1.
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
2.
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
3.
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
4.
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
5.
1850 in art
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Events from the year 1850 in art. Controversial exhibition of Pre-Raphaelite paintings by Holman Hunt and Millais at the Royal Academy, james Collinson resigns from the Pre-Raphaelite Brotherhood, which then dissolves. Francisco Goyas engravings, Proverbios, are posthumously published, edouard Pingret relocates to Mexico City. Grand Prix de Rome, painting, William-Adolphe Bouguereau, Paul Baudry, Grand Prix de Rome, sculpture, Grand Prix de Rome, architecture, Grand Prix de Rome, music, J. A
6.
1855 in art
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Events from the year 1855 in art. July 3 – John Everett Millais and Effie Gray marry, jean Auguste Dominique Ingres exhibits Venus Anadyomene, which has taken him forty years to complete. William Bell Scott begins painting murals of Northumbrian history at Wallington Hall, the Bavarian National Museum is founded by King Maximilian II of Bavaria. Kelly, American sculptor and illustrator September 8 – William Friese-Greene, English photographer and cinematographer Willis E
7.
1857 in art
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Events from the year 1857 in art. June 22 – The South Kensington Museum, predecessor of the Victoria, lewis Carroll meets John Ruskin and begins to associate with the Pre-Raphaelites. In the same year, Ruskin publishes his Political Economy of Art, may 5 – October 17 – The Art Treasures of Great Britain exhibition is held in Manchester, one of the largest such displays of all time. Emily Mary Osborn – Nameless and Friendless O. G. W
8.
1859 in art
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Events from the year 1859 in art. March 22 – Scottish National Gallery opens to the public in Edinburgh in neoclassical premises designed by W. H. Playfair, april 26 – William Morris marries his model, Jane Burden. Edward Burne-Jones presents them with a self-painted wardrobe, frederic E. Churchs The Heart of the Andes is exhibited in New York and draws 12,000 paying visitors. The Artists Rifles set up in London as a unit of the British Army
9.
1861 in art
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Events from the year 1861 in art. February – Hilda Sjölin opens a studio in Malmö, making her one of the first known Swedish female professional photographers. Paul Cézanne and his friend Émile Zola arrive in Paris, berthe Morisot becomes a pupil of Corot. Édouard Manet has his first paintings accepted by the Salon, william Bell Scott concludes his series of murals of Northumbrian history at Wallington Hall with Iron and Coal, the Nineteenth Century
10.
1851 in architecture
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The year 1851 in architecture involved some significant architectural events and new buildings. February 5 - Saint Thomas Episcopal Church and Rectory, Smithfield, Rhode Island, USA, may 1 The Crystal Palace, home of the Great Exhibition, erected in Hyde Park, London to the design of Joseph Paxton. Permanent Windsor Riverside railway station in England completed to the design of William Tite, may 31 - Madonna dellArchetto, Rome Italy. July 25 - Holy Trinity Church, Bangalore, India, october 1 - Alabama State Capitol, Montgomery, Alabama. Osborne House on the Isle of Wight, England, designed by Prince Albert in consultation with builder Thomas Cubitt, wat San Chao Chet, Bangkok, Thailand. St. Stephens Basilica in Budapest, Hungary, designed by Miklós Ybl, muhammad Amin Khan Madrasa in Khiva, Uzbekistan. Hurstpierpoint College in England, designed by Richard Cromwell Carpenter, gottfried Semper - The Four Elements of Architecture, part 1 Edmund Sharpe - The Seven Periods of English Architecture. Royal Gold Medal - Thomas Leverton Donaldson, grand Prix de Rome, architecture - Gabriel-Auguste Ancelet
11.
1851 in music
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This article is about music-related events in 1851. February – Operatic tenor Sims Reeves returns to perform in Dublin with his new wife, february 6 – Schumanns Symphony No.3 receives its première in Düsseldorf, the composer conducting. March 11 – Giuseppe Verdis opera Rigoletto is first performed at La Fenice in Venice, april 5 – Jenny Lind visits the Mammoth Cave in Kentucky, USA. July 23 – Richard Wagner writes down the leitmotif for the Ride of the Valkyries, Operatic baritone Hans von Milde marries soprano Rosa Agthe. Eight-year-old Adelina Patti sings in public for the first time
12.
1851 in science
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The year 1851 in science and technology involved some significant events, listed below. February – First public exhibition of a Foucault pendulum, at the Meridian of the Paris Observatory, a few weeks later Foucault installs one at the Panthéon. July 28 – Solar eclipse of July 28,1851, Total solar eclipse, the first correctly exposed photograph, a daguerrotype, of the solar corona is made during the total phase of the eclipse by Berkowski at Koenigsberg Observatory in Prussia. October 24 – Ariel and Umbriel, moons of Uranus, are discovered by William Lassell, the William Brydone Jack Observatory is completed at Fredericton, New Brunswick. March – English sculptor Frederick Scott Archer makes public the wet collodion photographic process. George Wilson publishes The Life of the Hon. Henry Cavendish, bernhard Riemann provides a proof of Greens theorem in his inaugural dissertation. The Royal Marsden is established as the Free Cancer Hospital by surgeon William Marsden in London, hippolyte Fizeau carries out the Fizeau experiment to measure the relative speeds of light in moving water. November 13 – First protected submarine telegraph cable laid, across the English Channel, William Armstrong introduces the weight-loaded hydraulic accumulator. Copley Medal, Richard Owen Wollaston Medal for geology, Adam Sedgwick January 19 – Jacobus Kapteyn, march 16 – Martinus Beijerinck, Dutch microbiologist and botanist. April 12 – E. Walter Maunder, astronomer, July 8 – Arthur Evans, archaeologist. July 20 – Arnold Pick, neurologist, august 3 – George FitzGerald, mathematician. January 27 – John James Audubon, naturalist and illustrator, february 18 – Carl Gustav Jakob Jacobi, mathematician. March 9 – Hans Christian Ørsted, physicist, July 6 – Thomas Davenport, electrical engineer. July 17 – John Farey, mechanical engineer and technical writer, september 2 – William Nicol, geologist
13.
