1.
1830 in art
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Events from the year 1830 in art. David Wilkie appointed Principal Painter in Ordinary to King William IV of the United Kingdom following the death of Sir Thomas Lawrence, clarkson Stanfields panorama The Military Pass of the Simplon is featured in a Christmas pantomime in London. Edward Lear commences publication of the lithographed Illustrations of the Family of Psittacidae, approximate beginning of the Barbizon school of painters. Agustín Esteve, Spanish portraitist and royal court painter Jean-Baptiste Giraud, French sculptor
2.
1835 in art
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Events from the year 1835 in art. June 6 – Augustus Welby Northmore Pugin is received into the Roman Catholic Church, june – Caspar David Friedrich suffers his first stroke, which restricts his ability to paint in oils. August – H. Fox Talbot exposes the worlds first known photographic negatives at Lacock Abbey in England, victor Cousin introduces the expression Lart pour lart. Marie Tussaud establishes the first permanent Madame Tussauds wax museum in London
3.
1837 in art
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Events from the year 1837 in art. January 20 – Death of the neo-classical architect Sir John Soane gives effect to the creation of his London house as Sir John Soanes Museum, june 1 – The Government-funded Normal School of Design, predecessor of the Royal College of Art, begins classes at Somerset House in London. July – Edward Lear leaves Knowsley Hall in England to travel to Rome, marie Louise Élisabeth Vigée-Lebrun publishes the second volume of her memoirs
4.
1840 in art
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Events from the year 1840 in art. The stamp becomes valid for postage from May 6, september 30 – Foundation of Nelsons Column laid in London, Trafalgar Square being laid out and paved around it during the year
5.
1841 in art
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Events from the year 1841 in art. M. W. Turners painting Peace - Burial at Sea, fourth plinth, Trafalgar Square, London erected to the design of Charles Barry. The planned equestrian statue of King William IV being abandoned due to lack of funds, george Hayter appointed Principal Painter in Ordinary to Queen Victoria. Rand invents the collapsible zinc oil paint tube, marketed by Winsor & Newton of London, edward Lear publishes Views in Rome and its Environs. John Ruskin publishes The King of the Golden River, with illustrations by Richard Doyle
6.
1842 in art
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Events from the year 1842 in art. David Roberts begins publication of Sketches in the Holy Land, richard Dadd becomes mentally ill during a tour of the Middle East and is thought to be suffering from sunstroke. Construction work resumes on Cologne Cathedral, after a gap of three centuries. William Fox Talbot receives the Rumford Medal of the Royal Society, george R. Lewis records the famous carvings at Kilpeck church, Herefordshire. Dordrechts Museum established in the Netherlands
7.
1845 in art
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Events from the year 1845 in art. February 7 – At the British Museum in London, a drunken visitor smashes the Portland Vase which takes months to repair and it has since been reconstructed three times. March – Honoré Daumier begins publishing the series of drawings Les Gens de justice in the satirical Paris magazine Le Charivari, heinrich Hoffmann anonymously publishes Lustige Geschichten und drollige Bilder mit 15 schön kolorierten Tafeln für Kinder von 3–6 Jahren in Germany. Brita Sofia Hesselius opens a studio in Karlstad, making her the first known Swedish female professional photographer
8.
1848 in art
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Events from the year 1848 in art. April 10 – John Ruskin marries Effie Gray in Scotland, september – John Everett Millais, William Holman Hunt and Dante Gabriel Rossetti found the pre-Raphaelite Brotherhood in the formers family home in Gower Street. December 10 – The Leipzig Art Association opens the Städtische Museum, in Cambridge, England, the Fitzwilliam Museums Founders Building is opened. In Copenhagen, Denmark, the Thorvaldsen Museum of sculpture is opened
9.
