1 20 532 https://artistsathome.emorydomains.org/files/original/57990a530abe5af7551c124c5cf22c2e.jpg 31405271f0cb0b495fba5c1d8ad2d6cc 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 Wychcombe Studios, England's Lane London borough Hampstead Town/county London Current address Wychcombe Studios, England's Lane, Hampstead NW3 4XY 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 Wychcombe Studios, Studio of R. W. Macbeth Date Created Date of creation of the resource. 1878–80 Creator An entity primarily responsible for making the resource Thomas Dash Bellamy and Charles F. Bellamy, developers Subject The topic of the resource Wychcombe Studios, Englands Lane, Belsize Park, Hampstead, London NW3 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). January 24, 2017 Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Walkley, Giles. Artists’ Houses in London 1764–1914. Aldershot, Hants, England; Brookfield, VT: Scolar Press, 1994. See pp. 149 and 234. https://artistsathome.emorydomains.org/files/original/51648a4c6660a9e952529431096e8b74.png 89cda1d0eebbbd5440d1f61ce4ed0e9a 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 Press 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 Newspaper 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 Wratten & Wainwright’s ‘London Dry Plates’ Date Created Date of creation of the resource. May 31, 1889 Source A related resource from which the described resource is derived The Photographic News, May 31, 1889, xv. Abstract A summary of the resource. A brief advertisement for Wratten & Wainwright's 'London Dry Plates" praising their usefulness and listing the types one can purchase. Rights Information about rights held in and over the resource Public Domain in the United States, Google-digitized 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 9, 2016 https://artistsathome.emorydomains.org/files/original/01a7058eedb25c8d1119db5e76927d4f.jpg a3bfb43c3db001bbe2d6d4d9d1d5f40c 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 Date 1882-83 Source National Portrait Gallery, London URL http://www.npg.org.uk/collections/search/portrait/mw172746/William-Terriss-William-Charles-James-Lewin?search=ap&firstRun=true&title=&npgno=&eDate=1881&lDate=1884&medium=photograph&subj=&set=&portraitplace=&searchCatalogue=&submitSearchTerm_x=36&submitSearchTerm_y=7&submitSearchTerm=Search+Now&wPage=19&rNo=385 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 Terriss (William Charles James Lewin) Date Created Date of creation of the resource. 1882-83 Creator An entity primarily responsible for making the resource Alexander Bassano, (1829-1913), Photographer. Published by St James's Photographic Co Medium The material or physical carrier of the resource. Albumen cabinet card Format The file format, physical medium, or dimensions of the resource 150 mm x 101 mm Source A related resource from which the described resource is derived National Portrait Gallery, London Rights Information about rights held in and over the resource Open Access for Scholarly Content 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 30, 2016 https://artistsathome.emorydomains.org/files/original/e2e56a3ba4fca85cf254e8d028fcd079.jpg ac9ddf85c45b89e09177481f0ff6ac28 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 URL http://www.ourpaintingsale.com/william-powell-frith-painting-the-princess-of-wales-p-144472.html?zenid=avv8ca3j2jb329ffg24q7133h1 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 Powell Frith Date Created Date of creation of the resource. 1863 Creator An entity primarily responsible for making the resource John Ballantyne Medium The material or physical carrier of the resource. Oil on canvas Format The file format, physical medium, or dimensions of the resource 29.92 in. x 24.8 in. Source A related resource from which the described resource is derived http://www.the-athenaeum.org/art/detail.php?ID=86800 Subject The topic of the resource Artist William Powell Frith painting the Princess of Wales Description An account of the resource Portrait of William Powell Frith at work on a large painting in his studio on painting of the Princess of Wales, his model, with her chaperone sitting in the background. Rights Information about rights held in and over the resource Public Domain Contributor An entity responsible for making contributions to the resource 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). November 30, 2016 Type The nature or genre of the resource Still Image https://artistsathome.emorydomains.org/files/original/abff14143bade5c1250132548bb65a53.jpg dc69884b9d030676f538b561ebb227ed 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 Date 1882 Source National Portrait Gallery, London URL http://www.npg.org.uk/collections/search/portrait/mw55232/William-Hunter-Kendal-William-Hunter-Grimston?search=ap&firstRun=true&title=&npgno=&eDate=1882&lDate=1884&medium=photograph&subj=&set=&portraitplace=&searchCatalogue=&submitSearchTerm_x=46&submitSearchTerm_y=13&submitSearchTerm=Search+Now&wPage=14&rNo=287 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 Hunter Kendal (William Hunter Grimston) Date Created Date of creation of the resource. 