English people
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The English are a nation and an ethnic group native to England, who speak the English language. The English identity is of medieval origin, when they were known in Old English as the Angelcynn. Their ethnonym is derived from the Angles, one of the Germanic peoples who migrated to Great Britain around the 5th century AD, England is one of the countries of the United Kingdom. Collectively known as the Anglo-Saxons, they founded what was to become England along with the later Danes, Normans, in the Acts of Union 1707, the Kingdom of England was succeeded by the Kingdom of Great Britain. Over the years, English customs and identity have become closely aligned with British customs. The English people are the source of the English language, the Westminster system and these and other English cultural characteristics have spread worldwide, in part as a result of the former British Empire. The concept of an English nation is far older than that of the British nation, many recent immigrants to England have assumed a solely British identity, while others have developed dual or mixed identities. Use of the word English to describe Britons from ethnic minorities in England is complicated by most non-white people in England identifying as British rather than English. In their 2004 Annual Population Survey, the Office for National Statistics compared the ethnic identities of British people with their national identity. They found that while 58% of white people in England described their nationality as English and it is unclear how many British people consider themselves English. Following complaints about this, the 2011 census was changed to allow respondents to record their English, Welsh, Scottish, another complication in defining the English is a common tendency for the words English and British to be used interchangeably, especially overseas. In his study of English identity, Krishan Kumar describes a common slip of the tongue in which people say English, I mean British. He notes that this slip is made only by the English themselves and by foreigners. Kumar suggests that although this blurring is a sign of Englands dominant position with the UK and it tells of the difficulty that most English people have of distinguishing themselves, in a collective way, from the other inhabitants of the British Isles. In 1965, the historian A. J. P. Taylor wrote, When the Oxford History of England was launched a generation ago and it meant indiscriminately England and Wales, Great Britain, the United Kingdom, and even the British Empire. Foreigners used it as the name of a Great Power and indeed continue to do so, bonar Law, by origin a Scotch Canadian, was not ashamed to describe himself as Prime Minister of England Now terms have become more rigorous. The use of England except for a geographic area brings protests and this version of history is now regarded by many historians as incorrect, on the basis of more recent genetic and archaeological research. The 2016 study authored by Stephan Schiffels et al, the remaining portion of English DNA is primarily French, introduced in a migration after the end of the Ice Age
14.
Frederick Scott Archer
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Frederick Scott Archer invented the photographic collodion process which preceded the modern gelatin emulsion. Scott Archer was the son of a butcher from Hertford who went to London to take an apprenticeship as a silversmith, later, he became a sculptor and found calotype photography useful as a way of capturing images of his sculptures. In publishing his discovery, he did so knowingly without first patenting it and he later developed the ambrotype jointly with Peter Wickens Fry. He died impoverished, as since he did not patent the process he made very little money from it. An obituary described him as a very inconspicuous gentleman, in poor health and his family received a gift of £747 after his death, raised by public subscription, and a small pension was also provided to support his three children after the death of their mother. The Royal Photographic Society has a collection of Scott Archers photographs, some are also held in the Victoria. Archer is buried at Kensal Green Cemetery in London, W10
15.
Collodion
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Collodion is a flammable, syrupy solution of pyroxylin in ether and alcohol. There are two types, flexible, non-flexible. The flexible type is used as a surgical dressing or to hold dressings in place. When painted on the skin, collodion dries to form a flexible nitrocellulose film, while it is initially colorless, it discolors over time. Non-flexible collodion is used in theatrical make-up. In 1846 Louis-Nicolas Ménard and Florès Domonte discovered that cellulose nitrate could be dissolved in ether and they devised a mixture of ether as the solvent and ethanol as a diluent that rendered cellulose nitrate into a clear gelatinous liquid. Collodion was first used medically as a dressing in 1847 by the Boston physician John Parker Maynard, the solution was dubbed collodion by Dr. A. A. Gould of Boston, Massachusetts. In 1851, Frederick Scott Archer, an Englishman, discovered that collodion could be used as an alternative to egg white on glass photographic plates, Collodion reduced the exposure time necessary for making an image. This method became known as the wet-plate collodion or wet collodion method, Collodion was relatively grainless and colorless, and allowed for one of the first high-quality duplication processes, also known as negatives. This process also produced two types of positives, the ambrotype, the tintype, the process required great skill and included the following steps, Clean the glass plate In the light, pour salted collodion onto the glass plate, tilting it so it reaches each corner. The excess is poured back into the bottle, after these steps the plate needed rinsing in fresh water. Finally, the plate was dried and varnished using a varnish made from sandarac, alcohol, dark tents to be used outdoors consisted of a small tent that was tied around the photographers waist. Otherwise a wheelbarrow or a horse and covered wagon were used, richard Hill Norris, a doctor of medicine and professor of physiology at Queens College, Birmingham, is generally credited with the first development of dry collodion plate in the 1860s. In 1894 he took out a new patent for dry plate used in photography, many wart-remover preparations consist of acetic acid and salicylic acid in an acetone collodion base used in the treatment of warts by keratolysis. Nitrocellulose solution is used in liquid bandage products. EEG electrodes are attached to the patients scalp with rigid collodion for long-term treatment Collodion is widely used to glue electrodes to the head for electro-encephalography. Non-flexible collodion is used in makeup for various effects. When applied to the skin, it shrinks as the solvent evaporates, causing wrinkles and is used to simulate old age, Collodion is used in the cleaning of optics such as telescope mirrors
16.