French Academy of Sciences
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The French Academy of Sciences is a learned society, founded in 1666 by Louis XIV at the suggestion of Jean-Baptiste Colbert, to encourage and protect the spirit of French scientific research. It was at the forefront of developments in Europe in the 17th and 18th centuries. Currently headed by Sébastien Candel, it is one of the five Academies of the Institut de France, the Academy of Sciences makes its origin to Colberts plan to create a general academy. He chose a group of scholars who met on 22 December 1666 in the Kings library. The first 30 years of the Academys existence were relatively informal, in contrast to its British counterpart, the Academy was founded as an organ of government. The Academy was expected to remain apolitical, and to avoid discussion of religious, on 20 January 1699, Louis XIV gave the Company its first rules. The Academy received the name of Royal Academy of Sciences and was installed in the Louvre in Paris, following this reform, the Academy began publishing a volume each year with information on all the work done by its members and obituaries for members who had died. This reform also codified the method by which members of the Academy could receive pensions for their work, on 8 August 1793, the National Convention abolished all the academies. Almost all the old members of the previously abolished Académie were formally re-elected, among the exceptions was Dominique, comte de Cassini, who refused to take his seat. In 1816, the again renamed Royal Academy of Sciences became autonomous, while forming part of the Institute of France, in the Second Republic, the name returned to Académie des sciences. During this period, the Academy was funded by and accountable to the Ministry of Public Instruction, the Academy came to control French patent laws in the course of the eighteenth century, acting as the liaison of artisans knowledge to the public domain. As a result, academicians dominated technological activities in France, the Academy proceedings were published under the name Comptes rendus de lAcadémie des sciences. The Comptes rendus is now a series with seven titles. The publications can be found on site of the French National Library, in 1818 the French Academy of Sciences launched a competition to explain the properties of light. The civil engineer Augustin-Jean Fresnel entered this competition by submitting a new theory of light. Siméon Denis Poisson, one of the members of the judging committee, being a supporter of the particle-theory of light, he looked for a way to disprove it. The Poisson spot is not easily observed in every-day situations, so it was natural for Poisson to interpret it as an absurd result. However, the head of the committee, Dominique-François-Jean Arago, and he molded a 2-mm metallic disk to a glass plate with wax
10.
Daguerreotype
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Daguerreotype process, or daguerreotypy, was the first publicly available photographic process, and for nearly twenty years it was the one most commonly used. During the past few decades, there has been a revival of daguerreotypy among photographers interested in making artistic use of early photographic processes. The darkest areas of the image are simply bare silver, lighter areas have a microscopically fine light-scattering texture, the surface is very delicate, and even the lightest wiping can permanently scuff it. Some tarnish around the edges is normal, the name daguerreotype correctly refers only to one very specific image type and medium, the product of a process that was in wide use only from the early 1840s to the late 1850s. Since the Renaissance era, artists and inventors had searched for a method of capturing visual scenes. Later, with the advent of Modernism, the absence of perspective in art from China, Japan. To copy these images was the first object of Mr. Daguerre met with Niépce, Niépce had invented an early internal combustion engine together with his brother Claude and made improvements to the velocipede, as well as experimenting with lithography and related processes. Their correspondence reveals that Niépce was at first reluctant to any details of his work with photographic images. To guard against letting any secrets out before the invention had been improved,15, for example, signified the tanning action of the sun on human skin,34 - a camera obscura,74 - sulphuric acid. Niépce undertook to release details of the process he had invented - the asphalt process or heliography, Daguerre was sworn to secrecy under penalty of damages, and undertook to design a camera and improve the process. The improved process was named the physautotype. Niépces early experiments had derived from his interest in lithography, the asphalt process, or heliography required exposures that were so long that Arago said it was not fit for use. Nevertheless, without Niépces experiments, it is unlikely that Daguerre would have been able to build on them to adapt, after Niépces death in 1833, his son, Isidore, inherited rights in the contract and a new version was drawn up between Daguerre and Isidore. It would bear Daguerres name alone and this was the daguerreotype process that used iodized silvered plates and was developed with mercury fumes. To exploit the invention four hundred shares would be on offer for a thousand francs each, or, the rights of the process could be bought for twenty thousand francs. Everyone says it is superb, but it will cost us the thousand francs before we learn it and be able to judge if it could remain secret. M. de Mandelot himself knows several persons who could subscribe but will not do so because they think it would be revealed by itself, and now I have proof that many think in this way. I entirely agree with the idea of M. Arago, that is get the government to purchase this discovery, nevertheless, he benefited from the state pension awarded to him together with Daguerre
11.