1882 Creator An entity primarily responsible for making the resource Alexander Bassano Medium The material or physical carrier of the resource. Half-plate glass negative Source A related resource from which the described resource is derived National Portrait Gallery, London Subject The topic of the resource William Hunter Kendal (William Hunter Grimston) (1843-1917), Actor and theatre manager. Rights Information about rights held in and over the resource Open Access for Scholarly Content 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 30, 2016 https://artistsathome.emorydomains.org/files/original/844c9029831a225f0af4bdbe41999690.jpg 6301187899631aa48392bedd16bab742 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 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 Holman Hunt Date Created Date of creation of the resource. 1865 Creator An entity primarily responsible for making the resource John Ballantyne Medium The material or physical carrier of the resource. Oil on canvas Format The file format, physical medium, or dimensions of the resource 25 in. x 30 in. Source A related resource from which the described resource is derived http://www.npg.org.uk/collections/search/portraitExtended/mw03316/William-Holman-Hunt?LinkID=mp06643&role=art&rNo=1# ref1 Subject The topic of the resource Painter William Holman Hunt Description An account of the resource Painter William Holman Hunt in his studio seated in front of a canvas on an easel. Contributor An entity responsible for making contributions to the resource Michelle Malmberg Type The nature or genre of the resource Still Image 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 Person An individual. Birth Date March 9, 1850 Birthplace Oxford, England Death Date July 1, 1884 Occupation Sculptor Biographical summary 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 admiration for the antique from the works of Michelangelo. His sculpture Artemis, completed in 1880, was labeled by F. G. Stephens superior to any of his previous works. In 1883, Thornycroft sculpted what is considered to be his most important work, The Mower. Bibliography Gosse, Edmund. "Our Living Artists: Hamo Thornycroft, A.R.A." Magazine of Art 4 (1881). Zimmern, Helen. “A Sculptor’s Home.” Magazine of Art 6 (1883): 512-18. Meynell, Wilfred. The Modern School of Art. 4 vols. London: Cassell, 1886. “Hamo Thornycroft, R.A.” Strand Magazine: An Illustrated Monthly 6 (July 1893): 266. How, Harry. “Illustrated Interviews: XXVI: Mr. Hamo Thornycroft, R.A.” Strand: An Illustrated Monthly 6 (July 1893): 267-79. Manning, Elfrida. Marble & Bronze: The Art and Life of Hamo Thornycroft. London: Trefoil Books, 1982. White, Adam. Hamo Thornycroft and the Martyr General. Leeds: Henry Moore Center for the Study of Sculpture, 1991. Books, L.L.C. Thornycroft Family: Siegfried Sassoon, Hamo Thornycroft, John Isaac Thornycroft, Helen Thornycroft, Thomas Thornycroft, Mary Thornycroft. London: Books LLC, 2010. 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 Hamo Thornycroft Subject The topic of the resource Thornycroft, William Hamo (1850-1925), English sculptor Contributor An entity responsible for making contributions to the resource 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). December 9, 2016 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 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 Person An individual. Birth Date December 29, 1809 Birthplace Liverpool, England Death Date May 19, 1898 Occupation Prime Minister of the United Kingdom Biographical summary 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, when he 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. Bibliography Emerson, George Rose. William Ewart Gladstone, Prime Minister of England: A Political and Literary Biography. London: Ward, Lock, Bowden and Co., 1893. Matthew,, H. C. G. “Gladstone, William Ewart (1809–1898).” Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, May 2011 [http://www.oxforddnb.com/view/article/10787, accessed 8 Dec 2016] Morley, John. The Life of William Ewart Gladstone. 2 vols. New York: Macmillan Company, 1911. 