The Great Exhibition
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It was the first in a series of Worlds Fairs, exhibitions of culture and industry that became popular in the 19th century, and it was a much anticipated event. The Great Exhibition was organized by Henry Cole and Prince Albert, husband of the reigning monarch, Queen Victoria. It was arguably a response to the highly successful French Industrial Exposition of 1844, indeed, Queen Victoria and her family visited three times. Although the Great Exhibition was a platform on which countries from around the world could display their achievements, Britain sought to prove its own superiority. The British exhibits at the Great Exhibition held the lead in almost every field where strength, durability, utility and quality were concerned, whether in iron and steel, Britain also sought to provide the world with the hope of a better future. Europe had just struggled through two decades of political and social upheaval, and now Britain hoped to show that technology. Technology and moving machinery were popular, especially working exhibits and she also notes that visitors could watch the entire process of cotton production from spinning to finished cloth. Scientific instruments were found in class X, and included electric telegraphs, microscopes, air pumps and barometers, a special building, nicknamed The Crystal Palace, or The Great Shalimar, was built to house the show. The building was architecturally adventurous, drawing on Paxtons experience designing greenhouses for the sixth Duke of Devonshire. It took the form of a glass house,1851 feet long by 454 feet wide and was constructed from cast iron-frame components and glass made almost exclusively in Birmingham. From the interior, the large size was emphasized with trees and statues, this served, not only to add beauty to the spectacle. The Crystal Palace was an success, considered an architectural marvel. The building was moved and re-erected in 1854 in enlarged form at Sydenham Hill in south London. It was destroyed by fire on 30 November 1936, six million people—equivalent to a third of the entire population of Britain at the time—visited the Great Exhibition. The average daily attendance was 42,831 with an attendance of 109,915 on 7 October. The event made a surplus of £186,000, which was used to found the Victoria and Albert Museum, the Science Museum and they were all built in the area to the south of the exhibition, nicknamed Albertopolis, alongside the Imperial Institute. The remaining surplus was used to set up an educational trust to provide grants and scholarships for industrial research, the Exhibition caused controversy as its opening approached. Some conservatives feared that the mass of visitors might become a revolutionary mob, must shock every honest and well-meaning Englishman
17.
Tara Brooch
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The Tara Brooch is a Celtic brooch of the pseudo-penannular type, made in 650 to 750 AD. It was found in Ireland in 1850, but despite its not at Tara. The name by which it became known was attached to the brooch by the jeweller who purchased it, the brooch was exhibited internationally and was one of the artifacts that fuelled the Celtic Revival in the mid-19th century. It is now on display in the National Museum of Ireland in Dublin, the National Museum of Ireland describes it as follows. he Tara Brooch can be considered to represent the pinnacle of early medieval Irish metalworkers’ achievement. Each individual element of decoration is executed perfectly and the range of technique represented on such an object is astounding. The brooch has a diameter of 8.7 cm and the pin has a length of 32 cm and it is made of cast and gilt silver, decorated on both front and rear. On the front are fine gold filigree panels depicting animal and abstract motifs, separated by studs of glass, enamel, the back is flatter than the front, and the decoration is cast. The motifs consist of scrolls and triple spirals, attached to the brooch by a swivel attachment is a silver chain made from plaited wire. The swivel consists of animal heads framing two small cast glass human heads, the brooch was supposedly found in August 1850 on the beach at Bettystown, near Laytown, County Meath, some 50 km north of Dublin and about 25 kilometers from Tara. It was sold to a dealer and then to the Dublin jeweler, G. & S. Waterhouse, who were already producing Celtic Revival jewellery and who renamed it the Tara Brooch to increase its public appeal. The brooch was made in pieces, with much of the decoration on small trays or panels which were then fixed into place. Celtic Revival jewellery had become fashionable in the 1840s. Victoria liked these Celtic brooches and purchased a facsimile of the Tara Brooch at the Great Exhibition, prince Albert had already bought two similar pieces for her when the two of them visited Dublin in 1849. In 1868, the brooch was sold to the royal Irish Academy, by the 1870s, Tara brooch had become a generic term for Celtic Revival brooches, some of which were by then being made by Indian workshops for export to Europe. Treasures of the National Museum of Ireland, Irish Antiquities,2002, Gill & Macmillan, Dublin, ISBN 0-7171-2829-6 Boltin, Lee, ed. Treasures of Early Irish Art,1500 B. C. to 1500 A. D
18.