Photography
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Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure. With an electronic sensor, this produces an electrical charge at each pixel. A negative image on film is used to photographically create a positive image on a paper base, known as a print. The word photography was created from the Greek roots φωτός, genitive of φῶς, light and γραφή representation by means of lines or drawing, several people may have coined the same new term from these roots independently. Johann von Maedler, a Berlin astronomer, is credited in a 1932 German history of photography as having used it in an article published on 25 February 1839 in the German newspaper Vossische Zeitung. Both of these claims are now widely reported but apparently neither has ever been confirmed as beyond reasonable doubt. Credit has traditionally given to Sir John Herschel both for coining the word and for introducing it to the public. Photography is the result of combining several technical discoveries, later Greek mathematicians Aristotle and Euclid also independently described a pinhole camera in the 5th and 4th centuries BCE. Daniele Barbaro described a diaphragm in 1566, wilhelm Homberg described how light darkened some chemicals in 1694. The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, the discovery of the camera obscura that provides an image of a scene dates back to ancient China. Leonardo da Vinci mentions natural camera obscura that are formed by dark caves on the edge of a sunlit valley, a hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper. So the birth of photography was primarily concerned with inventing means to capture, renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. The camera obscura literally means dark chamber in Latin and it is a box with a hole in it which allows light to go through and create an image onto the piece of paper. Around the year 1800, British inventor Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance and he used paper or white leather treated with silver nitrate. The shadow images eventually darkened all over, the first permanent photoetching was an image produced in 1822 by the French inventor Nicéphore Niépce, but it was destroyed in a later attempt to make prints from it. Niépce was successful again in 1825, in 1826 or 1827, he made the View from the Window at Le Gras, the earliest surviving photograph from nature. Because Niépces camera photographs required a long exposure, he sought to greatly improve his bitumen process or replace it with one that was more practical. With an eye to eventual commercial exploitation, the partners opted for total secrecy, Daguerres efforts culminated in what would later be named the daguerreotype process
12.
Henry Fox Talbot
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His work in the 1840s on photomechanical reproduction led to the creation of the photoglyphic engraving process, the precursor to photogravure. He was the holder of a patent which affected the early development of commercial photography in Britain. He was also a photographer who contributed to the development of photography as an artistic medium. He published The Pencil of Nature, which was illustrated with original salted paper prints from his calotype negatives, and made important early photographs of Oxford, Paris, Reading. Talbot was the child of William Davenport Talbot, of Lacock Abbey, near Chippenham, Wiltshire. Talbot was educated at Rottingdean, Harrow School and at Trinity College, Cambridge, where he was awarded the Porson Prize in Classics in 1820, from 1822 to 1872, he communicated papers to the Royal Society, many of them on mathematical subjects. At an early period, he began optical researches, which bore fruit in connection with photography. At a meeting of the Royal Institution on 25 January 1839, within a fortnight, he communicated the general nature of his process to the Royal Society, followed by more complete details a few weeks later. Daguerre did not publicly reveal any details until mid-August, although by the spring it had become clear that his process. In the case of images, that could require an exposure of an hour or two if something more than a silhouette of objects against a bright sky was wanted. This reduced the exposure time in the camera to only a minute or two for subjects in bright sunlight. The simpler salted paper process was used when making prints from calotype negatives. Talbot announced his calotype process in 1841, and in August he licensed Henry Collen, the most celebrated practitioners of the process were Hill & Adamson. Another notable calotypist was Levett Landon Boscawen Ibbetson, in 1842, Talbot received the Rumford Medal of the Royal Society for his photographic discoveries. In 1852, Talbot discovered that gelatine treated with potassium dichromate and this later provided the basis for the important carbon printing process and related technologies. Dichromated gelatine is still used for some laser holography, Talbots later photographic work was concentrated on photomechanical reproduction methods. Talbot created the engraving process, later perfected by others as the photogravure process. Daguerres work on his process had commenced at about the time as Talbots earliest work on his salted paper process
13.
Royal Institution
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The Royal Institution of Great Britain is an organisation devoted to scientific education and research, based in London. Since its founding it has based at 21 Albemarle Street in Mayfair. Its Royal Charter was granted in 1800, throughout its history, the Institution has supported public engagement with science through a program of lectures, many of which continue today. The most famous of these are the annual Royal Institution Christmas Lectures, the Institution has had an instrumental role in the advancement of science since its founding. In the 19th century, Faraday carried out much of the research which laid the groundwork for the exploitation of electricity at the Royal Institution. In total fifteen scientists attached to the Royal Institution have won Nobel Prizes, the leadership of the Royal Institution has had various titles, Director of the Laboratory Director of the Davy-Faraday Research Laboratory Director The position was abolished in 2010. The Institutions last director was Susan Greenfield, following various resignations and general meetings of members, Andrade was awarded £7,000 by arbitration, the arbitrators blamed the problems on a lack of clear definition of roles. An outdated constitution, and the inability of the protagonists to compromise, Andrade launched a lawsuit to set the arbitration aside, which he lost. From 1998 to 8 January 2010, the director of the Royal Institution was Baroness Susan Greenfield, but following a review, the project ended £3 million in debt. Greenfield subsequently announced that she would be suing for discrimination, Baroness Greenfield later dropped the discrimination case. Today the Royal Institution is committed to diffusing science for the purposes of life. Membership is open to all, with no nomination procedure or academic requirements, the institutions palatial home has been greatly enlarged and redeveloped since 1799, and is a Grade I listed building. The structures last refurbishment was a £22 million project completed in 2008, as well as the famous Lecture Theatre, the building contains several function rooms, modern research facilities and a public café. The trustees were considering selling the building in an effort to recoup the organisations debts, in 2013 The Ri received an anonymous donation of £4. 4m and as of January 2016, the Ri is now debt-free. The Institution has a public science programme and science for schools programme. The Christmas Lectures continue today as a series of three televised lectures aimed at children, the Friday Evening Discourses are monthly lectures given by eminent scientists, each limited to exactly one hour, a tradition started by Faraday. There is a members ballot for tickets to the Christmas Lectures. Discounts are available to Ri Patrons and Members, many other events and lectures are held both at Albemarle Street and at other venues around the country
14.