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 Ewart Gladstone Subject The topic of the resource Gladstone, William Ewart, The Right Honorable, (1809-1898) Contributor An entity responsible for making contributions to the resource 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). December 9, 2016 https://artistsathome.emorydomains.org/files/original/7de9c50cc56ed7d2a6fb7ae8d90e9624.jpg 4c068a2213c1925aa2e93bc5c9d1a8ef 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 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 Ewart Gladstone Date Created Date of creation of the resource. April 25, 1890 Creator An entity primarily responsible for making the resource Eveleen Myers (née Tennant) Format The file format, physical medium, or dimensions of the resource Platinum print 12 1/4 in. x 9 1/2 in. (311 mm x 241 mm) Source A related resource from which the described resource is derived National Portrait Gallery http://www.npg.org.uk/collections/search/portraitLarge/mw02555/William-Ewart-Gladstone?search=sp&sText=william+gladstone&wPage=2&rNo=43 Subject The topic of the resource William Ewart Gladstone, Prime Minister of the United Kingdom Description An account of the resource A bust-length portrait of William Ewart Gladstone. Rights Information about rights held in and over the resource Creative Commons © National Portrait Gallery, London Identifier An unambiguous reference to the resource within a given context NPG P54 Contributor An entity responsible for making contributions to the resource National Portrait Gallery 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). December 8, 2016 https://artistsathome.emorydomains.org/files/original/a080934d841fb18836ab639d599108ed.jpg 5c1525914cfb3934179088e39b57a44a 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 Date 1881 URL http://www.npg.org.uk/collections/search/portrait/mw126588/William-Ewart-Gladstone?search=ap&firstRun=true&title=&npgno=&eDate=1881&lDate=1884&medium=photograph&subj=&set=&portraitplace=&searchCatalogue=&submitSearchTerm_x=36&submitSearchTerm_y=7&submitSearchTerm=Search+Now&wPage=7&rNo=140 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 Ewart Gladstone Date Created Date of creation of the resource. September 1881 Creator An entity primarily responsible for making the resource Charles Henry Braithwaite (circa 1817-1902). Medium The material or physical carrier of the resource. Carbon cabinet card Format The file format, physical medium, or dimensions of the resource 147 mm x 100 mm Source A related resource from which the described resource is derived National Portrait Gallery, London Subject The topic of the resource William Ewart Gladstone (1809-1898), Prime Minister and writer. Rights Information about rights held in and over the resource Open Access with Scholarly Content Contributor An entity responsible for making contributions to the resource Omeka record contributed by Albertine Lee https://artistsathome.emorydomains.org/files/original/aaf1d064c71d9c6235c06e995c971f42.pdf fd85131fbebd3474046bd026045e0285 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. WILLIAM CALDER MARSHALL, R.A., H.R.S.A. KNIGHT OF THE LEGION OF HONOUR. The Doyen of the English sculptors, an artist still active in his profession, and, as the photograph shows, devoted to the production of large and thoughtful works, was born in Edinburgh in 1813, and received his education in the High School and University of that city. As a student of the Trustees’ Academy, the only school of art at that time in Edinburgh, he was instructed in drawing under Sir William Allan. At this early period of his career he showed a taste for sculpture, and several of his works were admitted to the Exhibition of the Royal Scottish Academy. Sir Francis Chantrey, while on a visit to Edinburgh, seeing some of his drawings, advised his coming to London, which he did on being admitted to the Royal Academy as a student in 1834. Chantrey kindly allowed him to have the run of his studio, but after a time, preferring a more poetic treatment of art, he became a pupil of Baily, paying a premium for a year. “A Head of Camilla,” which was at the Academy in 1835, was Calder Marshall’s first public essay in London. In 1836 he sent to the same exhibition “Hero guiding Leander across the Hellespont,” “Innocence,” and “Samson.” In this year he went to Rome, where he remained until 1838, and, meanwhile, executed the statue of “Hebe,” now in the Scottish National Gallery. In 1837 he completed a figure of “Psyche,” which attracted much praise in Trafalgar Square in that year. In 1839, “Cupid feeding the Doves of Venus,” “Sterne’s Maria,” and “The Dead Ass,” likewise from Sterne, which were at the Academy, illustrated two modern genre subjects such as the author has sometimes treated at later dates. To the British