Sindhis
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Not to be confused with the Sindi people. Sindhis are an Indo-Aryan ethno-linguistic group who speak the Sindhi language and are native to the Sindh province of Pakistan, Sindhi culture is highly influenced by Sufi doctrines and principles. Some of the cultural icons are Raja Dahir, Shah Abdul Latif Bhitai, Lal Shahbaz Qalandar, Jhulelal, Sachal Sarmast. After the partition of India in 1947, most Sindhi Hindus and Sindhi Sikhs migrated to India, according to the 1998 census of Pakistan, Hindus constituted about 8% of the total population of Sindh province. Most of them live in areas such as Karachi, Hyderabad, Sukkur. Hyderabad is the largest centre of Sindhi Hindus in Pakistan with 100, the original inhabitants of ancient Sindh were believed to be aboriginal tribes speaking languages of the Indus Valley Civilization around 3300 BC. Moen-jo-Daro is the symbol of Indus Valley Civilization in World, the Indo-Aryans are believed to have founded the Vedic civilization that existed between the Sarasvati River and Ganges river around 1500 BC. This civilization helped shape subsequent cultures in South Asia, because of its location at one of the more western edges of South Asia, Sindh was one of the earliest regions to be influenced by Islam after 632 AD. Before this period, it was heavily Hindu, and Buddhist, after 632 AD, it was part of the Islamic empires of the Abbasids and Umayyids. Habbari, Soomra, Samma, Arghun dynasties ruled Sindh, the region received its name, Sindh, from the River Sindhu. The people living in the region are referred to as Sindhi, the terms Hindi and Hindu are derived from the word Sindh and Sindhu, as the ancient Persians pronounced s as h. India is also known as Hindustan and these tribes belong to the same blood line. Among other Sindhi Rajputs are the Bhachos, Bhuttos, Bhattis, Bhanbhro, Mahendros, Buriros, Lakha, Sahetas, Lohanas, Mohano, Dahars, Indhar, Chachar, Dhareja, Rathores, Dakhan, Langah, etc. The Sindhi-Sipahi of Rajasthan and the Sandhai Muslims of Gujarat are communities of Sindhi Rajputs settled in India, closely related to the Sindhi Rajputs are the Jats of Sindh, who are found mainly in the Indus delta region. However, tribes are of importance in Sindh as compared to in Punjab. Identity in Sindh is mostly based on a common ethnicity, with Sindh’s stable prosperity and its strategic geographical position, it was subject to successive conquests by foreign empires. In 712 A. D. Sindh was incorporated into the Caliphate, the Islamic Empire, Muslim Sindhis tend to follow the Sunni Hanafi fiqh with a substantial minority being Shia Ithna ashariyah. Sufism has left an impact on Sindhi Muslims and this is visible through the numerous Sufi shrines which dot the landscape of Sindh
19.
Electrotyping
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Electrotyping is a chemical method for forming metal parts that exactly reproduce a model. The method was invented by Moritz von Jacobi in Russia in 1838, in art, several important bronze sculptures created in the 19th century are actually electrotyped copper, and not bronze at all, sculptures were executed using electrotyping at least into the 1930s. In printing, electrotyping had become a method for producing plates for letterpress printing by the late 1800s. It complemented the older technology of stereotyping, which involved metal casting, by 1901, stereotypers and electrotypers in several countries had formed labor unions around these crafts. As with metal casting and stereotyping, a mold is first formed from the model, since electrotyping involves wet chemical processes and is done near room temperature, the molding material can be soft. Materials such as wax, gutta-percha, and ultimately ozokerite were used, the molds surface is made electrically conducting by coating it very thinly with fine graphite powder or paint. A wire is attached to the surface, and the mold is suspended in an electrolyte solution. Electrotyping is activated by electric currents flow between anode wires that are also immersed in the solution and the wire connected to the coated mold. For copper electrotyping, an aqueous electrolyte contains copper sulfate and sulfuric acid, and the anode is also copper. The electric current causes copper atoms to dissolve from the anodes surface, copper ions are taken up by the molds conducting surface at the same rate at which copper dissolves from the anode, thus completing the electrical circuit. When the copper layer on the mold grows to the desired thickness, the mold and its attached electrotype are removed from the solution, and the electrotype and the mold are separated. An animation of the process was produced in 2011 by the Metropolitan Museum of Art. Other metals besides copper can be electrotyped, similar procedures apply, there is a second type of electrotyping that has been used in which the copper film is deposited onto the outside of a form, and is not separated from it. In this use the form is typically waterproofed plaster, which remains as a core after electrotyping, in German this method is known as Kerngalvanoplastik, the more usual technique described in the previous paragraph is known as Hohlgalvanoplastik. Electrotyping is related to electroplating, which adds a thin metallic overlayer to a metallic object instead of creating a freestanding metal part. Electrotyping and electroforming both produce metal parts, but differ in technical details, electroforming involves the production of a metallic part around a metallic mandrel, although the term is sometimes used more broadly to encompass all electrodeposition processes. As noted above, electrotyping forms the part using a mold or form whose surface has been made conducting by applying a thin coating of graphite or metal powder. At present, most sources credit Moritz Hermann Jacobi with the invention of galvanoplasty or electrotyping in 1838, Jacobi was a Prussian scientist who was working in St. Petersburg, 19th-century accounts often credited Thomas Spencer or C. J
20.