Robert Cornelius
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Robert Cornelius was an American pioneer of photography and a lamp manufacturer. Cornelius was born in Philadelphia to Sarah Cornelius and Christian Cornelius and his father had immigrated from Amsterdam in 1783 and worked as a silversmith before opening a lamp manufacturing company. Robert Cornelius attended private school as a youth, taking a particular interest in chemistry, in 1831, he began working for his father, specializing in silver plating and metal polishing. He became so renowned for his work, that shortly after. It was this meeting that sparked Corneliuss interest in photography, with his own knowledge of chemistry and metallurgy, as well as the help of chemist Paul Beck Goddard, Cornelius attempted to perfect the daguerreotype. Around October 1839, at age thirty, Cornelius took a self-portrait outside of the family store, the daguerreotype produced is an off-center portrait of a man with crossed arms and tousled hair. Cornelius would operate two of the earliest photographic studios in the U. S. Cornelius married Harriet Comly in 1832 and they had eight children, three sons and five daughters. Cornelius retired from his familys business in 1877, in his later years, he lived at his country home in Frankford, Philadelphia. Cornelius was also an elder at the Presbyterian Church, where he was a member for fifty years and he died at his Frankford home on August 10,1893. Smithsonian American Enterprise, A tour through storage brings an innovator to light Article from the April 1840 issue of Godeys Ladys Book,20, p.190 ExplorePAhistory. com Robert Cornelius at Find a Grave
15.
Pierre Grassou
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Pierre Grassou is an 1839 novel by French author Honoré de Balzac and included in the Scènes de la vie parisienne section of his novel sequence La Comédie humaine. Pierre Grassou de Fougères is a painter who lives off painting forgeries commissioned by an old swindler and art-dealer named Elias Magus. Grassou paints forgeries of works by Titian, Raphael, and other famous artists, Magus resells these forgeries for a large profit to members of the Petite bourgeoisie who are incapable of appreciating good art. Monsieur Vervelle, a prosperous bottle-dealer obsessed with art, is introduced to Grassou by Magus, Vervelle and his wife are enchanted with Grassou and believe he would make a good match for their daughter Virginie. Grassou is invited to Ville-dAvray, where the Vervelle mansion is garishly decorated, despite his advantageous marriage, Grassou remains bitter that he is not a true artist. But he still works on, he aims for the Academy, where, undoubtedly, he will enter
16.
J. M. W. Turner
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Joseph Mallord William Turner, RA was an English Romanticist landscape painter. Turner was considered a figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting and he is commonly known as the painter of light. Joseph Mallord William Turner was baptised on 14 May 1775, and it is generally believed he was born between late April and early May. Turner himself claimed he was born on 23 April, but there is no proof and he was born in Maiden Lane, Covent Garden, in London, England. His father, William Turner, was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778, the earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswells Picturesque View of the Antiquities of England and Wales. Around 1786, Turner was sent to Margate on the north-east Kent coast, here he produced a series of drawings of the town and surrounding area foreshadowing his later work. Turner returned to Margate many times in later life, by this time, Turners drawings were being exhibited in his fathers shop window and sold for a few shillings. His father boasted to the artist Thomas Stothard that, My son, in 1789, Turner again stayed with his uncle who had retired to Sunningwell in Berkshire. A whole sketchbook of work from time in Berkshire survives as well as a watercolour of Oxford. The use of sketches on location, as the foundation for later finished paintings. By the end of 1789, he had begun to study under the topographical draughtsman Thomas Malton. Turner learned from him the tricks of the trade, copying and colouring outline prints of British castles. He would later call Malton My real master, topography was a thriving industry by which a young artist could pay for his studies. In the same year of 1789 he entered the Royal Academy of Art schools, when he was 14 years old, Sir Joshua Reynolds, president of the Royal Academy, chaired the panel that admitted him. At first Turner showed a keen interest in architecture, but was advised by the architect Thomas Hardwick to continue painting and his first watercolour painting A View of the Archbishops Palace, Lambeth was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15. As a probationer in the academy, he was drawing from plaster casts of antique sculptures
17.