Institution he sent “Rebecca at the Well.” At the latter gallery in the following year was “Hercules rescuing Hesione,” and the Academy contained “The Creation of Adam,” “Cupid and Psyche,” “Una and the Lion,” and “Ophelia.” The artist was in this year elected an Associate of the Scottish Academy; at a later date he was chosen an Honorary R.S.A., non-residence rendering him ineligible as an Academician. In 1841 he obtained the Royal Academy gold medal for “Venus rescuing Æneas from Diomedes.” From this period Calder Marshall has but once (1861) failed to contribute to the chief {6} London exhibitions. He frequently appeared at the British Institution. His very numerous works are marked by the care and learned execution proper to the views of an artist who accepts the long-honoured canons of sculpture, and believes that his powers should be exercised in the pursuit of beauty, so, like the great Greeks, he selects forms from Nature best suited to express the type and sentiment of his works, not, as the realists do, copying individual and common nature. He has seldom produced portrait busts such as those to which most modern sculptors look for their daily bread, and he has consistently applied his powers to pathetic and poetic subjects, of which many illustrations have found wide acceptance, including “Sabrina,” nymph of the Severn celebrated by Milton, a statue which Copeland reproduced in small. The even better-known group of boy and girl lovers, called “The First Whisper of Love,” was chosen for reduction, and obtained a £300 prize in the Art Union of London. “Rebecca” and other examples were correspondingly fortunate. “The Dancing Girl reposing” obtained an Art Union premium of £500, and large numbers of reductions of the statue were distributed among subscribers to that society. In 1844 Mr. Marshall was selected with two other sculptors at the great competition held in Westminster Hall for the statues for the Houses of Parliament, of which he executed Clarendon and Lord Somers. Among his equally important commissions were the group of Peel and attendant figures of the Arts, Sciences, and Commerce, at Manchester; “Jenner,” now in the Kensington Gardens; “Campbell,” in Poets’ Corner; “Crompton,” inventor of the mule for spinning, which is at Bolton; “Sir George Grey,” at Cape Town; “Captain Coram,” in front of the Foundling Hospital; “Lady John Manners,” in Rowsley Church; three important bas-reliefs, being adjuncts to the Wellington Monument in St. Paul’s; the pediment of the Town Hall, at Bolton; “Griselda,” in the Mansion House, London, and various other public and private commissions of note. The most important of his works were exhibited in the following order: 1841, “Caractacus before Claudius,” “Puck,” and a bust of “Ophelia;” 1842, “The Broken Pitcher,” and “Venus rescuing Æneas,” the prize work of the preceding year, “The Fountain Glass,” from Ovid, and “Eve and the First-born;” 1843, “Paul and Virginia,” and “David with the Head of Goliath;” 1844, “Little Red Riding Hood,” and “Christ blessing little Children.” In this year the artist was elected an Associate of the Royal Academy. 1845 produced “Paul and Virginia,” and “The First Whisper of Love.” In 1846 he exhibited “Eve,” “Sabrina,” and “Hero guiding Leander;” 1847, “Eurydice,” and “The First Step;” 1848, “The Dancing Girl reposing,” and “The Last Drop,” see below; 1849, “The Grecian Maid,” “Thomas Campbell” (for Poets’ Corner), and “Zephyr and Aurora;” 1850, “Nymphs,” and “A Mermaid on a Dolphin’s Back,” and, in 1851, “Hebe rejected.” In 1852, Mr. Marshall became a Royal Academician, and exhibited “The Hindoo {7} Girl” only. Minor examples of his were, during this period and later, exhibited at the British Institution, including, in 1857, “Ariel” and “The Refuge.” In the last-mentioned year the artist obtained the first prize of £700 for a design for the national monument of the Duke of Wellington. The public commission for this work was afterwards given to Alfred Stevens. 