John Evan Thomas
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John Evan Thomas, FSA was a Welsh sculptor, notable for many sculptures both in Wales and elsewhere in the UK, such as his portrait sculptures in London. Thomas was born in Brecon, Wales the son of John Thomas of Castle Street in that town, in 1857 he left his London practice and bought the small mansion, Penishar-Pentre, at Llanspyddid. He retained a studio in Pimlico in London and he was appointed High Sheriff of Brecknockshire in 1868. As a loyal Welshman, and with the support of Benjamin Hall, he was a prominent figure in the movement to stop misuse of endowments which had given to Christ College. He died on 9 October 1873 in London and he is buried on the eastern section of Brompton Cemetery, south of the main east-west path. Although the area has become overgrown, the monument is distinctive. Thomas studied in London under Francis Leggatt Chantrey and then in Europe and he produced church monuments in Wales from 1831, and portraits in London from 1834 onwards, becoming a frequent exhibitor of his portrait busts at the Royal Academy between 1835 and 1862. At his London studio at 7 Lower Belgrave Place he retained the patronage of Welsh landed gentry, many of his public works are still visible in Wales, for example his Duke of Wellington in the centre of Brecon, and his statuary in Brecon Cathedral. He also produced a lot of work outside Wales, works at the Guildhall and Lloyds Bank at Bristol are probably those of John Thomas but are attributed to John Evan Thomas. Two of his works are considered to be the Second Marquess of Londonderry at Westminster Abbey. The latter was shown at the Great Exhibition of 1851 and cast in bronze in 1853. Four more principal works are, Sir Charles Morgan at Newport, the Duke of Wellington at Brecon, the John Henry Vivian at Swansea and the 1865 Prince Consort on Castle Heights, Tenby. In Brecknock Museum a metal electrotype of his 1848 plaster sculpture, Death of Tewdrig, depicts the dying fifth-century king Tewdrig and it was designed by Thomas and modelled by his brother W. Meredyth Thomas in response to a patriotic competition at the 1848 Abergavenny Eisteddfod. This was shown again at the Royal Academy in 1849, and this sculpture is associated with the Welsh national revival of the 1830s and 1840s. In 1844 Thomas exhibited a model of Lord Londonderry in Westminster Hall, in 1850 this was carved in marble and placed on permanent display in Westminster Abbey. The original maquettes for these have languished for a hundred years, hidden in the bottom of the tower of the medieval Westgate. The statues which make up Thomas contribution to this set are Henry de Loundres, Archbishop of Dublin, image of Death of Tewdrig sculpture,1848, height 167 centimetres John Evan Thomas at museum. wales
21.
Bristol blue glass
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Bristol blue glass has been made in Bristol, England, since the 18th century, with a break between the 1920s and 1980s. During the late 18th century Richard Champion, a Bristol merchant and potter, making porcelain, was working with a chemist, William Cookworthy. It is uncertain when Bristol blue glass was first made but the quality and beauty of the glass swiftly gained popularity, lazurus and Isaac Jacobs were the most famous makers of Bristol blue glass in the 1780s. Lazarus Jacobs was a Jewish immigrant to Bristol from Frankfurt am Main, Isaac was responsible for the great growth of the company, and the expansion of its goods. Their company held a warrant and made glass for the aristocrats of Europe. Bristol’s glass makers were invited to demonstrate their skills at the Great Exhibition of 1851, opened by Queen Victoria, at this period cranberry glass was made for the first time by adding 24 carat gold to lead crystal, giving the glass its ruby red tones. Bristol James Adlington and Peter Sinclair, held their Hot Glass 1988 exhibition, at Hand Made Glass and this exhibition led to a revival of Bristols hand blown glass industry and the creation of a Company that has spawned the careers of many other studio Glassmakers in the South west. Today, Bristol Blue Glass is produced by The Original Bristol Blue Glass Ltd in Brislington, in the 1990s, John Harvey & Sons of Bristol began to sell Bristol Cream sherry in bottles made from Bristol blue. The glass contains cobalt oxide, which creates a deep yet bright blue, cobalt glass Glassblowing Bristol Blue Glass Video of glass blowing at Bristol Blue Glass
22.
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
23.
The Monarch of the Glen (painting)
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The stag has twelve points on his antlers, which in deer terminology makes him a royal stag but not a monarch stag, for which sixteen points are needed. In 2017 the National Galleries of Scotland in Edinburgh launched a campaign to buy the painting for £4 million finally achieving the acquisition. The painting is now part of the collection and is on display at the Scottish National Gallery in Room 12, landseer was a member of the Royal Academy, a favourite of Queen Victoria, and had become famous for his paintings and drawings of animals. His later works include the sculptures of the lions at the foot of Nelsons Column in Trafalgar Square. From the 1840s, he produced a series of intricately observed studies of stags based on those he had seen on the trips he had been making to the Scottish Highlands since 1824. Once they were completed the House of Commons refused to grant the £150 promised for the commission, and, as a result and it has been claimed that the landscape setting shows Glen Affric. It was exhibited in London in 1851,1874 and 1890, in 1916 he resold it at Christies for £5,250. The painting was purchased in 1916 by Pears soap company and featured in their advertising and it was sold on to John Dewar & Sons distillery and became their trademark before similarly being used by Glenfiddich. The painting was acquired as part of the purchase of Dewars by Diageo. In 1997 Diageo sold Dewars to Bacardi but this did not include ancillary assets, Diageo then loaned the painting to the National Museum of Scotland in Edinburgh. On 2 November 2016 Diageo announced their intention to sell the painting, the National Galleries of Scotland was offered the painting, valued at £8 million, at half this price, if they could raise the remaining £4 million. A campaign was launched to raise the funds, which succeeded. The painting has been inspiration for certain company logos and founding principles, the logo of The Hartford Financial Services Group, Inc, a U. S. insurance services company, is taken directly from this painting, as is that of Exmoor Ales. Nestlé Waters North Americas Deer Park Spring Water uses a variant reverse image of the logo, in 2012 Peter Saville collaborated with Dovecot Studios Edinburgh in celebration of their centenary to create a large scale tapestry of his work After, After, After Monarch of the Glen. This new tapestry commission is Dovecot Studios re appropriation of Peter Savilles appropriation of Sir Peter Blakes appropriation of Sir Edwin Landseers 1851 painting Monarch of the Glen, Dovecot Studios has woven this new tapestry of Peter Savilles design, thereby joining the artists who have reinterpreted this British masterpiece. Glenfiddich single malt Scotch whisky has used a variation of Landseers stag image in their logo since 1968, the painting has also been used on the label of tins of Baxters Royal Game soup in the UK. The Monarch of the Glen was prominently featured in an episode of The Goodies, the Goodies come into possession of the painting, along with a massive debt. American art collectors offer to buy the painting for enough to cover the debt, ironically, despite his great love of it, Bill mistakenly believes the painting to be of a cow with twigs stuck to its head
24.