The Fighting Temeraire
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The Fighting Temeraire tugged to her last berth to be broken up,1838 is an oil painting by the English artist Joseph Mallord William Turner. It was painted in 1838 and exhibited at the Royal Academy in 1839, the 98-gun ship HMS Temeraire was one of the last second-rate ships of the line to have played a distinguished role in the Battle of Trafalgar in 1805. The painting depicts HMS Temeraire being towed by a steam tug towards its final berth in Rotherhithe in south-east London in 1838 to be broken up for scrap. The painting hangs in the National Gallery, London, having been bequeathed to the nation by the artist in 1851, in 2005 it was voted the nations favourite painting in a poll organised by BBC Radio 4s Today programme. When Turner came to paint this picture he was at the height of his career, having exhibited at the Royal Academy, London and he was renowned for his highly atmospheric paintings in which he explored the subjects of the weather, the sea and the effects of light. He spent much of his life near the River Thames and did many paintings of ships and waterside scenes, Turner frequently made small sketches and then worked them into finished paintings in the studio. He almost certainly did not witness the actual towing of Temeraire and used considerable licence in the painting which had a meaning for him. Turner had been eighteen years old when Britain entered the Napoleonic Wars and had a strong patriotic streak, the beauty of the old ship is in stark contrast to the dirty blackened tugboat with its tall smokestack, which scurries across the still surface of the river. Turner has used the triangle of blue to frame a second triangle of masted ships, Temeraire and tugboat have passed a small river craft with its gaff rigged sail barely catching a breeze. Beyond this a square-rigger drifts, with bit of sail extended. Another small craft shows as a patch of white farther down the river, in the far distance, beyond the second tugboat which makes its way towards them, a three-masted ship rides at anchor. The becalmed sailing vessels show the obsolescence of sail, the flaming red of the clouds is reflected in the river. It exactly repeats the colour of the smoke which pours from the funnel of the tugboat, the sun setting symbolises the end of an epoch in the history of the British Royal Navy. Behind Temeraire, a sliver of the waxing moon casts a silvery beam across the river, symbolising the commencement of the new. Turner called the work his darling, which may have due to its beauty. Sir Henry Newbolt wrote later a ballad titled The Fighting Temeraire, describing the scene, And shes fading down the river, But in Englands song for ever. The painting is used in the 2012 James Bond film Skyfall to be symbolic of Bonds age, Turner took some artistic licence with the painting. The ship was known to her crew as Saucy, rather than Fighting Temeraire, before being sold to the ship-breaker John Beatson, the ship had been lying at Sheerness Dockyard, and was then moved to his wharf at Rotherhithe
18.
John Bell (sculptor)
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John Bell was a British sculptor, born in Bells Row, Great Yarmouth, Norfolk. His family home was Hopton Hall, Suffolk and his works were shown at the Great Exhibition of 1851, and he was responsible for the marble group representing America on the Albert Memorial in London. He was born in 1811, and educated at Catfield rectory and he studied sculpture in the Royal Academy schools, and exhibited his first work at the academy, a religious group, in 1832. The next year he exhibited A Girl at a Brook and John the Baptist at the academy, at the Royal Academy in 1836 he showed Psyche feeding a Swan and Youth, Spring, and Infancy. His Babes in the Wood was exhibited at the Royal Academy summer exhibition two years later, there are marble versions at Osborne House, and Norwich Castle. In 1844 Bell entered his Eagle Slayer and Jane Shore in the held for sculpture for the new Houses of Parliament. A cast-iron version of the Eagle Slayer - the first statue ever to be made from the material - was produced for The Great Exhibition of 1851 and it was later placed outside the South Kensington Museum, and is now in the V&A Museum of Childhood in Bethnal Green. He also exhibited a sculpture of Shakespeare at the 1851 exhibition and it was also used by John Leech as the centrepiece of his cartoon Dinner-time at the Crystal Palace, published in Punch. For Coalbrookdale he created the Deerhound hall table and Andromeda which was bought by Queen Victoria and is now a feature of the gardens at Osborne House. Una and the Lion, inspired by Edmund Spensers The Faerie Queene was also exhibited at the Great Exhibition of 1851, the full-scale model was placed in the Crystal Palace which burned down in 1936. His best-known work is the Crimean war monument to the Brigade of Guards at the junction of Pall Mall and Waterloo Place, Bells 1862 sculpture of Oliver Cromwell originally designed for the 1862 International Exhibition was erected in 1899 in Warrington, Cheshire. Bell died on 14 March 1895 at 15 Douro Place, Kensington and his pupil Francis John Williamson also became a successful sculptor, reputed to have been Queen Victorias favourite. Attribution This article incorporates text from a now in the public domain, Dodgson. Dictionary of National Biography,1901 supplement, yourarchives. nationalarchives. gov. uk myweb. tiscali. co. uk frontierpublishing. co. uk rsa. org. uk spencer. lib. ku. edu youricons. macrojuice. com museums. norfolk. gov. uk
19.