1869 produced “The Venerable Bede translating St. John,” and “The Mother of Moses;” 1871, “A Christian Martyr,” and “A Fishing Girl;” 1872, “Briseis,” and “Ruth;” 1873, “Wilder’d Fancies,” and “Tali Players,” two figures, being an illustration of an immemorial game with knuckle-bones which was often represented in antique art, and is still played all over the world; 1875, “Estia,” “Margaret,” from Faust, “Nausicaa,” from the Odyssey, and “Convalescence;” 1876, “Pygmalion me fecit,” the statue awakening; 1877, “The Prodigal Son;” 1878, “Whispering Vows to Pan;” 1879, “Stepping Stones,” and “Hermia and Helena;” 1880, “Miranda;” 1881, “Noonday Idleness,” “The Last Day of Pompeii,” “Sabrina thrown into the Severn,” “The Prodigal Son” (this statue was purchased by the Academy with part of the Chantrey Fund), and “Mother and Child;” 1882, “Cinderella,” and “Œdipus at Colonus;” and 1883, “Thetis dipping Achilles into the Styx.” Mr. Marshall’s intended contribution for the present year may be seen in the nude statue which in the photograph is extended behind his own seated figure. The sculpture represents Psyche fainting, having indulged a forbidden curiosity. The sculptor’s house is a large, modern, and roomy one in that region which, since Chantrey and Westmacott made fortunes there, may be said to be consecrated to statuary, and where, having added studios and workshops to its domestic offices, he has resided more than thirty years. The photograph shows Mr. Marshall’s inner studio, his sanctum, which is accessible by a long gallery filled with examples of art, and through an outer studio where new works are in progress. Grouped with the master himself the reader may see casts from some of the above-named productions of his skill. The hooded figure on our left is a sketch of the “Venerable Bede;” the nearly naked maidens seated in a group are the “Tali Players;” the large statue in a modern costume placed on a higher level and beyond the marble girls, is a cast of the statue of Crompton; the statuette beyond the swooning “Psyche” is Pygmalion’s mistress. An erect draped figure on the shelf represents the “Mother of Moses.” Near it, the plump young satyr drinking from a rhyton, is a cast from the figure called “The Last Drop,” which, having attracted the praise of Gibson, who said that had it been dug up in Italy he would have taken it for an antique, is now deposited in the Royal Academy as Mr. Marshall’s diploma work. A Royal Commissioner and Juror at the Exposition Universelle Internationale, Paris, 1878, to which the sculptor contributed the “Jouers de Tali” and “Nausica [sic],” Mr. Marshall has a Knight’s Cross of the Legion of Honour. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource WILLIAM CALDER MARSHALL, R.A., H.R.S.A. Biographical sketch of W. C. Marshall Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 5-7 Subject The topic of the resource Marshall, William Calder (1813-1894), Scottish sculptor Date Issued Date of formal issuance (e.g., publication) of the resource. March 1884 Abstract A summary of the resource. William Calder Marshall was born in 1813 in Edinburgh. He studied at Edinburgh University and attended the Trustees Academy. In 1834 Marshall moved to London and entered the Royal Academy. Marshall was a prolific sculptor, producing poetic and ideal works in the Classical style, as well as memorial statues. He received many commissions for public statues, architectural works, and church monuments. Specifically, he designed and executed statues of Michelangelo and Titian on the façade of the Burlington House in 1873. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Marshall.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Gabriella Meier Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). September 29, 2016 Date Modified Date on which the resource was changed. October 1, 2016 https://artistsathome.emorydomains.org/files/original/bc7528092e0bbebeac4a1f2ad4c88e25.png 658a829675966c70d6364ed8e2831bf0 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 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource William Calder Marshall Date Created Date of creation of the resource. 1860s Creator An entity primarily responsible for making the resource John & Charles Watkins Medium The material or physical carrier of the resource. Still Image Format The file format, physical medium, or dimensions of the resource 3 3/8 in. x 2 1/8 in. (87 mm x 55 mm) Source A related resource from which the described resource is derived National Portrait Gallery, London Subject The topic of the resource William Calder Marshall, sculptor Date Copyrighted Date of copyright. 1860s Contributor An entity responsible for making contributions to the resource 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). December 6, 2016 https://artistsathome.emorydomains.org/files/original/4c494695cac8809574118a32abcc56d9.jpg bce5e1416d73c3ee6c7dcf049a85f092 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 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 Wilkie Collins Date Created Date of creation of the resource. 