Edward Hodges Baily
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Edward Hodges Baily RA FRS was an English sculptor who was born in Downend in Bristol. At the age of fourteen Baily was placed in a mercantile house, at the age of sixteen he abandoned his commercial career and began executing portraits in wax. In 1809 he entered the Royal Academy Schools and he was elected ARA in 1817 and RA in 1821 when he exhibited one of his best pieces, Eve at the Fountain. In 1857, the year of his retirement from the Royal Academy, Bailys election as a fellow of the Royal Society came in 1842. Amongst his pupils was William Theed, a leading Victorian sculptor who produced a number of portrait busts, among Bailys assistants were Musgrave Watson and Joseph Durham ARA. Financial insecurity was a theme in his life. He was first declared bankrupt in 1831, and again in 1838, on the first occasion questions were asked in Parliament on his behalf because his financial distress had resulted from delays in receiving payment for sculptures at Buckingham Palace. Baily died at 99 Devonshire Road, Holloway on 22 May 1867 and is buried in Londons Highgate Cemetery and his nephew was William Hellier Baily, the paleontologist. Some of Edward Bailys descendants still live in Bristol, East Grinstead, the Isle of Wight, and in Canada today. Also, Cambridge. Edward Bowring Stephens Jordan, Caroline, The very spirit of purity and chastity, Eve at the Fountain by Edward Hodges Baily, Sculpture Journal,15, 19–35, doi,10. 3828/sj.15.1.2
25.
Peel Memorial, Bury
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The Peel Memorial is a public statue by Edward Hodges Baily, a nineteenth-century British artist best known for his sculpture of Nelson on Nelsons Column. It is located in the centre of Bury, Greater Manchester, the statue commemorates the life of Sir Robert Peel, twice UK Prime Minister and founder of the British Conservative Party, who was born in Bury. The statue is of bronze, and stands 3. 5m high, Peel is depicted in contemporary dress, addressing the House of Commons on the memorable subject of Free Trade The statue is mounted on a granite pedestal 3. 66m high. The front of the bears the Peel family coat of arms. On the left and right sides are bronze bas-reliefs representing Commerce, on the back of the pedestal is a circular bronze panel containing a quotation from one of Peels speeches. The statue was surrounded by an iron railing with gas lights at each corner. A Testimonial Committee was appointed to erect the memorial, and subscriptions were invited to raise funds for it, eventually a sum of £2,700 was collected, of which £2,500 was to be spent on the memorial, with the remainder covering expenses. Nearly 2,000 individuals contributed, with subscriptions varying from £200 given by Mr Thomas Norris of Preston, the committee decided that the memorial should take the form of a bronze statue on a granite base. Rather than hold a competition, it was decided to invite submissions from notable sculptors. Twenty one artists were asked to submit ideas, including Baily, Carlo Marochetti, John Henry Foley, in February 1851 an exhibition was held at the town hall to allow the public to inspect the submissions. Many statuettes, busts and architectural designs were displayed,14,286 people viewed the exhibits over a period of several days. The venue forbade admission to Persons in Clogs, however so enthusiastic were the people of Bury to see the exhibition that many ran up the steps in their stocking-feet. Following a committee meeting on 14 February 1851, it was decided to offer the commission to Baily, the statue was cast at Frederic Robinson and Edward Cottams Statue Foundry and Bronze Works in Pimlico, London. The foundry employed a new technique allowed the statue to be cast as a single piece of bronze. It was described as a cast of surpassing beauty - almost perfect from the mould itself, the finished statue was inaugurated on Wednesday 8 September 1852. The ceremony was attended by Peels brothers John and Lawrence, his son Frederick, many dignitaries. The statue was designated a Grade II listed building on 29 January 1985, bailys maquette for the sculpture is preserved at Bury Art Museum
26.
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
27.
Charles Allston Collins
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Charles Allston Collins was a British painter, writer and illustrator associated with the Pre-Raphaelite Brotherhood. Collins was born in Hampstead, north London, the son of landscape and his older brother was the novelist Wilkie Collins. He was educated at Stonyhurst College in Lancashire, Collins met John Everett Millais and became influenced by the ideas of the Pre-Raphaelites, completing his painting Berengarias Alarm in 1850. This depicted the wife of King Richard the Lionheart noticing her missing husbands girdle offered for sale by a peddlar, the flattened modelling, emphasis on pattern making, and imagery of embroidery were all characteristic features of Pre-Raphaelitism. Millais proposed that Collins should become a member of the Brotherhood, Collins fell in love with Maria Rossetti, but she rejected him. He became increasingly ascetic and introspective and these attitudes were expressed in Collinss best-known work, Convent Thoughts, which depicted a nun in a convent garden. Collins went on to many highly devotional images. In the late 1850s, however, he abandoned art to follow his brother into a writing career and his most successful literary works were humorous essays collected together under the title The Eye Witness. Collins married Charles Dickenss daughter Kate in 1860, later designing the cover for Dickens unfinished novel The Mystery of Edwin Drood and he died from cancer in 1873 and is buried in Brompton Cemetery, London. List of Pre-Raphaelite paintings - including the works of Charles Allston Collins, stephen, Leslie, ed. Collins, Charles Allston. London, Smith, Elder & Co. p.366, C A Collins online C A Collins biography Charles Allston Collins at Find a Grave 10 Painting by or after Charles Allston Collins at the Art UK site
28.