Francesco Hayez
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Francesco Hayez was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits. Hayez came from a poor family from Venice. His father, Giovanni, was of French origin while his mother, the child Francesco, youngest of five sons, was brought up by his mothers sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer, later he became a student of the painter Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the course of the New Academy of Fine Arts in 1806. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid-1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei, Francesco Hayez lived long and was prolific. His output spanned both historic paintings, including those that would have appealed to the sensibility of his patrons. Others reflect the desire to accompany a Neoclassic style to grand themes and he also painted scenes from theatrical presentations of his day. Conspicuously lacking from his output, however, are intended for devotional display. Corrado Ricci describes him as starting as a classicist but then evolving to a style of emotional tumult and his portraits have the intensity seen with Ingres and the Nazarene movement. Often sitting, the dress in austere, often black and white clothing. While he did portraits for the nobility, other subjects are artists. Late in his career, he is known to have worked using photographs, one of his favorite themes was a semi-clothed female. Often they were, like his Odalisque, evocative of oriental themes, the depictions of harems and their women allowed them the ability to paint scenes not acceptable in their society. Even his Mary Magdalene has more sensuality than religious fervor, among his works, his painting The Kiss was considered among his best work by contemporaries, and has only gained in esteem since then. The anonymous, unaffected gesture of the couple does not require knowledge of myth or literature to interpret, assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works
20.
Edwin Landseer
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Sir Edwin Henry Landseer RA was an English painter, well known for his paintings of animals—particularly horses, dogs and stags. However, his best known works are the sculptures in Trafalgar Square. Landseer was born in London, the son of the engraver John Landseer A. R. A and he was something of a prodigy whose artistic talents were recognised early on. Landseers life was entwined with the Royal Academy, at the age of just 13, in 1815, he exhibited works there. He was elected an Associate at the age of 24, and he was knighted in 1850, and although elected President in 1866 he declined the invitation. In the last few years of his life Landseers mental stability was problematic, Landseer was a notable figure in 19th-century British art, and his works can be found in Tate Britain, the Victoria and Albert Museum, Kenwood House and the Wallace Collection in London. He also collaborated with fellow painter Frederick Richard Lee, Landseers popularity in Victorian Britain was considerable, and his reputation as an animal painter was unrivalled. Much of his fame—and his income—was generated by the publication of engravings of his work and his appeal crossed class boundaries, reproductions of his works were common in middle-class homes, while he was also popular with the aristocracy. Queen Victoria commissioned numerous pictures from the artist and he taught both Victoria and Albert to etch, and made portraits of Victorias children as babies, usually in the company of a dog. He also made two portraits of Victoria and Albert dressed for costume balls, at which he was a guest himself, one of his last paintings was a life-size equestrian portrait of the Queen, shown at the Royal Academy in 1873, made from earlier sketches. Landseer was particularly associated with Scotland, which he had first visited in 1824 and the Highlands in particular, in 1828, he was commissioned to produce illustrations for the Waverley Edition of Sir Walter Scotts novels. It was this variety Landseer popularised in his paintings celebrating Newfoundlands as water dogs, most notably Off to the Rescue, A Distinguished Member of the Humane Society. Landseers painting Laying Down The Law satirises the profession through anthropomorphism. It shows a group of dogs, with a poodle symbolising the Lord Chancellor, the Shrew Tamed, was entered at the 1861 Royal Academy Exhibition and caused controversy because of its subject matter. It showed a horse on its knees among straw in a stable, while a lovely young woman lies with her head pillowed on its flanks. The catalogue explained it as a portrait of a noted equestrienne, Ann Gilbert, walters was an excellent horsewoman and along with other pretty horsebreakers, frequently appeared riding in Hyde Park. Some of Landseers later works, such as his Flood in the Highlands and Man Proposes, the latter shows two polar bears toying with the bones of the dead and other remains, from Sir John Franklins failed arctic expedition. The painting was purchased at auction by Thomas Holloway and hangs in the gallery of Royal Holloway
21.
