1.
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
2.
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
3.
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
4.
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
5.
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
6.
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
7.
1863 in art
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Events from the year 1863 in art. March – American-born painter James McNeill Whistler settles close to the River Thames in Chelsea, London, the École des Beaux-Arts in Paris becomes independent of the Académie des Beaux-Arts. Julia Margaret Cameron takes up photography, alexander Gilchrists Life of William Blake, Pictor Ignotus is published in London, edited posthumously by Anne Gilchrist. May 17 – Opening of first exhibition of the Salon des Refusés in Paris, and coining of the term avant-garde
8.
1864 in art
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Events from the year 1864 in art. January 30 – National Gallery of Ireland opens to the public in Dublin in a designed by Francis Fowke based on early plans by Charles Lanyon. February 20 – Painter George Frederic Watts marries his 16-year-old model and she elopes less than a year later. December 30 – Julia Margaret Cameron sends John Herschel an album of her first years photography including her iconic portrait of him, stanisław Chlebowski takes up a post as master painter to Sultan Abdülaziz in Istanbul. The National Gallery in London acquires The Annunciation, with Saint Emidius from Lord Taunton, F. Watts – Choosing James McNeill Whistler Caprice in Purple and Gold, The Golden Screen Symphony in White, No
9.
1865 in art
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Events from the year 1865 in art. July 21 – Charles Dodgson photographs Effie Gray Millais, John Everett Millais, ford Madox Brown completes his painting Work after thirteen years. Édouard Manets painting Olympia is first exhibited, at the Salon, jean-François Millets painting The Angelus is first exhibited and becomes very popular in France. The Bargello in Florence becomes an art museum
10.
1855 in architecture
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The year 1855 in architecture involved some significant architectural events and new buildings. October 15 - The second of the Prussia Columns is inaugurated, on the 60th birthday of their instigator, the Palais de lIndustrie for the Exposition Universelle in Paris, France, mainly designed by the architect Jean-Marie-Victor Viel and the engineer Alexis Barrault. Église Saint-Eugène-Sainte-Cécile in Paris, designed by Louis-Auguste Boileau, is completed, Church of St John the Evangelist, Preston, Lancashire, England, designed by E. H. Shellard, is completed. The Old Stone Church in the United States, designed by Charles Heard, Church of Saint Bartholomew, Brugherio in Italy, rebuilt to the design of Giacomo Moraglia, is completed. St Marys Cathedral, Killarney, Ireland, to the design of Augustus Pugin following his death, the Victoria Tower of the Palace of Westminster in London, England, as The Kings Tower, designed by Charles Barry and Augustus Pugin. The original Smithsonian Institution Building in Washington, D. C. to the 1846 design of James Renwick, Jr. Fremantle Prison in Western Australia, royal Gold Medal - Jacques Ignace Hittorff. Grand Prix de Rome, architecture - Honoré Daumet
11.
John Everett Millais
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Sir John Everett Millais, 1st Baronet, PRA was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. A child prodigy, at the age of eleven Millais became the youngest student to enter the Royal Academy Schools, the Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents generating considerable controversy, by the mid-1850s Millais was moving away from the Pre-Raphaelite style and developing a new and powerful form of realism in his art. His later works were successful, making Millais one of the wealthiest artists of his day. Millaiss personal life has played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, Millais was born in Southampton, England in 1829, of a prominent Jersey-based family. His parents were John William Millais and Emily Mary Millais, most of his early childhood was spent in Jersey, to which he retained a strong devotion throughout his life. The author Thackeray once asked him when England conquered Jersey, the family moved to Dinan in Brittany for a few years in his childhood. His mothers forceful personality was the most powerful influence on his early life and she had a keen interest in art and music, and encouraged her sons artistic bent, promoting the relocating of the family to London to help develop contacts at the Royal Academy of Art. He later said I owe everything to my mother and his prodigious artistic talent won him a place at the Royal Academy schools at the unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood in September 1848 in his home on Gower Street. Millaiss Christ in the House of His Parents was highly controversial because of its portrayal of a working class Holy Family labouring in a messy carpentry workshop. Later works were controversial, though less so. Millais achieved popular success with A Huguenot, which depicts a couple about to be separated because of religious conflicts. He repeated this theme in later works. All these early works were painted with great attention to detail, in paintings such as Ophelia Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of pictorial eco-system, Mariana is a painting that Millais painted in 1850-51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson from 1830. In the play, the young Mariana was to be married and this style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics
12.
