7 20 532 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/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/4cd644c57d8bfb3c9845653868a477a8.pdf 3fac65672cc67ed13c982c937ef1375b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format Book pages Text Any textual data included in the document MR. W. HAMO THORNYCROFT, A.R.A. ALL the authorities agree that this distinguished sculptor was born in London on the 9th of March, 1850. He is one of the younger members of a family of artists whose parents were successful sculptors. His father was an almost unfailing contributor to the Royal Academy Exhibitions from 1830 to 1874, and his mother (born Mary, daughter of Mr. John Francis, a sculptor of repute since 1820) had attained distinction long before her son now in question was born. The Thornycroft family came from Cheshire, and was of good social position. My subject was educated in the Grammar School at Macclesfield, and in the school of University College, London. There he remained four years, and, later, he spent some time in the college proper. After this, determining to follow the profession of his father and mother, in whose ateliers, without becoming a regular pupil, he had already worked with some éclat, the tyro entered the Royal Academy as a student in 1869. Diligence and natural gifts assured his progress, so that, in December, 1870, he obtained a silver medal for a restoration, and, in the same year, a second similar medal for a model from the antique. He combined work at Burlington House and in his father’s studio, and assisted the latter artist in several commissions, of which the fountain in Park Lane is the most important. Mr. Gosse, who supplied some of these details of his friend’s career, has told the world that the figures of “Comedy,” “Shakespeare,” and “Fame” blowing a trumpet, which pertain to this fountain, are entirely due to the younger artist. This studio work was continued during two or three years. In 1872 Mr. Hamo Thornycroft’s début was made at the Royal Academy by means (1) of a bust of “Professor Sharpey,” one of the more distinguished members of University College, London; and (2) a portrait in relief of “Mrs. Mordant.” In this year the student won the Academy silver medal for a drawing from the life, and he went to Italy, where, naturally enough, his previous studies having been chiefly directed to the antique, he was much impressed by the genius of Michael Angelo. In 1873, “Fame,” as above, appeared at the Academy. In 1874, a statuette of Lord Mayo on horseback, designed, I believe, in competition for an Indian commission, was at the same place, and attracted {50} those who searched the sculpture galleries for meritorious productions, as well as other observers to whom the bruit of the schools and the young artist’s friends had carried the name of the “sculptor of the future.” With “Lord Mayo” we had at the Exhibition a bust of “Dr. Mouat.” 1875, when Mr. Thornycroft did not exhibit, was distinguished in the annals of the Royal Academy as the year in which a gold medal was to be awarded for a design in sculpture produced in competition. According to the regulations of the body, the Council indicated the subject for the contest, and selected “A Warrior bearing a Wounded Youth from Battle.” Greek reliefs afforded several capital illustrations of this theme, and showed the just method for treating it; but Mr. Thornycroft’s vigorous interpretation, to which the prize was given, was his own, and commanded the admiration of his judges and competitors. This admiration was generally shared when, in 1876, the laureated example was exhibited in Burlington House. A bust of “F. Tagart, Esq.” accompanied it. The “Warrior” has been reproduced by the Art Union of London as a standing prize for its subscribers. 1877 was a blank year at the Academy, so far as Mr. Thornycroft was concerned. We were in 1878 more than compensated for this abstention by the display of a statue of “Lot’s Wife,” looking back at the instant of transformation, which added greatly to the reputation of its author, and compelled all to look forward to his next year’s doings. A bust was exhibited with it. “Stepping Stones,” a group in marble, came forth in 1879, and represented a girl carrying her little brother in her arms. It was, we are told, an early work. A better instance was a sketch for a statue of “Dr. William Harvey,” discoverer of the circulation of the blood, which accompanied the group at the Academy. Far more effective than anything he had done before was the “Artemis” of 1880, a statue of the “Goddess of the Silver Bow” while hunting, attended by a dog, and in the act of drawing an arrow from a quiver slung over her shoulder. With it appeared a bust of “Sir Arthur Cotton,” and a very energetic and clever statuette in bronze representing an athlete “Putting the Stone.” The smaller example attested the spontaneity and energy of the artist’s conceptions with greater power than its companion work. If elections to the A.R.A.ship had been invariably secured by the merits of the chosen artist, Mr. Thornycroft need not have waited till January 20, 1881, for the less dignified Academical honour. As it happened however, he was, in company with Mr. F. Dicksee,<a title="" href="#_ftn1">[1]</a> elected on that day. A statue of “Teucer,” standing erect, with his feet placed side by side, and still holding at arm’s length the bow from which an arrow had flown, was one of the noteworthy elements of the Exhibition of 1881. There was no question of the {51} noble qualities of the marble statue of “Artemis” we all admired in the Exhibition of 1882; it showed a grand advance on the design of the same subject which has been already mentioned. With it appeared a statuette in bronze of the Earl of Beaconsfield, and the bronze reproduction of the above-named “Teucer,” which the Academicians bought with the Chantrey Fund and have deposited at South Kensington. 1883 gave us in Burlington House five works by Mr. Thornycroft, of which the more important was a charming statuette of “Miss R. Sassoon,” instinct with its purpose to suggest “A Sonata of Beethoven.” The present year has produced the sculptor’s best work, in the statue of “The Mower.” <div> <div> <a title="" href="#_ftnref1">[1]</a> Referring to the foregoing memoir of Mr. F. Dicksee, it is desirable to say that this painter’s more important work of 1881 was “The Symbol,” not “Miranda,” which was his father’s production. The former artist was elected as above stated; on the 28th of the same month, Messrs. Brett, Burgess, and Gow became A.R.A.’s. </div> </div> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource W. H. THORNYCROFT A.R.A. Biographical sketch of William Hamo Thornycroft Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 49-51. Subject The topic of the resource Thornycroft, William Hamo (1850-1925), English sculptor Date Issued Date of formal issuance (e.g., publication) of the resource. June 1884 Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Vanessa Pike Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). September 29, 2016 Abstract A summary of the resource. Born in London on March 9, 1850, Thornycroft came from a large family of sculptors from Cheshire. He enrolled in the Royal Academy as a student in 1869, and debuted there as an artist in 1872 with a bust of Professor Sharpey and a portrait in relief of Mrs. Mordant. Having traveled to Italy, he gained his admiration for the antique from the works of Michelangelo. His sculpture of Artemis, completed in 1880, was considered superior to any of his previous works. In 1883, Thornycroft sculpted what was deemed to be his best work: a statue of The Mower. Identifier An unambiguous reference to the resource within a given context NGA_Thornycroft.pdf Date Modified Date on which the resource was changed. December 9, 2016 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Edmund Gosse, "Our Living Artists: Hamo Thornycroft, ARA," The Magazine of Art 4 (1881): 