Carl Spitzweg
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Carl Spitzweg was a German romanticist painter, especially of genre subjects. He is considered to be one of the most important artists of the Biedermeier era and he was born in Unterpfaffenhofen, the second of three sons of Franziska and Simon Spitzweg. His father, a merchant, had Carl trained as a pharmacist. He attained his qualification from the University of Munich but, while recovering from an illness, Spitzweg was self-taught as an artist, starting out by copying the works of Flemish masters. He contributed his first work to satiric magazines, upon receiving an inheritance in 1833, he was able to dedicate himself to painting. Later, Spitzweg visited European art centers in Prague, Venice, Paris, London and his later paintings and drawings are often humorous genre works. Many of his paintings depict sharply characterized eccentrics, for example The Bookworm and his paintings inspired the musical comedy Das kleine Hofkonzert by Edmund Nick. Playing Piano, an etching by Spitzweg, was found as part of the 2012 Nazi loot discovery, Spitzweg is buried in the Alter Südfriedhof in Munich. In the late 1930s an art forgery case in Germany involved 54 paintings which had passed off as Spitzweg originals. They had been painted by a Traunstein copyist named Toni who worked from reproductions, Toni signed the works with his own name as after Spitzweg, but fraudsters later removed his name and artificially aged the paintings in order to sell them as originals. At the Stuttgart Criminal Court Assizes the conspirators were jailed for up to ten years for the swindle
22.
Peter von Hess
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Peter Heinrich Lambert von Hess was a German painter, known for historic paintings, especially of the Napoleonic Wars and the Greek War of Independence. Peter von Hess initially received training from his father Carl Ernst Christopher Hess and he accompanied his younger brother Heinrich Maria to Munich in 1806, and enrolled at the Munich Academy at the age of sixteenth. He also trained under Wilhelm von Kobell, during the Napoleonic Wars, he was allowed to join the staff of General Wrede, who commanded the Bavarians in the military operations which led to the abdication of Napoleon. There he gained novel experiences of war and a taste for extensive travel, during this time, von Hess painted his first battle pieces. In 1818 he spent some time in Italy where he painted landscapes and various Italian scenes and travelled to Naples with Joseph Petzl and a group of other Bavarian artists. In 1833, at Ludwigs request, he accompanied Otto of Greece to the newly formed Kingdom of Greece, where at Athens he gathered materials for pictures of the war of liberation. The sketches which he made were placed, forty in number, in the Pinakothek, after being copied in wax on a large scale by Nilsen. King Othos entrance into Nauplia was the subject of a large and crowded canvas now in the Pinakothek, peter von Hess work has been evaluated positively for its execution but some have questioned its boldness and congeniality. He is buried in the Alter Südfriedhof in Munich and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Hess
23.
David Wilkie (artist)
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Sir David Wilkie RA was a Scottish painter. Wilkie was the son of the minister of Cults in Fife. He developed a love for art at an early age, in 1799, after he had attended school at Pitlessie, Kingskettle and Cupar, his father reluctantly agreed to his becoming a painter. Through the influence of the Earl of Leven Wilkie was admitted to the Trustees Academy in Edinburgh, in 1804, Wilkie left the Trustees Academy and returned to Cults. In addition to this elaborate figure-piece, Wilkie was much employed at the time upon portraits, Wilkie now turned to historical art, and painted his Alfred in the Neatherds Cottage, for the gallery illustrative of English history which was being formed by Alexander Davison. His next great work was the Ale-House Door, afterwards entitled The Village Festival and it was followed in 1813 by the well-known Blind Mans Buff, a commission from the Prince Regent, to which a companion picture, the Penny Wedding, was added in 1818. In November 1809 he was elected an associate of the Royal Academy, when he had attained the age prescribed by its laws. In 1812 he opened an exhibition of his works in Pall Mall. In 1814 he executed the Letter of Introduction, one of the most delicately finished, in the same year he made his first visit to the continent, and in Paris entered upon a profitable and delighted study of the works of art collected in the Louvre. On his return he began Distraining for Rent, one of the most popular, in 1816 he made a tour through Holland and Belgium in company with Raimbach, the engraver of many of his paintings. The Sir Walter Scott and his Family, a picture with small full-length figures in the dress of Scottish peasants, was the result of a visit to Abbotsford in 1818. In 1822 Wilkie visited Edinburgh, in order to select from the Visit of King George IV to Scotland a fitting subject for a picture. But several years elapsed before its completion, for, like all such works, it proved a harassing commission, uncongenial to the painter while in progress. His health suffered from the strain to which he was subjected, in 1825 he sought relief in foreign travel, after visiting Paris, he went to Italy, where, in Rome, he received the news of fresh disasters through the failure of his publishers. A residence at Toplitz and Carlsbad was tried in 1826, with good result. In October he passed into Spain, whence he returned to England in June 1828 and it is impossible to overestimate the influence upon Wilkies art of these three years of foreign travel. It amounts to nothing short of a change of style. But now he experienced the spell of the Italian masters, and of Diego Velázquez, the popular verdict had in it a basis of truth, Wilkie was indeed greatest as a genre-painter
24.
