 1880, was considered superior to any of his previous works. In 1883, Thornycroft sculpted what was deemed to be his best work: a statue of The Mower.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 49-51.]]> The Magazine of Art 4 (1881): 328–32.]]> Queen Elizabeth Receiving the French Ambassadors after the News of the Massacre of St. Bartholomew; and in 1877 his Amy Robsart was purchased by the Royal Academicians with the Chantrey Fund. But Yeames's best picture is "When did you last see your father?, showing a small boy standing up to interrogation by an intimidating line of commissioners and soldiers of the Long Parliament; the picture was such a success that Yeames's election as an R.A. in 1878 was almost a foregone conclusion.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 53-56.]]> ]]> ]]> Magazine of Art (1881): 196-99.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 57-60.]]> ]]> ]]> The Art Journal, New Series, 5 (1879): 33-35.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 61-64]]> December 16, 2016 (by LM)]]> January 19, 2017, by LM]]> ]]> [F. G. Stephens]. “Sir John Gilbert, R.A.” The Athenaeum, no. 3650 (October 9, 1897): 494-95.

]]> Broken Vows from 1857 secured his reputation as a technically and stylistically skilled painter. Calderon became an Associate of the Royal Academy in 1864 and made his mark with the dramatic paintings The British Embassy at Paris, on the Day of the Massacre of St. Bartholomew, John Hampden’s Funeral, and In the Cloisters at Arles in the year he became an Associate. He became a full Academician three years later. By 1884 he had exhibited internationally, received a medal for his work in Vienna and a gold medal for Her Most High, Noble, and Puissant Grace, shownat the Paris Universal Exhibition in 1878, and was made a Knight of the Legion of Honour.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 65-68.]]> January 17, 2017, by LM]]> The Athenaeum, no. 3680      (May 7, 1898): 605.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 69-72]]> December 16, 2016, by LM]]> ]]> Duke of Kent, “he Queen, Thomas Carlyle, and The Princess Alice and Her Daughters, executed in marble, bronze, and terra-cotta. Currently, Boehm is finishing up a colossal statue of Darwin for the Natural History Museum.]]>
]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 73-75.]]> January 17, 2017, by LM]]> The Athenaeum, no. 3295 (December 20, 1890): 861.]]> Grandson of an eminent sculptor and son of a distinguished architect, Poynter began training as a child at Mr. Leigh's academy in Newman Street. Later, traveling abroad for his health, he concentrated on landscape painting until he met Frederic Leighton in Rome in 1853 and, under his influence and instruction, shifted his interest to the figure. He was admitted to the Royal Academy schools in 1855 but soon thereafter went to Paris, entering the atelier of Charles Gleyre as well asworking at the Ecole des Beaux-Arts and in a studio of his own. Poynter first exhibited a painting in London in 1859, when hecame to the attention of William Burges, who employed him to paint medieval designs on custom-made furniture; at the same time, he produced cartoons for stained glass windows by Messrs. Powell of Whitefriars. Settling in London in 1860, Poynter painted panels for Walltham Abbey church and made designs for woodcuts for the Dalziel Brothers' Illustrated Bible. He made his début at the R.A. in 1861, but was hardly noticed until 1864, with the exhibition of On Guard in the Time of the Pharaohs. He has continued to exhibit at the Academy ever since, receiving special praise for Israel in Egypt in 1867. He worked as an illustrator for Once a Week, among other papers, and on the strength of The Catapult was elected A.R.A. in 1869. Subsequently, Poynter designed mosaics for the South Kensington Museum and the Houses of Parliament; his decorations for the Grill Room at South Kensingtonare perhaps the most accomplished.
In 1871 Poynter was appointed the first Slade Professor of Fine Art at University College, London; in 1875 he became Director for Art at South Kensington and the next year was elected an R.A. Poynter's acknowledged masterpiece is A Visit to Æsculapius of 1880. His studio portrait shows the artist with one of the designs he is currently executing for the dome of St. Paul's.

 

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

]]> J. E. Millais, the most famous being The Huguenot. Barlow organized memorial exhibitions of works by Phillip and by Thomas Creswick for the South Kensington Museum. He was elected an R.A. when Samuel Cousins retired. Mayall's studio portrait shows Barlow with portraits by Millais and engravings of his own.]]> 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. 83-86.]]> The Athenaeum, no. 3244 (December 28, 1889): 902.]]> 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.]]> A Fen Farm, was shown at the RA in 1884. Since 1878, Macbeth also exhibited at the Grosvenor Galery. He credits Frederick Walker, G. Pinwell, G. Mason, and J. E. Millais with influencing his work, and out of gratitude he is currently producing etchings after their paintings.]]> 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. 87-88]]> ]]> ]]> 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."]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 89-91.]]> January 20, 2017, by LM]]> ]]> ]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> 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. 93-95.]]>
]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point. The Premier as an artist would be a novelty for which few would be prepared. Luckily, however, the notice appended to his portrait explains that besides being a considerable collector of bric-à-brac, Mr. Gladstone has for some nine years been Professor of Ancient History in the Royal Academy, and that it is as such that his portrait is here introduced. The office is one without duties and without salary, a condition to which Oliver Goldsmith, upon whom the honour was first conferred, humorously referred when he wrote to acquaint his brother of his new dignity. The notes in connection with the office from then to now are as interesting as anything in the volume."]]> Studies on Homer and the Homeric Age (1858)]]> Ecce Homo! (1868)]]> Juventus Mundi and Homeric Synchronism (1876)]]> The Vicar of Wakefield (1766)]]> The Decline and Fall of the Roman Empire  (1776)]]> Diary and Evelina (1778)]]> Artists at Home (detail)]]>

]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and desriptions, by Frederick George Stephens (New York: Appleton & Co., 1884)]]> https://books.google.com/books?id=JoZPAQAAMAAJ&printsec=frontcover&source=gbs_ViewAPI#v=onepage&q&f=false]]> Frederic Leighton, Baron Leighton]]> ]]> The Studio: A Collection of Photographic Portraits of Living Artists, taken in the style of the Old Masters, by an Amateur, March 1864.]]> The Sluggard]]> Athlete Awakening from Sleeping]]> The Sluggard, 1885, Tate]]> Sir Henry Irving]]> Portrait of Henry Irving, oil on canvas, 1883. The Garrick Club, London.]]> 28 1/2 in. x 22 in. (724 mm x 559 mm) paper size]]> Sir Isaac Newton]]> Sir Isaac Newton, 1702. Oil on canvas. National Portrait Gallery, London (NPG 2881)]]> The Ides of March]]> Julius Caesar, when the wife of Caesar, Calphurnia, implores her husband not to go to the senate house, where he will be assassinated.]]> A Visit to Aesculapius]]> Hekatompathia, Sonnet XX:

In time long past, when in Diana's chase
A bramble bush prick'd Venus in the foot,
Old AEsculapius help'd her heavy case
Before the hurt had taken any root:
Wherehence although his beard were crisping hard
She yielded him a kiss for his reward.]]> Portrait of the Artist]]>