Convent Thoughts
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Convent Thoughts is a painting by the Pre-Raphaelite painter Charles Allston Collins which was created between 1850 and 1851. Collins sent it to the Royal Academy of Arts in 1851 where it was exhibited, the painting shows a nun contemplating a passion flower symbolising the crucifixion of Christ. She is standing in a garden full of minutely detailed flowers. In her left hand she holds an illuminated missal, held not as though she had been reading it but so as to us the Annunciation. Her costume shows that she is a novice, presumably meditating on her final vows, the flowers were painted in the Oxford garden of Thomas Combe, an early collector of Pre-Raphaelite paintings, and the model was his housemaid, Frances Sarah Ludlow, later Mrs Brucker. Combe bought the painting, in 1894 he bequeathed his art collection to the Ashmolean Museum, Oxford, although Collins was never formally a member of the Pre-Raphaelite Brotherhood, he was in sympathy with their aims and painted in their immensely detailed style. And as I never saw it so thoroughly or so well drawn, I must take leave to remonstrate with you, when you say sweepingly that these men sacrifice truth as well as feeling to eccentricity. For as a botanical study of the Water Lily and Alisma, as well as of the common lily and several other garden flowers, this picture would be invaluable to me. In a curious footnote to this story, it has recently pointed out that there is in fact no Alisma Plantago in the picture
29.
Jean-Baptiste-Camille Corot
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Jean-Baptiste-Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. He is a figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition. Jean-Baptiste-Camille Corot was born in Paris on July 16,1796, in a house at 125 Rue du Bac, now demolished. After his parents married, they bought the shop where his mother had worked. The store was a destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three born to the family, who lived above their shop during those years. Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen and he was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, during those years he lived with the Sennegon family, whose patriarch was a friend of Corots father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature, at nineteen, Corot was a big child, shy and awkward. Before the beautiful ladies who frequented his mothers salon, he was embarrassed and fled like a wild thing, emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corots parents moved into a new residence in 1817, the 21-year-old Corot moved into the room on the third floor. Later Corot stated, I told my father that business and I were simply incompatible, the business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and he immediately rented a studio on quai Voltaire. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors, michallon had a great influence on Corots career. Though this school was on the decline, it held sway in the Salon. Corot later stated, I made my first landscape from nature. under the eye of this painter, the lesson worked, since then I have always treasured precision. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature and his notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two, a condition by his parents before leaving was that he paint a self-portrait for them, his first
30.
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
31.
William Holman Hunt
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William Holman Hunt OM was an English painter and one of the founders of the Pre-Raphaelite Brotherhood. His paintings were notable for their attention to detail, vivid color. These features were influenced by the writings of John Ruskin and Thomas Carlyle, for Hunt it was the duty of the artist to reveal the correspondence between sign and fact. Of all the members of the Pre-Raphaelite Brotherhood, Hunt remained most true to their ideals throughout his career and he was always keen to maximize the popular appeal and public visibility of his works. After eventually entering the Royal Academy art schools, having initially been rejected and he formed the Pre-Raphaelite movement in 1848, after meeting the poet and artist Dante Gabriel Rossetti. Along with John Everett Millais they sought to revitalise art by emphasising the detailed observation of the world in a spirit of quasi-religious devotion to truth. This religious approach was influenced by the qualities of medieval art. He had many pupils including Robert Braithwaite Martineau, after a failed engagement to his model Annie Miller, he married Fanny Waugh, who later modelled for the figure of Isabella. When she died in childbirth in Italy, he sculpted her tomb at Fiesole, having it brought down to the English Cemetery in Florence and he had a close connection with St. Marks Church in Florence, and paid for the communion chalice inscribed in memory of his wife and his second wife, Edith, was Fannys sister. At the time it was illegal in Great Britain to marry ones deceased wifes sister, hunts works were not initially successful, and were widely attacked in the art press for their alleged clumsiness and ugliness. He achieved some note for his intensely naturalistic scenes of modern rural and urban life, such as The Hireling Shepherd. Hunt also painted works based on poems, such as Isabella. He eventually built his own house in Jerusalem and he eventually had to relinquish painting because failing eyesight meant that he could not achieve the quality that he wanted. His last major works, including a version of The Light of the World, were completed with the help of his assistant. Hunt died on 7 September 1910 and was buried in St Pauls Cathedral in London, Hunt published an autobiography in 1905. Many of his writings are attempts to control the interpretation of his work. That year, he was appointed to the Order of Merit by King Edward VII, at the end of his life he lived in Sonning-on-Thames
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The Hireling Shepherd
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The Hireling Shepherd is a painting by the Pre-Raphaelite artist William Holman Hunt. It represents a shepherd neglecting his flock in favour of a country girl to whom he shows a deaths-head hawkmoth. The meaning of the image has been much debated, Hunt painted the picture when he was living and working in close collaboration with John Everett Millais, who was painting Ophelia at the same time near the Hogsmill River near Ewell, Surrey. Both paintings depict English rural scenes, the innocence of which is disturbed by subtle, in Hunts painting, the shepherd ignores his flock of sheep, who wander over a ditch into a wheat field. As he shows her the moth, he places his arm round her shoulder, Hunt used a local country girl Emma Watkins as a model. She was known as the Coptic by the Pre-Raphaelite Brotherhood because of her exotic features, Watkins travelled to London to model for Hunt to complete the picture, but returned home after she failed to establish herself independently as a model. The model for the figure is not known, but was probably a professional. When it was first displayed in the Royal Academy, it was accompanied by a quotation from King Lear, Sleepest or wakest thou, Thy sheep be in the corn, And for one blast of thy minikin mouth, Thy sheep shall take no harm. After it was exhibited, Hunts enemies condemned the painting for its vulgarity, objecting to its portrayal of red-faced, the Illustrated London News objected to the fiery red skin and wiry hair of Hunt’s peasants. The Athenaeum was particularly offended by these rustics of the coarsest breed. flushed and it insisted that romp and rubicundity of this pair contrast with the pallor and pathos of Mr Millais’s picture. His supporters insisted that the painting was an image of social fact. Hunt himself, however, hinted that he had a meaning in mind. Hunt asserted that he intended the couple to symbolise the pointless theological debates which occupied Christian churchmen while their flock went astray due to a lack of moral guidance. This would make the title a Biblical allusion, in the story of the Good Shepherd, the Good Shepherd is explicitly contrasted with a hireling shepherd, in 1859 Robert Barnabas Brough published a short story entitled Calmuck in Charles Dickens magazine Household Words. It was a disguised account of Hunts experience painting the picture. Some of Hunts relatives were shocked by the apparent implication that Watkins had come to London to be with Hunt, Hunt wrote an outraged letter to Dickens, who claimed to be unaware that the story was based on real events. Brian Aldiss used the painting as a leitmotif in his novel Report on Probability A
33.