1850 Creator An entity primarily responsible for making the resource John Everett Millais Medium The material or physical carrier of the resource. Oil on panel Format The file format, physical medium, or dimensions of the resource 10 1/2 in. x 7 in. (267 mm x 178 mm) Source A related resource from which the described resource is derived National Portrait Gallery, London (NPK 967) Subject The topic of the resource Wilkie Collins (1824-1889), Novelist Contributor An entity responsible for making contributions to the resource Omeka record contributed by Jenifer Norwalk Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 29, 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 Weston Lodge, 16 Grove End Road London borough St. John's Wood Town/county London W14 Current address 15 Grove End Road, London W14, UK 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 Weston Lodge, 16 Grove End Road (No. 15), St. John's Wood, Home of P. G. Calderon Date Created Date of creation of the resource. Addition made to the house in 1876 Contributor An entity responsible for making contributions to the resource 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). December 3, 2016 https://artistsathome.emorydomains.org/files/original/1b926df1e48fa424f2fbdba4db80a2ab.png 8670e2288a721203d606adcb7da6721b 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 118 Campden Hill Road, Kensington, London W8 London borough Kensignton 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 West House, Studio-house of G. Boughton Date Created Date of creation of the resource. 1878 Creator An entity primarily responsible for making the resource Norman Shaw (1831-1912), architect Description An account of the resource A four story red-brick house with crow-step gables and seventeenth-century windows in Campden Hill, Kensington, London. Custom built studio house of George H. Boughton. It was built in 1878. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Joseph Hatton, “Some Glimpses of Artistic London,” Harper’s New Monthly Magazine 67, no. 402 (November 1883): 838-842. Henry-Russell Hitchcock, Architecture: Nineteenth and Twentieth Centuries, (New Haven and London: Yale University Press, 1977), 294. Sir Sidney Lee, Dictionary of National Biography (London: Smith, Elder & Co., 1912), 197-198. Mary Eliza Haweis, Beautiful Houses; being a description of certain well-known artistic houses (London: Low, Marston, Searle, and Rivington, 1882), 45-52. Charlotte Gere, Artistic Circles: Design & Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), 26. Tarver, Edward J., “Artists’ Studios,” The Art Journal 6 (1880), 273-276. JSTOR: http://www.jstor.org/stable/20569573 . Giles Walkley, Artists’ Houses in London 1764–1914 (Aldershot, Hants, England; Brookfield, VT: Scolar Press, 1994), pp. 71-73. Contributor An entity responsible for making contributions to the resource 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). November 19, 2016 Date Modified Date on which the resource was changed. November 19, 2016 https://artistsathome.emorydomains.org/files/original/f74984d1365388fe45bef7d3997a7dcd.jpg 95bf6da22ae8b34671044ce7193df263 https://artistsathome.emorydomains.org/files/original/d40e606fbe0625f36cdd6d86d730f4a9.jpg fc6dec0e52ca6cc9ba3ecf7186030315 https://artistsathome.emorydomains.org/files/original/a6ef0a32267f9024a421edaa4a192faf.jpg 554b99e6e865d952a9c74485be1f2069 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 Photograph of Wellington statue donated by Dave Wood, 2004 Photograph of bronze panel, south side, by Marsh, November 23, 1921, held at Liverpool Record Office Photograph of monument by Marsh, November 23, 1921, held at Liverpool Record Office URL Liverpool Monuments http://www.liverpoolmonuments.co.uk/statue/wellington02.html 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 Wellington Column, Liverpool Date Created Date of creation of the resource. 1861–65 Creator An entity primarily responsible for making the resource Andrew Lawson, designer/architect George Anderson Lawson, sculptor Medium The material or physical carrier of the resource. Bronze Subject The topic of the resource Field Marshall Arthur Wellesley, first duke of Wellington (1769–1852) Anglo-Irish soldier and statesman who defeated Napoleon Bonaparte's army in 1815. 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). January 20, 2017 https://artistsathome.emorydomains.org/files/original/10d93aed2cd9fee676a161572e3449c8.jpg fc97ef89faa3818f8ec77cd50c7f14ed 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 Weeding the Pavement Date Created Date of creation of the resource. 