Effie Gray
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Euphemia Chalmers Effie Millais, Lady Millais née Gray was the wife of the critic John Ruskin, but she left her husband without the marriage being consummated. She later married his protégé, the Pre-Raphaelite painter John Everett Millais and this famous Victorian love triangle has been dramatised in plays, films and an opera. Effie Gray, initially known by the pet name of Phemy, was born in Perth, Scotland, and lived in Bowerswell and her family knew Ruskins father, who encouraged a match between them. Ruskin wrote the fantasy novel The King of the Golden River for her in 1841, after their marriage in 1848, they travelled to Venice, where Ruskin was researching his book The Stones of Venice. Their different personalities are thrown into relief by their contrasting priorities. For Effie, Venice provided an opportunity to socialise while Ruskin was engaged in solitary studies, in particular, he made a point of drawing the Ca dOro and the Palazzo Ducale, because he feared they would soon be destroyed by the occupying Austrian troops. One of the troops, Lieutenant Charles Paulizza, made friends with Effie and her brother, among others, later claimed that Ruskin was deliberately encouraging the friendship to compromise her, as an excuse to separate. When she met Millais five years later, she was still a virgin and his reasons are unclear, but they involved disgust with some aspect of her body. As she later wrote to her father, He alleged various reasons, hatred to children, religious motives, a desire to preserve my beauty, and, finally this last year he told me his true reason. That he had imagined women were different to what he saw I was. Ruskin confirmed this in his statement to his lawyer during the annulment proceedings, but though her face was beautiful, her person was not formed to excite passion. On the contrary, there were circumstances in her person which completely checked it. The reason for Ruskins disgust with circumstances in her person is unknown, various suggestions have been made, including revulsion at either her pubic hair, or menstrual blood. While married to Ruskin, she modelled for Millais painting The Order of Release and she then became close to Millais when he accompanied the couple on a trip to Scotland in order to paint Ruskins portrait according to the critics artistic principles. During this time, spent in Brig o Turk in the Trossachs, while working on the portrait of her husband, Millais made many drawings and sketches of her. He also sent humorous cartoons of himself, Effie and Ruskin to friends and she copied some of his works. After their return to London, she left Ruskin, nominally to visit her family and she sent back her wedding ring with a note announcing her intention to file for an annulment. Their youngest son, John Guille Millais, was a bird artist
13.
Exposition Universelle (1855)
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The Exposition Universelle of 1855 was an International Exhibition held on the Champs-Élysées in Paris from 15 May to 15 November 1855. Its full official title was the Exposition Universelle des produits de lAgriculture, today the expositions sole physical remnant is the Théâtre du Rond-Point des Champs-Élysées designed by architect Gabriel Davioud, which originally housed the Panorama National. The exposition was an event in France, then newly under the reign of Emperor Napoleon III. It followed Londons Great Exhibition of 1851 and attempted to surpass that fairs Crystal Palace with its own Palais de lIndustrie, the arts displayed were shown in a separate pavilion on Avenue Montaigne. There were works from artists from 29 countries, including French artists Francois Rude, Ingres, Delacroix and Henri Lehmann, and British artists William Holman Hunt and John Everett Millais. According to its report,5,162,330 visitors attended the exposition. Expenses amounted to upward of $5,000,000, while receipts were scarcely one-tenth of that amount, the exposition covered 16 hectares with 34 countries participating. For the exposition, Napoleon III requested a system for Frances best Bordeaux wines which were to be on display for visitors from around the world. Brokers from the wine industry ranked the wines according to a reputation and trading price. The result was the important Bordeaux Wine Official Classification of 1855, thurston, H. T. Colby, F. M. eds. article name needed
14.