328–32. https://artistsathome.emorydomains.org/files/original/7f24cb25e48f606c951eb96e72b3bba6.pdf 5dfbecf9b16edb2cde069df62e821ab8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. WILLIAM FREDERICK YEAMES, R.A. THIS painter, although he is one of the more distinguished members of the Royal Academy, differs from many of his fellows in owing none of his technical training to that institution, which, although the public takes small notice of the circumstance, devotes the larger portion of its means to the gratuitous education of artists, and is even more energetic as a teaching than as an exhibiting body. Mr. Yeames is, so far as his native country is concerned, a pupil of the late Mr. J. S. Westmacott and the present Director of the National Portrait Gallery. Passing from the hands of these advisers, having, during a brief sojourn in this island, not obtained admittance to the schools at Trafalgar Square, he went to Italy and entered the Academy at Florence, where he remained two years under the charge of Professor Pollastrini and of Raffaelle Buonajuti, while his great natural powers ripened, so that he was soon on the way to distinction. Returning to the outset of his career, let me say that Mr. Yeames was born in December, 1835, at Taganrog, where his father, a man of culture and warm artistic sympathies, was British Consul. The family, in which the painter is the fourth son, belongs to Norfolk, and, as Mr. Fenn, to whose biography of his friend I am indebted for a few details of this sketch, states, both his parents zealously promoted the early declared artistic inclinations of their son. The student was not more than seven years old when his father took the whole family to Rome, on purpose, it is said, that they might become familiar with the treasures of the metropolis of bygone design. Between 1843 and 1848, a sojourn at Dresden favoured the general education of my subject. Removed to England, he, while a pupil of Messrs. Westmacott and Scharf, attended the anatomical classes at University College, London. After this he returned to Italy, and prosecuted his studies in Florence and Rome until 1858, when he settled in London, where he had determined to bring to fruit the labours of his youth. The effects of these Italian studies are always observable in his works. Mr. Yeames’s first exhibited pictures were at the Academy in 1859, and consisted of a {54} portrait of Mr. B. Wishaw of Cheltenham, and a humorous and pathetic example called “The Staunch Friends,” which, by representing a jester and his monkey, attracted a certain amount of attention in artistic circles, and heralded a wider success. It initiated a series of historical and domestic romances in art, the number of which already approaches a hundred. Of these, the majority were at the Academy; half-a-dozen, including the noteworthy “Trystinge Houre,” were at the British Institution; one, called “Sophy and Lionel,” was at Suffolk Street in 1861; many more were at the French Gallery and at the Dudley Gallery. Of the managing society of the last-named exhibition our painter was, during several years, a prominent, and, I believe, an active member. The more important of his productions have been seen in Trafalgar Square and at Burlington House. Of these the leading examples are as follows. Omitting the exhibition of 1860, when Mr. Yeames did not appear at the Academy, he made a considerable mark in 1861 with “The Sonetto,” which excelled in showing a young Italian bard (Petrarch) pacing up and down a long external gallery of an ancient Florentine house, where he had put aside his large lute, and maintained rapt in the act of poetic composition. The character of the face and the spirit of the attitude, the effect of morning on the house-tops seen from the gallery, the general representation of light in the whole work, and above all, an impression of originality in its sentiment and technique, commended this picture to painters. Therefore Mr. Yeames’s next year’s work was looked for with much interest. “The Toilette,” a comparatively unimportant example, accompanied “The Sonetto.” The picture of 1862 was styled “Rescued,” and showed a child fallen into the sea whom a bold sailor has rescued, and is now clinging for life to a jetty with the little one in his arms. The lookers-on are full of expression. In 1863 we had “The Meeting of Sir Thomas More and his Daughter,” the scene of which is a courtyard, after Sir Thomas had left the place of trial for that of his brief imprisonment. His daughter has broken through the line of the guards and struggles with two of them; her arms are extended towards her father, who has turned round for a last embrace; his pale and sad face showed profound tenderness and a heart-worn dignity; especially expressive emotion pervaded his undemonstrative attitude, and contrasted with the passion of the woman. The subordinate figures of the design were studied with quite as much care as those in chief; they included the children Margaret had left standing behind her, the soldiers, their officers, and several spectators. In 1864, the Academy contained “La Reine Malheureuse,” an interesting but less vivid example than the above of the artist’s power of dramatizing his themes. It represented Henrietta Maria taking refuge from Admiral Batten’s cannonade of Burlington Quay; the lady and her attendants shiver in the cold and snowy landscape; their aspects are woe-begone, while the rendering of their emotions and conduct was not without humour. The Jesuit Confessor of Her Majesty crouches in front of that terrified group, while behind her is Jermyn, her reputed lover. In {55} 1865 the subject chosen for delineation contrasted with the last in being a chivalric one; it was named “Arming the Young Knight,” and illustrated an “Old Ballad” beginning: -- “God speed thee, then, my own brave boy, Sith thou must forth in armour dight.” A much more important picture came from Mr. Yeames’s hands in the following year, and, with exceptional spirit and effectiveness, represented “Queen Elizabeth receiving the French Ambassadors after the news of the Massacre of St. Bartholomew.” Her Majesty sits on her throne facing us; the ambassador’s figure, with his back towards us in front, was the most important element in the design, and placed where his splendid satin dress gave a powerful and brilliant spot of light. It was doubtless owing to the strong impression made by the above-named works that Mr. Yeames, although he had exhibited so few examples of his skill, was elected an A.R.A. in 1867, a year in which he sent to the Academy “On Bread and Water,” and thus displayed an odd interior with figures, including that of a boy under punishment, seated, and sulkily munching meager food at the extreme end of a long table which is elsewhere loaded with rich viands; a serving-woman goes out of the room. “The Dawn of the Reformation” was with the above in the same gallery; it showed Wycliffe at the door of his parsonage at Lutterworth addressing some young men and youths, his disciples, and giving them copies of the Scripture he had translated. “The Chimney Corner” comprised a boy sitting by the fire in a convent chamber, or hospital, and wrapped in a blanket; a man approaches him. This picture was at the Academy in 1868, and with it the more important “Lady Jane Grey in the Tower” while listening to the argument of Feckenham, the Queen’s Confessor. The former significantly held the Bible in one hand, and grasped that hand with its fellow, as if to make doubly sure of the object of her trust. Her face was marked with pain, as if the mind within was pressed by physical fear, and yet held on bravely. The figure of the confessor was hardly inferior to that of the lady. “The Fugitive Jacobite,” which followed the above in the Academy of 1869, showed such a person about to hide in the chimney of a bedroom of an ancient house, while the family of the host are gathered in the chamber; a lady looks from a window as if to watch the arrival of the pursuers. The companion to this noteworthy piece of melodramatic genre was called “Alarming Footsteps,” and derived this title from the figure of a little boy approaching a corridor, and, boy-like, jumping from step to step of a staircase. Two lovers linger at a window, and are startled by the noise. 