William Wyon
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William Wyon RA, was official chief engraver at the Royal Mint from 1828 until his death. Wyon was born in Birmingham and was apprenticed to his father, in 1816, he went to London. He studied the works of John Flaxman, attended the schools of the Royal Academy, and gained a medal from the Society of Arts for a copy of the head of Ceres. In 1816 he was appointed assistant engraver to the mint, in 1831 he was elected associate and in 1838 full member of the Royal Academy. Wyon is buried under a simple rectangular York stone slab at West Norwood Cemetery and he was the father of engraver Leonard Charles Wyon. Under the influence of Flaxman, a master of relief sculpture, in 1834 he modelled the head of Princess Victoria, who was 15 years of age at the time. The name of William Wyon is well known among coin and medal collectors because of his prodigious output and he also designed the Naval General Service Medal, of which 20,933 were issued. Notable among his work are the obverse designs for the prize, juror and other medals for The Great Exhibition at Crystal Palace in 1851. The primary die used for the issue was engraved by Wyon. His design also influenced the surface-printed stamps first printed in 1855, nicholas Carlisle, A memoir of the life and works of William Wyon, privately printed
25.
Una and the Lion
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The Una and the Lion was a British £5 gold coin depicting Queen Victoria. It is recognized as one of the most beautiful British coins ever struck and it was designed by William Wyon in 1839, to commemorate the beginning of Queen Victorias reign. The coin is the lightest of the British £5 coins, weighing only 38. 7–39.3 grams, the reverse of the coin is a depiction of Queen Victoria walking to the left of a lion. The Latin phrase DIRIGE DEUS GRESSUS MEOS – May the Lord direct my steps, underneath the lion are the Roman Numerals MDCCCXXXIX. The same Latin inscription appears on the 2012 Royal Mint £5 Crown, minted to commemorate the Diamond Jubilee of Queen Elizabeth II. The depiction of the young Queen as Lady Una was seen at the time as a design decision as it was the first occasion when a British monarch had been depicted on a coin as a fictional character
26.
Five pounds (British gold coin)
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However, the £5 coin tends to have a more modern feel and so is normally considered separately. The normal weight of the denomination was 40 grams, the first appearance of the denomination was in the reign of George III, when it was produced in 1820 as a pattern. The obverse shows the right-facing bust of the king with the legend GEORGIUS III D. G. BRITANNIAR, REX F. D. date, while the reverse shows Benedetto Pistruccis now famous St. George and dragon design with no legend. The edge is inscribed on the version, but plain on the proof version. The next appearance of the denomination was in the reign of George IV, the obverse shows the left-facing bust of the king with the legend GEORGIUS IV DEI GRATIA date, while the reverse shows a crowned shield within a mantle cape with the legend BRITANNIARUM REX FID DEF. The 1826 coin has the edge inscription DECUS ET TUTAMEN ANNO REGNI SEPTIMO, the edge may either have the inscription DECUS ET TUTAMEN ANNO REGNI TERTIO or be plain. This issue is the lightest of all the £5 coins, weighing only 38. 7–39.3 grams, the edge of this coin is milled, and it weighs 40 grams. This coin was produced in the mint at Sydney, Australia. In the reigns of Kings Edward VII, George V, and George VI, all these reigns used the Pistrucci George and Dragon obverse, with the 1902 and 1911 coins having milled edges, though at least some of the 1937 coins have plain edges. The 1902 Edward VII coin was minted at Sydney, being identified by an S above the centre of the date. The reign of Queen Elizabeth II saw a departure from the practice in issuing gold coinage. No further £5 gold pieces were struck until 1980, nine years after decimalisation, coins from 1980 to 1984 use the Arnold Machin effigy of the Queen, while the 1985–1990 coins use the Raphael Maklouf effigy. All these years use the Pistrucci reverse, the £5 coins are 36.02 mm in diameter in contrast to the commemorative crowns that are 38. 6mm diam. Since 1990 £5 coins have been produced in cupronickel, but premium versions in silver and these modern five pound coins are a continuation of the crown which was issued from 1544 as a five shilling coin. The modern five-pound issues are not issued for circulation, but to mark events or commemorations of national or Royal significance
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