1882 Creator An entity primarily responsible for making the resource George Boughton Medium The material or physical carrier of the resource. Oil paint on canvas Format The file format, physical medium, or dimensions of the resource Frame: 1345 x 1955 x 135 mm Support: 915 x 1525 mm Source A related resource from which the described resource is derived "Weeding the Pavement," Tate Britain. Contributor An entity responsible for making contributions to the resource Omeka record contributed by Hilleary Gramling. Date Modified Date on which the resource was changed. November 30, 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 Town/county Cranbrook, Kent Address High Street 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 Webster House, Home of T. Webster Is Referenced By A related resource that references, cites, or otherwise points to the described resource. "Cranbrook Colony.” 2013. Accessed November 10, 2016. http://www.cranbrookmuseum.org/cranbrook-colony.html. Contributor An entity responsible for making contributions to the resource Omeka record contributed by Hilleary Gramling. 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 Person An individual. Birth Date February 23, 1817 Birthplace 52 Queenstreet, Bryanston Square, Marylebone, London Death Date July 1, 1904 Occupation Painter Sculptor Biographical summary At a young age, George Frederick Watts was discovered to have great artistic talent. Under the guidance of draughtsman turned sculptor William Behnes, Watts created drawings that attained him admission to the Royal Academy in 1835. However, the young Watts soon left the Academy after finding that there was nothing to be learned there. Watts continued to have an extremely rapid and great success, after contributing several portraits to the Academy Exhibition in 1837, 1838, and 1840. He also produced subject-pictures, which were exhibited at the British Institution, and entered and won competitions at prestigious locations including the Houses of Parliament. The prize money allowed Watts to travel extensively around Italy for several years, studying Venetian painting, in particular, before returning to London in 1847. Not only was Watts successful in producing notable portraiture, subject-paintings, and historical works, the artist was also preoccupied with allegorical paintings that reflect his ideas of nature and humanity. As an advocate for the public commissions of art, Watts was interested in producing large-scale paintings in fresco to adorn public buildings. Watts’s close acquaintance with Lord Holland, then the English Envoy in Florence, and the Prinsep family allowed him to closely associate with a circle of “bohemians” at the Holland House, which included Julia Margaret Cameron and Dante Gabriel Rossetti. Under the encouragement of Taylor and Sara Prinsep, the forty-six-year-old Watts married Ellen Terry, a sixteen-year-old actress, on 20 February 1864. They divorced after Terry eloped with another man after less than a year of marriage. In 1867, the artist was elected an Associate of the Royal Academy, and in a mere two years, a Royal Academician in 1868. By the 1880s, Watts’s reputation as a distinguished painter was effectively secured; the painter had achieved an international celebrity status. He pursued his ambition of working on non-narrative symbolic works, introducing ideas of death and spiritualism. In 1886, Watts married his second wife, Mary Seton-Fraser-Tytler, with whom he purchased a piece of land in Compton in Surrey in 1890. The house, built by Ernest George, was named Limnerslease. Throughout the 1890s and early 1900s, Watts continued to send paintings to various exhibition venus, despite the deteroriation of his health. He died of old age at 6 Melbury Road on Friday, 1 July 1904. Bibliography Monkhouse, W. Cosmo 1840-1901. British Contemporary Artists. London: W. Heinemann, 1899. Bayliss, Wyke, Sir, 1835-1906. Five Great Painters of the Victorian Era: Leighton, Millais, Burne-Jones, Watts, Holman Hunt. London: S. Low, Marston and co., Ltd., 1902. Watts, Mary S. Fraser-Tytler. George Frederic Watts. London: Macmillan, 1912. Blunt, Wilfrid, 1901-1987. England's Michelangelo: a Biography of George Frederic Watts, O.M., R.A.. London: Hamilton, 1975. Minneapolis Institute of Arts. Victorian High Renaissance: George Frederic Watts 1817-1904, Frederic Leighton 1830-96, Albert Moore 1841-93, Alfred Gilbert 1854-1934 : an Exhibition Organized by The Minneapolis Institute of Arts. Minneapolis: The Institute, 1978. Barrington, Russell, Mrs., -1933. Essays On the Purpose of Art: Past And Present Creeds of English Painters. London: Longmans, Green and co., 1911. Bryant, Barbara Coffey. "Watts, George Frederic (1817-1904)." Oxford Dictionary of National Biography, Oxford University Press (2004). doi: 10.1093/ref:odnb/36781. 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 Watts, George Frederick Subject The topic of the resource Watts, George Frederick (1817-1904), English painter and sculptor 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 17, 2016