1870 saw three pictures of Mr. Yeames’s at the Academy: they were “Maundy Thursday,” a lady washing the feet of poor women in a castle hall; “Visit to the Haunted Chamber,” which, to their terror and that of the rats they disturb, some damsels have entered; and “Love’s Young Dream.” The remaining exhibited works of the painter will be remembered by my readers. They were “Doctor Harvey and the Children of Charles I.” {56} and “The Prisoner and his Guests” (1871); “The Old Parishioner” and “A Rest by the River Side” (1872); “Pleading the Old Cause,” “The Morning Rehearsal,” and “The Path of Roses” (1873); “The Appeal to the Podestà,” a Florentine incident, “Flowers for Hall and Bower,” “Pulpit Decorations for Harvest Home,” and “The Christening” (1874); “Pour les Pauvres” and “The Suitor” (1875); “La Contadinella,” “The Last Bit of Scandal,” and “Campo dei SS. Apostoli, Venice” (1876); “Waking,” “Amy Robsart,” the corpse of the lady lying at the foot of a staircase, two men staring at it from above with horror—this picture was bought by the Academicians with the Chantrey Fund—“The Fair Royalist,” a pastel study, and a portrait (1877). “When did you last see your father?” a picture which is, on the whole, our painter’s best, represented commissioners and soldiers of the Long Parliament questioning the inmates of a manor-house as to the whereabouts of its master. A commissioner addresses a question in the terms of the title to a handsome little boy who, standing on a stool at the foot of a table with his hands behind him, hesitates, with charming ingenuousness, to answer the perilous demand. The man sits looking at the child, and rests his chin upon the backs of his hands, which are folded together. A young girl, who is weeping, stands behind her brother, and is under the charge of a stalwart, not pitiless, soldier. The mother of these children and their elder sister are in the background watching the event; the former turns her face towards us with mingled hope, pride, and fear for the noble little fellow. The painter’s election as a Royal Academician on the 19th of June, 1878, was considered a foregone conclusion when this capital piece was exhibited. The force of pictorial and pathetic melodrama could no farther go. In 1879 we noticed at the Academy “By the Sea-side, portraits,” and “La Bigolante: Venetian Water Carrier.” The pictures of 1880 were “The Finishing Touch: green room at private theatricals,” and a portrait of “Thomas Turner, Esq., late Treasurer of Guy’s Hospital.” 1881 produced at Burlington House, “Here we go round the Mulberry Bush” and “Il dolce far niente;” 1882 gave us “The March Past,” “Prince Arthur and Hubert,” and “Welcome as Flowers in Spring;” the picture shown in 1883 was called “Tender Thoughts.” The Academy now contains “The Toast of the Kit Cat Club” and two portraits. Original Format Book pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource WILLIAM FREDERICK YEAMES, R.A. Biographical sketch of W. F Yeames Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 53-56. Subject The topic of the resource Yeames, William Frederick (1835-1918), English painter Date Issued Date of formal issuance (e.g., publication) of the resource. June 1884 Abstract A summary of the resource. W. F. Yeames was born in Russia, where his father was British Consul. The elder Yeames recognized his son's talents and took the entire family to Rome when Yeames was only seven, simply to acquaint his son with the art treasures there. Upon the family's return to London, Yeames studied with J. S. Westmacott and Sir George Scharf. Failing to gain a place in the Royal Academy Schools, he returned to Italy and entered the Academy at Florence. Finally, in 1858, Yeames settled in London and the next year exhibited a painting for the first time at the R.A. From that point on, Yeames produced large numbers of historical and domestic romances, most of which were exhibited at the Academy, though some were shown at the British Institution, Suffolk Street, the French Gallery, and the Dudley Gallery. He was elected an A.R.A. in 1867, the year after exhibiting his important Queen Elizabeth Receiving the French Ambassadors after the News of the Massacre of St. Bartholomew; and in 1877 his Amy Robsart was purchased by the Royal Academicians with the Chantrey Fund. But Yeames's best picture is "When did you last see your father?, showing a small boy standing up to interrogation by an intimidating line of commissioners and soldiers of the Long Parliament; the picture was such a success that Yeames's election as an R.A. in 1878 was almost a foregone conclusion. Relation A related resource FOLIO2011_134_004.tif References A related resource that is referenced, cited, or otherwise pointed to by the described resource. W. W. Fenn, "William Frederick Yeames," Magazine of Art (1881): 196-99. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Yeames.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). September 25, 2016 https://artistsathome.emorydomains.org/files/original/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/7f3095857de6863e6318ca5f9554ca3e.pdf 3d53fb0f1ee715818a8d4acc51e7761b 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 SIR JOHN GILBERT, R.A. PRESIDENT OF THE ROYAL SOCIETY OF PAINTERS IN WATER COLOURS; HONORARY MEMBER OF THE SOCIETY OF BRITISH ARTISTS; OF THE SCOTTISH SOCIETY OF WATER-COLOUR PAINTERS; OF THE SOCIETY OF ARTISTS OF BELGIUM; AND OF THE SOCIETY OF PAINTERS IN WATER COLOURS OF BELGIUM; HONORARY PRESIDENT OF THE LIVERPOOL SOCIETY OF WATER-COLOUR PAINTERS, AND KNIGHT OF THE LEGION OF HONOUR. THE Rubens of our time, as this admirable artist is not inadvisedly called, was born at Blackheath in 1817, and, having been educated at a school in the neighbourhood of that place, where the greater part of his life has been spent, began the world in that position from which not a few of our best painters have escaped, i.e., as a clerk in a City counting-house. Thus he remained until it was indisputable that although, as the wits said, “figures were his forte,” those our student dealt in were not much in demand in the purlieus of Cheapside, which (after wearily spending many months and spoiling quires of office paper, on which he made designs with office pens and ink) he quitted in due course and for ever. Long before this time sedulous devotion to sketching from nature in all forms, and diligent copying of prints in childhood, had given to the boy’s hands that forthright tact in delineation which is one of the marvels of his art. This facility was a natural complement to his artistic birthright and a mode of expressing his power of dramatically realizing subjects the pictorial qualities of which he intuitively recognized. As men are said to think in the languages of their youth, so young John Gilbert thought in pictures. To such a mind technical exercises are, even when difficult, delightful, and the artist knows no fatigue in studies, however onerous they may be. John Gilbert has been described as a self-taught painter, and there can be no doubt that like Mr. Yeames, he failed in the “little go” of the Royal Academy, i.e., he did not obtain the Studentship of that institution. He did not work at that fertile Academy of English art the Sculpture Gallery of the British Museum, which has produced the larger proportion of the more accomplished painters and sculptors of our time. He had, it is said, some lessons in the use of colours from Haydon’s pupil, George {62} Lance, the fruit-painter, and one who seems to have been a capable teacher. On the whole, however, it is certain that Gilbert’s true master was himself, and that he had a most energetic and diligent pupil. That power of delineation, and its complementary insight to the “paintableness” of a