Scene from A Midsummer Night's Dream
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Scene from A Midsummer Nights Dream. Titania and Bottom is an 1851 oil-on-canvas painting by British artist Edwin Landseer, Landseer was mainly known for his paintings of animals, this is his only painting of a fairy scene. The painting depicts a scene from the act of William Shakespeares play A Midsummer Nights Dream. It has been in the collection of the National Gallery of Victoria in Melbourne, the painting shows Titania, Queen of the Fairies, after she has been given a love potion, embracing the temporary object of her love, the mechanical Nick Bottom. Bottom has been enchanted and has the head of an ass. They are observed by other folk, and the scene is decorated with flowers. The work measures 82.0 ×133.0 centimetres and it was one of several paintings of scenes from works by Shakespeare commissioned by Isambard Kingdom Brunel in 1847 to decorate the dining room of his house in London. Brunel left the choice of subject to the artists, and Landseer may have chosen this scene so he could include several animals, other works were commissioned from Charles West Cope, Augustus Egg, Frederick Richard Lee, Charles Robert Leslie, and Clarkson Frederick Stanfield. The painting was first exhibited the Royal Academy summer exhibition in 1851 and it was praised by Queen Victoria in her diary, and by Lewis Carroll, who admired the white rabbit, the work may have influenced the white rabbit in his book Alices Adventures in Wonderland. After Brunels death in 1859, the painting was sold at auction in April 1860, after the death of Pelham-Clinton, it was acquired by Adelbert Brownlow-Cust, 3rd Earl Brownlow, and later sold to Sir William Quilter, 1st Baronet. It was then sold to Henry Lowenfeld at Christies in 1909 for £2,400, after Lowenfelds death in 1931, his widow sold the painting to the National Gallery of Victoria, Melbourne where it remains. Scene from A Midsummer Nights Dream, Titania and Bottom, National Gallery of Victoria, Melbourne Scene from A Midsummer Nights Dream. Titania and Bottom, Google Cultural Institute Isambard Kingdom Brunels Shakespeare Room, Hilarie Faberman and Philip McEvansoneya, the Burlington Magazine, Vol.137, No
34.
Frederick Richard Lee
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Frederick Richard Lee RA was an English artist. Lee was the son of Thomas Lee of Barnstaple in north Devon and brother of Thomas Lee, Frederick enrolled as a student at the Royal Academy on 16 January 1818, aged nineteen. Although no dated paintings are recorded from time, by the time of his election as an Associate of the Royal Academy on 3 November 1834. One of F. R. Lees paintings from this time is Bringing in the Stag, Lee was elected to full membership of the Royal Academy on 10 February 1838. A further seven paintings have been documented as painted by Lee before this date, again as oils, the Tate Gallery has an example from this period of his career in Sea Coast Sunrise, which is also painted in oil and is 85 cm x 109 cm. He is known to have produced a further forty dated paintings over the thirty years. In addition to the paintings, fifty undated paintings exist. Lee had a house at Pilton, near Barnstaple, but being from early life devoted to the sea, he lived a great deal on board his yacht, in which he visited the coasts of France, Spain, and Italy. He exhibited for the last time in 1870, and became a retired academician in the following year. Lee died at Vleesch Bank, Herman station, in the division of Malmsay, South Africa, Lee was a prolific artist, based on the number of oil paintings he is known to have produced, both on canvas and on board. His subject matter choices clearly shared influences with John Constable and other contemporaries, some of his more notable paintings were done in collaboration with Thomas Sidney Cooper and Sir Edwin Landseer, Lee painting the landscape and Cooper and Landseer adding the animals. Landscapes and pastoral scenes form the majority of his painting interest, with exceptions, for example, Cover Side, The Campfire. Lee also spent considerable time at Penshurst, Kent where a number of his paintings originate and his wife Harriet Eves Lee was buried in the churchyard there after her death in 1850. Lees life has been documented elsewhere, and the popularity of his painting remains his lasting legacy, many of his works have brought substantial prices when sold in recent times. He had a career with over 90 identified paintings to his credit. Lees paintings were much in demand during his lifetime, and he was not a poor. Perhaps another aspect to his style and prolific output could have been financial. He knew his market, and painted subjects in the style he knew would be popular, in the last 15 years of his life, Lee divided his time between Broadgate House, his yacht, and South Africa, where he owned several farms