subject to which I have alluded, qualified the owner to illustrate books, magazines, and other periodicals, from the “London Journal,” which flourished with hundreds of his cuts, to the “Illustrated London News” and a similar newspaper, on the one hand, and, on the other hand, to volumes of beautiful typography. These splendid tomes include some of Shakespeare’s plays, such as “The Merchant of Venice,” which were published severally, and Mr. Howard Staunton’s “Shakespeare” at large, a noble example of what book illustrating might effect, and abundantly furnished with designs, tragic, passionate, sedate, humorous, and gay. Of such designs the artist has produced thousands, not one of which is without a charm, or void of some potent spark of life. The draughtsman’s earliest work of this class, apart from the “Illustrated London News,” to the first number of which he added light, and to which he continued to contribute for many years, was entitled “The Thames and its Tributaries,” 1840. To this succeeded “Chronological Pictures of English History,” 1842-3; “The Crystal Palace that Fox built,” 1851; “The Poetical Works of Sir W. Scott,” 1857; “The Book of Job,” comprising fifty designs, 1857; “The Poetical Works of Professor Longfellow,” 1858; “The Triumph of Steam,” 1858; “The Proverbs of Solomon,” 1858; “Wordsworth’s Poems,” 1859; “Shakespeare’s Songs and Sonnets,” 1863; “The Poetical Works of John Milton,” 1864; “A Picture Story Book,” one of the best of its class as now represented, 1866, and “The Book of Brave Old Ballads,” 1869. Here are enough works for the life of one man; many accomplished draughtsmen have given us fewer. It would not have been possible even to the abundant invention and facile hand of the designer to produce so much work if, quite early in his career as an illustrator, he had not acquired power to draw on the wood blocks from which the designs are printed. In a little while certain engravers understood the artist’s technique, and preserved its essential qualities instead of “editing” away all the idiosyncratic virility, vitality, and energy in which his designs excel. The usual process of cutting drawings on wood is fatal to everything but the smoothness of a mechanical translation from vigorous originals to rapid and polished versions, exhibiting more of the “editor” than the author. Great as was John Gilbert’s activity, and overflowing as his resources appear in the multitude of designs on wood, the entire category may be compared with the considerable number of water-colour drawings and oil pictures he has produced. He had acquired great technical skill ere, for the first time, sending work in colours to an exhibition. He appeared thus at the Gallery of the Society of British Artists in 1836, with two drawings, entitled “The Arrest of Lord Hastings,” and “Abbot Boniface,” from Scott’s “Monastery.” {63} “The Coronation of Inez de Castro” (1837) illustrated that extended choice of subjects which is noteworthy in the life of our painter. “Commodore Trunnion’s Courtship,” (1838), “Masking and Mumming in an Inn Yard in the Sixteenth Century,” and “The Feast of Fools,” referring to Scott’s “Abbot,” were oil-colour pictures in the same gallery (1839), where, in 1848, an illustration of Cowper’s “Task” was shown; these were followed by “Christian over against the Month of the Burning Pit” (1880). John Gilbert first contributed to the British Institution in 1837 a “Scene from Ivanhoe;” it was accompanied by “Old Mortality,” and, in 1839, followed by “The Supper at Rotherwood,” from “Ivanhoe;” “Falstaff with the Buck’s Head,” and “Don Quixote giving Advice to Sancho Panza” (1841); “The Duke promises Sancho the Government of an Island,” and “Tristram Shandy,” Trim proposing to construct fortifications (1842); “The Education of Gil Blas” (1843); “Brunetta and Phillis,” from the “Spectator, No. 80,” and “The Lady in the Robbers’ Cave,” from “Gil Blas,” “Chap. X. (1844); “Gipsies,” and “King Henry VIII.,” Act iii. Scene 2, Norfolk and Wolsey (1845); “The Death of Cardinal Beaufort,” and “John Bunyan writing his ‘Pilgrim’s Progress’ in Prison” (1846); “Celia’s Triumph,” from Ben Jonson, and “The Fronde Riots” (1847); “Othello,” Act I. Scene 3, Desdemona and her father, and “The Milk Cart, Antwerp” (1848); “The Murder of Thomas à Becket,” and “The Disgrace of Cardinal Wolsey” (1849); “The Plays of Shakespeare,” a tableau of the principal characters in those dramas, “A Troop of Dragoons,” and “Aladdin’s Present to the Sultan” (1850); “Signor Don Sancho Panza, Governor of Barataria” (1851); “Charge of Prince Rupert’s Cavalry at the Battle of Naseby,” and “The Queen holding a Drawing Room at St. James’s Palace” (1852); “A Spanish Landscape and Figures” (1853); “Sancho Panza informing his Wife of his coming Dignity” (1854); “A Regiment of Royalist Cavalry at the Battle of Edgehill” and “The Village School” (1857); “Rubens instructing the Younger Teniers” (1858); “Sir John Falstaff examining the ‘sufficient Men’” (1859); “The King’s Artillery at Marston Moor,” “The Taming of the Shrew,” Act iv. Scene 1, Petruchio and the servants, and “Sancho Panza describing Don Quixote to the Duke and Duchess” (1860); “The Studio of Rembrandt: (1861); “Wolsey and Buckingham” (1862); “A Trumpeter” and “The Timber Cart” (1866); and, this being the final gathering at the British Institution, “Don Quixote comes back for the last time to his Home and Family” (1867). At the Royal Academy the artist, in 1838, first contributed a “Portrait of a Gentleman,” one of the few works of the kind he has made public. This was succeeded, in 1841, by “Holbein painting the Portrait of Anne Boleyn,” a task which, had the great Augsburger performed it, would no doubt have been eminently pictorial and fitted for the sumptuous art of John Gilbert. “Don Quixote’s first Interview with the Duke and Duchess” was an important contribution to the gathering of 1842, and was followed, in 1844, by “Don Quixote disputing with the Priest and Barber.” “The Unrest of the King,” as described {64} in “King Henry IV.” Part II, Act iii. Scene 1 (1845); “Desdemona,” and “The Emperor Charlemagne Inspecting the Schools” (1846); “Don Quixote at the Castle of the Duke” (1847); “Don Quixote and Sancho Panza resting under the Tree” (1849); “Touchstone and the Shepherd in the Forest of Arden” (1850); “The Destruction of Job’s Flock” (1851). After this a long gap was stopped by “Rembrandt” (1867); and “Convocation of Clergy” appeared at the Academy in 1871, before the painter was elected an A.R.A. on the 29th of January, 1872. As an A.R.A., his first contribution was “King Charles leaving Westminster Hall after Sentence of Death had been Passed.” In 1873 appeared “The First Prince of Wales,” and “Naseby,” one of the most truly representative and potent of Sir John’s pictures. “The Field of the Cloth of Gold” (1874) preceded “Tewkesbury Abbey—Queen Margaret carried Prisoner to Edward after the Battle of Tewkesbury,” “Mrs. Gilbert,” and “Don Quixote and Sancho Panza at the Castle of the Duke and Duchess” (1875); “Crusaders,” “Richard resigning the Crown,” and “Portraits of two Sisters” (1876). On the 29th of June in the last-named year Sir John Gilbert became a Royal Academician. In the next year he sent “Cardinal Wolsey at Leicester Abbey” and “Doge and Senators in Council.” “Ready!” and “May Dew” appeared in 1878; “The Return of the Victors” in 1879; “Henry VI.,” Part II., Act iii. Scene 2, Warwick and the King contemplating the corpse of Gloucester, and “Evening,” a landscape, in 1880; “Fair St. George,” in 1881; “Don Quixote and Sancho at the Castle of the Duke,” “A Trumpeter,” “Thomas à Becket,” and “The Baron’s Raid” in 1883; and, this year, “The Morning of the Battle of Agincourt.” In 1852 John Gilbert was elected an Associate Exhibitor of the Society of Painters in Water Colours, and, for the first time in their gallery, he exhibited “Gloucester and the Murderers,” “The Standard Bearer,” “A Trumpeter,” and “The Toilet.” In 1853, “The Violin,” and his important “Richard II. resigns his Crown to Bolingbroke,” proved the value of the society’s new contributor. It was bought by the Corporation of Liverpool for the permanent Art Gallery of their town, and was followed by “The Rosary,” “Hudibras and Ralpho in the Stocks,” the celebrated “Drug Bazaar, Constantinople,” and “A Turkish Water Carrier” (1854); “The Merchant of Venice,” “An Alchymist,” and “The Letter Writer” (1855). He was elected a Member of the society in 1855; its President in 1871. After this he was knighted. His contributions in Pall Mall are too numerous for mention here; they are more than a hundred. “The Doge and Senators of Venice” was at the Paris Exposition Universelle, 1878, when the painter was made a Knight of the Legion of Honour. Many of his works have been engraved. In the background of the portrait is “Fair St. George,” one of the most refined examples Sir John Gilbert has given us. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource SIR JOHN GILBERT, R.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. 61-64 Subject The topic of the resource Gilbert, John (1817-1897), English painter, illustrator, and engraver Date Issued Date of formal issuance (e.g., publication) of the resource. July 1884 Abstract A summary of the resource. Sir John Gilbert, born on July 21, 1817, is an English Romantic painter and illustrator of literary classics. He is especially well known for his woodcut illustrations. A prolific watercolorist, Gilbert has been associated with the Old Water-Colour Society from 1852 and became its president in 1871, shortly after which he was knighted. He was made a member of the Royal Academy in 1876. Identifier An unambiguous reference to the resource within a given context NGA_Gilbert.pd Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Gabriella Meier Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). September 29, 2016 December 16, 2016 (by LM) 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. Date Modified Date on which the resource was changed. October 1, 2016 January 19, 2017, by LM Is Referenced By A related resource that references, cites, or otherwise points to the described resource. [F. G. Stephens]. “Sir John Gilbert, R.A.” The Athenaeum, no. 3650 (October 9, 1897): 494-95. 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. 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/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/831840767031bd15d849fba1afcd676e.pdf 0dbdab4ec9add11b6eb96a339ecf35cd 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. ROBERT WALKER MACBETH, A.R.A. THIS able painter in oil, draughtsman in water-colours, and etcher, is a son of Mr. Norman Macbeth, R.S.A., and brother of Mr. James Macbeth, and was born in Glasgow, September 30, 1848. Having been educated at Edinburgh and in Germany, he entered the Edinburgh Life School at the age of eighteen. In 1870 he came to London, and became a Student in the Royal Academy, on the 3rd of January, 1871. He contributed to a London gallery for the first time in 1870, when his “Des Etrangers” was at the General Exhibition of Water-Colour Drawings at the Dudley Gallery, with “A Bright Part of the Path,” both drawings, and two woodcuts. These works attracted considerable attention. He was again represented in the same exhibition, especially by means of “Pier-head, Newhaven,” and “Forgotten” (1873); “A Study in Lincolnshire,” and “London Lights” (1875). In the Winter Exhibition of Cabinet Pictures in Oil at the Dudley Gallery, Mr. Macbeth appeared with “On the Thames” (1871); “Mid-Day in Greece,” and “A Word of Advice” (1872); “A Backwater of the Thames” (1873); “While Fishing Boats lie nestled in the Bay,” and “Welcome as the Flowers in May” (1873); “The Bower Window” (1874); “Fireside Friends,” and “Sisters” (1875); “Fisherman’s Children” (1876); “A Bacchante,” “My Lady Bountiful” (1879); and “The Way down the Cliff” (1880). He was an active member of the Committee of the last-named gathering, and took a similar part in promoting the Exhibition of Black and White held in the Dudley Gallery, and he sent several works to it, including drawings in monochrome, and etchings. Mr. R. W. Macbeth has contributed to the Academy Exhibition since 1873, when he made his first appearance with “Sunshine and Shade.” In 1874 we had “Phillis in the New-Made Hay,” followed in 1875, by “Ca’ the yowes to the knowes,” and “Mother and Child.” “A Lincolnshire Gang” established the artist’s reputation on a much higher level than it had been already placed, and was one of the leading pictures in the London gatherings of the year 1876. “Potato Harvest in the Fens,” exhibited in 1877, brought increase of distinction to the painter. “Sedge Cutting in Wicker’s Fen, Cambridgeshire— {88} Early Morning,” came forth in 1878. Three etchings, and a picture of “A Sardine Fishery” were produced in 1879. “In Clover,” a painting, and an etching of the previous year’s picture, were shown in 1880. “The Ferry” was at Burlington House in 1881; “Waiting,” “The Ferry Inn,” and “Betrothed” in 1882. In January, 1883, the artist was elected an Associate of the Royal Academy, and in May following justified his position by “A Sacrifice,” “The Signal,” pictures, and a large etching of “The Harvest Moon,” after George Mason’s famous idyl. The contribution of the present year is, probably, the artist’s masterpiece, and will be remembered as “A Fen Farm,” representing a handsome Lincolnshire lass standing at a field gate just before sundown, while the golden light flooded her whole form and all the landscape, and in the words of Miss Ingelow’s ballad, she cried to the homeward-coming kine: -- “Cusha! cusha! cusha! calling, For the dews will soon be falling.” An etching after Pinwell’s clever “Pied-Piper of Hamelin” accompanied this brilliant and vigorous example. Mr. Macbeth was elected an Associate of the Society of Painters in Water-Colours in 1871, and in that year contributed to the two collections in Pall Mall, “Gipsies,” “Frozen In—Duddington Loch, near Edinburgh,” “An Empty Spindle,” “Sketch,” and “Tween the Gloamin’ and the Mirk.” “Linked Names, “Land at Last,” “My Roses,” “Meal Time,” and “Le Plaisir de la Pêche,” were seen in 1872; followed by “News,” “Die Rückkehr,” Preparing a Feast,” “The Apprentice,” and “A Well” (1873); “Only an April Shower” (1874), “A Winter’s Walk,” and “Motherly Indulgence” 1875; “Convalescent,” “A Lullaby,” and “The Day after the Fair” (1876); “The Ghost Story” and “The Morning Post” (1877); “Lady Bountiful” (1878), and “Sardine Fishing Boat” (1879). In 1880, Mr. Macbeth seceded from the Society, having contributed three works to the Winter Exhibition which closed in that year. Mr. Macbeth has been represented annually at the Grosvenor Exhibition since 1878, when he contributed “Coming from St. Ives’ Market;” “Fen Flood,” “The First Tiff,” and other pictures. At his graceful desire I add that Frederick Walker, G. Pinwell, G. Mason, and Mr. Millais influenced him most as a student; it is out of gratitude to them and others of the school that he is now producing etchings after their works. 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 ROBERT WALKER MACBETH, A.R.A. Biographical sketch of R. W. Macbeth 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. 87-88 Subject The topic of the resource Macbeth, Robert Walker (1848-1910), Scottish painter and illustrator Date Issued Date of formal issuance (e.g., publication) of the resource. August 1884 Abstract A summary of the resource. Born in Glasgow, Macbeth trained at the Edinburgh Life School before entering the Royal Academy School in 1871. From that time he exhibited both paintings and works on paper at the Dudley Gallery, and from 1873 at the Royal Academy. His masterpiece, 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. Relation A related resource FOLIO2011_134_015.tif 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_Barlow.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 23, 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." References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Jean Ingelow (1820–1897), "The High Tide on the Coast of Lincolnshire 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/fb6c431c748faacf005d223b21f68d71.pdf bb27780ed52ec58a23ca5fcfea1e4c38 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 THE RIGHT HON. W. E. GLADSTONE, M.P., ETC. HONORARY MEMBER, AND PROFESSOR OF ANCIENT HISTORY IN THE ROYAL ACADEMY. IT is not needful here to offer an account at large of the varied and energetic political career of the present Prime Minister, whose statesmanship and scholarship in letters are not only beyond question, but beyond our province. Suffice it that he was born at Liverpool on the 29th of December, 1809, was educated at Eton, and Christ Church, Oxford, and in 1832 entered Parliament as a Conservative of well-marked opinions. Having held various political and administrative offices, he, still a Conservative, became M.P. for his Alma Mater in 1847. In 1851 he seceded from the part with which he had previously acted, and, for a time, appeared as a member of a transitional Cabinet under Lord Aberdeen. In 1859 he was for the first time Chancellor of the Exchequer, and took a leading part in procuring the repeal of the Paper Duties and promoting the Commercial Treaty with France. Among his later political achievements were the Disestablishment of the Irish Church, the passing of the Irish Land Acts of 1870 and 1881, the payment of the claims of the United States’ Government on account of the captures made by the Alabama, the carrying of the Army Regulation Act, the Judicature Act, the Ballot Act, and similar measures. Renowned for oratory, his indefatigable elocution has often astonished as much as it has moved the House of Commons. His written political dissertations have usually been conveyed in pamphlets and articles in reviews and magazines. His literary discourses have generally occupied more time and space. Among the latter are “Studies on Homer and the Homeric Age,” 1858; “Ecce Homo!” 1868; “Juventus Mundi,” and “Homeric Synchronism,” 1876. In respect to art, it is understood that Mr. Gladstone has collected examples of ancient design and later bric-à-brac. He has done this, it is said, on a scale which, although intrinsically considerable, is small in comparison with the doings of other cognoscenti. In 1875, on the death of Bishop Thirlwall, of St. David’s, he was elected Professor of Ancient {94} History in the Royal Academy. By this means he became an honorary member of that body, and received a distinction which, if it entailed no duties, was of a very honourable nature. If the present Prime Minister has done nothing in this capacity, it is certain that he was not expected to do anything. This post without an office was distinguished by the saying of Oliver Goldsmith, its first occupant, who wrote to his brother in Ireland: “The King (George III.) has lately (in 1770) been pleased to make me Professor of Ancient History in a Royal Academy of Painting which he has just established, but there is no salary annexed, and I took it rather as a compliment to the institution than any benefit to myself. Honours to one in my situation are something like ruffles to a man that wants a shirt.” This sardonic declaration may be understood in more ways than one. Possibly Goldsmith said, “a compliment from the institution.” It was well, perhaps, that the Royal Academy did not expect very profound studies from its original Professor of Ancient History. With Goldsmith were appointed Dr. Johnson, as Professor of Ancient Literature, and Richard Dalton as Antiquary; Joseph Baretti had already been made Secretary for Foreign Correspondence. Goldsmith’s post is thus reverentially referred to by Mr. William Sanby, the historian of the Academy: “Yet, if the honour conferred no emolument, it at all events gave the Professor of Ancient Literature (should have been “Ancient History”) a place at the Annual Festival, which was first held in the following year within the walls of the Academy—a privilege to be esteemed at all times for the sake of the distinguished company which is then assembled, but especially grateful to one with the feelings and in the untoward circumstances of the author of ‘The Vicar of Wakefield.’” For the honour of Mr. Gladstone’s illustrious predecessor, it is but fair to say that Mr. Sanby was exceedingly mistaken in respect to the character and social position of Dr. Goldsmith, who, at the worst, would have been able to dispense with at least one dinner in a year, and, having the love and respect of Reynolds, Johnson, Garrick, and Burke, needed not have lamented too bitterly the loss of an annual occasion for meeting “the distinguished company which is then assembled.” Oliver Goldsmith held the post, which for him had neither shirt nor ruffles, just four years—that is, until his death in 1774. He was succeeded in the seat of nothingness by the Rev. D. T. Franklin, an author better fitted than Goldsmith to perform what duties might have been attached to the distinction which he held until 1784, and in which, after a three years’ vacancy of the post, he was succeeded by one whose tenure was sufficient to cast lustre on all the other holders of this nominal chair, i.e. Edward Gibbon, the illustrious writer of “The Decline and Fall of the Roman Empire,” who remained professor till his death, in 1794, when after an interval extended till 1818, a man of honourable name succeeded him in the person of William Mitford, of classical renown, who remained in the post till 1835, when Henry Hallam, of “accurate” renown and ample scholarship, was appointed and remained {95} in trust till he died in 1859. The next Professor of Ancient History was, appropriately, George Grote, who was chosen in 1860; to him succeeded the Bishop of St. David’s, another author of noble histories. The present Professor thus appears in no ignoble place. As I have mentioned the other Honorary Members of the Royal Academy, it may be well to name them all: --Dr. Johnson was succeeded as Professor of Ancient Literature by Bennet Langton, well known to the readers of Boswell; after this, the sequence was, Dr. Charles Burney, brother of Fanny Burney, the authoress of the “Diary,” and “Evelina;” Dr. Howley, Bishop of London and Archbishop of Canterbury; Bishop Coplestone, of Llandaff; the Right Hon. T. B. Macaulay (Lord Macaulay); Dean Milman; Dean Stanley; and the present Dean of Christ Church. The Secretaries for Foreign Correspondence were J. Baretti, James Boswell (Johnson’s “Boswell”), Mr. Prince Hoare, Sir George Staunton, Sir Henry Holland, and Sir W. Stirling Maxwell. The present holder of the chair is Lord Houghton. The Chaplains have been the Rev. W. Peters, R.A.; Bishop Bernard, of Killaloe and Limerick; Bishop Fisher, of Exeter and Salisbury; Bishop Legge, of Oxford; Bishop Blomfield, of Chester and London; Bishop Wilberforce, of Oxford; and the Bishop of Winchester. The present holder is the Archbishop of York. The Antiquaries in the Royal Academy have been, R. Dalton, S. Lysons, Sir H. Englefield, Sir Walter Scott, Sir R. H. Inglis, and Earl Stanhope. The present holder is Mr. C.T. Newton, of the British Museum. On the shelf behind the head of the premier is a cast in bronze of one of Mr. Woolner’s medallion portraits of the Poet Laureate. 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 RT HON. W. E. GLADSTONE, M.P. Biographical sketch of William Ewart Gladstone 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. 93-95. Subject The topic of the resource Gladstone, William Ewart, The Right Honorable (1809-1898), Prime Minister of the United Kingdom and Professor of Ancient History in the Royal Academy Date Issued Date of formal issuance (e.g., publication) of the resource. August 1884 Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Vanessa Pike Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). September 29, 2016 Abstract A summary of the resource. A Liverpudlian born on December 29, 1809, Gladstone was most famously known as Prime Minister of the United Kingdom for four terms ranging from 1868-1874, 1880-1885, 1886-1886, and 1892-1894. He was elected Professor of Ancient History at the Royal Academy in 1875 and was also inducted as an Honorary Member. An established author on politics and a renowned public speaker, Gladstone’s eclectic span of interests even included collecting ancient and bric-à-brac art. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. W. E. Gladstone, Studies on Homer and the Homeric Age (1858) W. E. Gladstone, Ecce Homo! (1868) W. E. Gladstone, Juventus Mundi and Homeric Synchronism (1876) Oliver Goldsmith, The Vicar of Wakefield (1766) Edward Gibbon, The Decline and Fall of the Roman Empire (1776) Fanny Burney, Diary and Evelina (1778) Identifier An unambiguous reference to the resource within a given context NGA_Gladstone.pdf Date Modified Date on which the resource was changed. December 9, 2016 Date Copyrighted Date of copyright. No copyright recorded. 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. 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." https://artistsathome.emorydomains.org/files/original/6b2de15885a499e04dd6b066208a1750.jpg abc3e9aa623ba7daa176418749d42ba6 https://artistsathome.emorydomains.org/files/original/c1f3d70410491ce9f5bb317320782a20.jpg 30d866fd0ffa6b36fe3d65d831973b6d 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 P R E F A C E. In biographical and historical interest no pictures surpass views of the interiors of artists’ studios, the oldest of which are, so far as I know, sketches of Egyptian origin, showing how walls and mummy cases were decorated on the banks of the Nile many thousands of years ago. The art-crafts of glass-blowing and vase painting are well understood by means of Egyptian drawings. Statuaries and statue painters in their ateliers are depicted at Beni-Hassan. Sir Thomas Browne would have helped us to guess at the appearance of Bezaleel and Aholiab while making the Tabernacle, but I cannot recall to mind a delineation of even a Greek sculptor at work, although there are effigies of men holding implements of art, modeling-tools and the like, to be seen in antique, probably Roman, bassi-relievi. The knight of Norwich could have given lively pictures, in words, of that marvel, the pre-historic draughtsman, the most ancient master known, whose skill and acutest observation incised upon the bones of his dinner the turning eye and twinkling ear of the doe, alarmed by the artist’s movements in the brake whence he watched her. But all this is, as Sir Thomas himself was wont to say, mere matter of conjecture, although it be built on the sure foundations of those bone-drawings by the immemorial artist which are now preserved in “cabinets of the curious.” We are, however, upon the surest ground before the engravings which reproduce a work found in the so-called Casa Carolina at Pompeii, which is neither more nor less than a satirical picture of a hunch-backed portrait-painter in his study taking the likeness of a gentleman, who, in a carefully arranged toga, and with his hair in complete order, sits stiffly on a stool. Two pigmy amateurs, and a goose—no doubt the art-critic of the day—enter the chamber on one side, while, on the other side, a colour-grinder pursues his vocation in an idle fashion, and a pupil turns from his drawing-board in evident disgust because the visitors chatter too loudly. A charming Magna-Grecian picture of a female artist copying in colours a term of the bearded Bacchus comprises a view of her own studio—with a framed design hanging all askew on the wall—and was taken from Pompeii to Naples about sixty years since. St. Luke himself, busily painting, was a frequent subject for quasi-Byzantine, Romanesque, and Gothic artists of devotional pictures in tempera and glass. The tutelary saint of the painters preserved his honours of delineation in many modes until, in a manner which is grotesque, and in 1532, Martin Van Heemskerck depicted him taking the portrait of the Virgin. The Dutchman meant well, but his effort was absurd. Several mediæval miniatures represent illuminators and scribes at work in the scriptoria of their monasteries, and one of the most curious illustrations of the engraver’s art is that humorous drawing (B. M. Add. MSS., Nos. 10, 292-‘3-‘4) which shows how, c. 1316, une duchoise ordered certain letters to be carved about an incised monumental effigy which, as the lady wears a wimple, and is evidently recovering from her sorrow, must have been the portrait of her deceased spouse. An incised slab in the Church of St. Ouen at Rouen displays two architects with their implements of drawing, and is dated c. 1440. Many early German woodcuts and engravings give us engravers, carvers, and painters at work. The Dutch artists of the seventeenth century occasionally represented the interiors of their studios, and several of their pictures have interest equal to that of the series of portraits I have the honour to introduce to the reader, because they comprise likenesses of men of renown, and, as some of our photographs do, they afford faithful representations of famous pictures. Teniers and Francks exercised themselves in this way. There is a magnificent instance by the former in the collection of the Duke of Cleveland at Raby Castle. A picture of this kind, attributed to Teniers, is now No. 88 in the Academy Exhibition. “The Archduke’s Gallery,” by him, is a superb example now at Madrid; it contains portraits of other artists at work. Ostade painted himself in the act of painting, and his picture is now at Dresden. Some great Italian masters depicted their contemporaries while engaged in art, and Rubens and Van Dyck delineated theirs similarly occupied. From these examples we descend rapidly to the eighteenth century during which period such subjects as those in question were rarely, if ever, essayed in England, until Hogarth took his own likeness while seated at an easel, and thus produced a little picture of the most delightful biographical value, which is now in the National Portrait Gallery. The Earl of Derby has at Knowsley a capital group by Hogarth of Monamy the sea-painter showing a picture on the easel to his patron. Winstanley took his own portrait while seated at work with a palette on his thumb. Reynolds represented himself shading his eyes from the light, holding a palette and brushes, and as if he were taking his own likeness from a mirror. This picture hangs near the former Hogarth at South Kensington. Zoffany’s interesting groups of portraits of the Royal Academicians in the Old Life School at Somerset House, painted in 1773, is now at Buckingham Palace, and brings us near to our own time. Likewise in that place is the same painter’s “Interior of the Florentine Gallery,” an analogous instance, comprising portraits of men of note and famous works of art; a picture fit to be matched with Teniers’s masterpieces. Henry Singleton painted the Royal Academicians in General Assembly in 1793, a picture which is now in the gallery at Burlington House. Vernet painted the famous “Raphaël au Vatican,” which is in the Luxembourg, and one of M. Meissonier’s masterpieces in small is the “Amateurs de Peinture,” in which two gentlemen watch an artist diligently painting. Having thus, so far as a morning’s work allowed, endeavoured to show what has been done in representing bygone artists in their studios, I may be permitted to introduce these pictures of the living to the reader. F. G. STEPHENS. Original Format Text 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 PREFACE, Artists at Home 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 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 Abstract A summary of the resource. The history of depictions of artists' studios. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Dianne Sachko MacLeod, Art and the Victorian Middle Class: Money and the Making of Cultural Identity (Cambridge: Cambridge University Press, 1996), p. 402. Julie Codell, The Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870-1910 (Cambridge: Cambridge University Press, 2003), 56-59. 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 and NGA_Preface2.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 Description An account of the resource The Preface occupies two pages of text. It follows the Publisher's Note and precedes the table of contents. https://artistsathome.emorydomains.org/files/original/89a036fe886307a0c9d10c7ad6369eb7.jpg f9b6f50c95d254f47a2e9c1f9a240ce9 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 Portraits Still Image Source Victoria & Albert website Notes Inscribed, "Yours very truly / F. G. Stephens" URL http://collections.vam.ac.uk/item/O75363/frederick-george-stephens-portraits-of-photograph-hollyer-frederick/ 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 Frederick George Stephens Date Created Date of creation of the resource. ca. 1890 Creator An entity primarily responsible for making the resource Frederick Hollyer (1837–1933) Medium The material or physical carrier of the resource. Platinum print photograph, 15.4 cm x 10.6 cm Source A related resource from which the described resource is derived Portraits of many persons of note photographed by Frederick Hollyer, Vol. 1. Subject The topic of the resource Frederick George Stephens (1828–1907), art critic, art historian, artist Description An account of the resource A half-length portrait of Stephens, white-bearded and bearded, gazing to the left. Rights Information about rights held in and over the resource © Victoria and Albert Museum, London; non-commercial use Identifier An unambiguous reference to the resource within a given context Museum number 7607-1938 Contributor An entity responsible for making contributions to the resource Victoria & Albert Museum, London; Given by Eleanor M. Hollyer 1938 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 2, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists' Houses Studio Address 6 Melbury Road London borough Kensington Town/county London Current address Not extant. 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 New Little Holland House, Studio-home of G. F. Watts Date Created Date of creation of the resource. 1875-6 Creator An entity primarily responsible for making the resource Frederick Pepys Cockerell (1833-1878), architect completed by George Aitchison (1825-1910), architect Description An account of the resource Leighton and Watts were the two artists at the heart of the “Holland Park Circle.” They were close friends and would often call on each other using a gate that connected their gardens. Watts's house contained four studios and a large gallery extension to display his work; these additions were designed by the architect George Aitchison. (The Studio-Houses of the "Holland Park Circle," produced by the Royal Borough of Kensington.) Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Walkley, Giles. “Establishment Kensington: Melbury Road." In Artists’ Houses in London 1764–1914. Aldershot, Hants, England; Brookfield, VT: Scolar Press, 1994. Bryant, Barbara. G.F. Watts in Kensington: Little Holland House and Gallery. Compton, Surrey: Watts Gallery, 2009. Contributor An entity responsible for making contributions to the resource Omeka record contributed by Albertine Lee Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 20, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists' Houses Studio Address 82 Finchely Road, London NW3 London borough Hampstead Town/county St. John's Wood 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 Flaxley, Studio-house of B. Riviere Date Created Date of creation of the resource. 1880 Creator An entity primarily responsible for making the resource Frederick W. Waller (1848-1933), Architect, son and partner of Frederick S. Waller (1822-1905) Description An account of the resource The house underwent extensive renovation to serve as a studio home for Riviere. A glass-roof stable studio was added. Contributor An entity responsible for making contributions to the resource Omeka record contributed by Michelle Malmberg Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 8, 2016 https://artistsathome.emorydomains.org/files/original/adcb202ae45c688df4e65c15bed10e85.png a38d9aea94f1a0edebf7a5ffab21ee3d 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 Works of Art 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 Cleopatra Date Created Date of creation of the resource. ca. 1881 Creator An entity primarily responsible for making the resource G. A. Lawson Source A related resource from which the described resource is derived Illustration from The Builder 51 (October 23, 1886): plate following p. 590: "Sculpture at the Edinburgh Exhibition. 'Cleopatra' by Mr. G. A. Lawson." Description An account of the resource "We give an illustration this week of the very fine and impressive figure of the dying Cleopatra, by Mr. G. A. Lawson, which was exhibited in the octagon hall of the Royal Academy two or three years ago. It is at present in the Edinburgh Exhibition, where the photograph was taken from which the present illustration is reproduced." "Sculpture: 'Cleopatra." The Builder 51 (October 23, 1886): 588 Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by LM 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). February 8, 2017 https://artistsathome.emorydomains.org/files/original/3d65664acb2be5b4b529caf1ebd2c850.png 0301f0dd07514ba932d1374c8227ad67 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 Works of Art Still Image Source Art Fund URL https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/555/sketch-for-the-brides-burial-g-a-storey 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 Sketch for "The Bride's Burial" Date Created Date of creation of the resource. c. 1859 Creator An entity primarily responsible for making the resource G. A. Storey Medium The material or physical carrier of the resource. Watercolor Format The file format, physical medium, or dimensions of the resource 222 x 184 mm Source A related resource from which the described resource is derived Tate Britain Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by LM 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). March 4, 2017 https://artistsathome.emorydomains.org/files/original/10cf9f6323199be0dea362519b107f5f.jpg cbcfba673031708fbe7e164460cd2663 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 Works of Art Still Image Source The Athenaeum URL http://www.the-athenaeum.org/art/detail.php?ID=170298 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 Orphans Date Created Date of creation of the resource. 1879 Creator An entity primarily responsible for making the resource G. A. Storey Medium The material or physical carrier of the resource. Oil on canvas Format The file format, physical medium, or dimensions of the resource 104 cm x 149.7 cm ( 40.94 in. x 58.94 in.) Source A related resource from which the described resource is derived Private collection Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by LM 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). March 4, 2017 https://artistsathome.emorydomains.org/files/original/8ffbcd9be2c3fa5b9d4f7c18a0da76d3.jpg 58a94e5092a8178cac13ef4c9746a5be 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 Works of Art Still Image Source The Athenaeum URL http://www.the-athenaeum.org/art/detail.php?ID=184879 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 Meeting of Esau and Jacob Date Created Date of creation of the resource. 1865 Creator An entity primarily responsible for making the resource G. F. Watts Medium The material or physical carrier of the resource. Oil on canvas Format The file format, physical medium, or dimensions of the resource 156.5 cm x 147 cm (61.61 in. x 57.87 in.) Source A related resource from which the described resource is derived Salford Museum and Art Gallery, UK Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by LM 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). March 8, 2016