Gustave Courbet
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Jean Désiré Gustave Courbet was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and his independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator, Courbets paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects, Courbets subsequent paintings were mostly of a less overtly political character, landscapes, seascapes, hunting scenes, nudes and still lifes. He was imprisoned for six months in 1871 for his involvement with the Paris Commune, Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans. Being a prosperous farming family, anti-monarchical feelings prevailed in the household, Courbets sisters, Zoé, Zélie and Juliette, were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish and he went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, trips to the Netherlands and Belgium in 1846–47 strengthened Courbets belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, Courbet achieved his first Salon success in 1849 with his painting After Dinner at Ornans. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state, the gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857. In 1849-50, Courbet painted Stone-Breakers, which Proudhon admired as an icon of peasant life, the painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey, It is not often that one encounters so complete an expression of poverty and so, right then, I told them to come to my studio the next morning. Courbets work belonged neither to the predominant Romantic nor Neoclassical schools, instead, he maintained that the only possible source for living art is the artists own experience. He and Jean-Francois Millet would find inspiration painting the life of peasants, Courbet painted figurative compositions, landscapes, seascapes, and still lifes. He courted controversy by addressing issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants. His work, along with that of Honoré Daumier and Jean-François Millet and he depicted the harshness in life, and in so doing challenged contemporary academic ideas of art. The Salon of 1850–1851 found him triumphant with The Stone Breakers, the Burial, one of Courbets most important works, records the funeral of his grand uncle which he attended in September 1848
15.
The Painter's Studio
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The Painters Studio, A real allegory summing up seven years of my artistic and moral life is an 1855 oil on canvas painting by Gustave Courbet. It is located in the Musée dOrsay in Paris, France, Courbet painted The Painters Studio in Ornans, France in 1855. The world comes to be painted at my studio, said Courbet of the Realist work, the figures in the painting are allegorical representations of various influences on Courbets artistic life. On the left are human figures from all levels of society, in the center, Courbet works on a landscape, while turned away from a nude model who is a symbol of Academic art. The 1855 Paris World Fairs jury accepted eleven of Courbets works for the Exposition Universelle, but The Painters Studio was not among them. In an act of self promotion and defiance, Courbet, with the help of Alfred Bruyas, opened his own close to the official exposition. Very little praise was forthcoming, and Eugène Delacroix was one of the few painters who supported the work, of the painting, Courbet stated that The Painters Studio represents society at its best, its worst, and its average. The painting was produced during Courbets involvement with Realism in art in the mid-1800s, due to the short amount of time Courbet had to paint it, many original plans for the work had to be discarded. The most noticeable example of this is in the background of the painting, on the back wall of the studio in the painting, Courbet planned to paint replications of other works of his. He ran out of time to paint these in their entirety, so he covered them up with a reddish-brown preparation color. The left side of the painting depicts people of everyday life in France, the Jewish man and the Irishwoman were seen on a trip Courbet took to London in 1848, according to a letter Courbet wrote to Champfleury detailing what the painting would look like. There is also a lay figure/crucified figure directly to the left of Courbets easel and this figure appears contorted and potentially mangled. Art historians Benedict Nicolson and Georges Riat both interpret this figure as a symbol of the death of the art of the Royal Academy of Art in France. The center of the painting depicts Courbet painting a landscape, a female figure, a young boy. On his canvas, Courbet paints the Loue River valley and this valley in the Franche-Comté region of France is a tribute to Courbets homeland of Ornans, France. The female figure is based on an 1854 photograph by J. V. de Villeneuve and has been interpreted as a representation of the art of the Academy or as Courbets Muse for Realism. The right side of the painting depicts a number of Paris elites. These are figures who played a role in the development of Courbets career as an artist, a majority of these portraits were copied from previous portraits or from photographs, since the painting was entirely made in Ornans but the subjects on this side of the painting resided in Paris
16.
Jean-Auguste-Dominique Ingres
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Jean-Auguste-Dominique Ingres was a French Neoclassical painter. A man profoundly respectful of the past, he assumed the role of a guardian of orthodoxy against the ascendant Romantic style represented by his nemesis. His exemplars, he explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal. I am thus a conservator of good doctrine, and not an innovator, Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Ingres and his wife Anne Moulet. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, the deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture, there he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques veneration of Raphael was an influence on the young artist. Ingres won prizes in several disciplines, such as composition, figure and antique and his musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. Ingres followed his masters neoclassical example but revealed, according to David and his trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. Working in Paris alongside several other students of David in a provided by the state. He found inspiration in the works of Raphael, in Etruscan vase paintings, in 1802 he made his debut at the Salon with Portrait of a Woman. The following year brought a commission, when Ingres was one of five artists selected to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to be distributed to the towns of Liège, Antwerp, Dunkerque, Brussels. In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, although he had hoped to stay in Paris long enough to witness the opening of that years Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Chaussard condemned Ingress style as gothic and asked, How, with so much talent, a line so flawless, the answer is that he wanted to do something singular, something extraordinary. M. Ingress intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, Ingres stylistic eclecticism represented a new tendency in art. As art historian Marjorie Cohn has written, At the time, Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the style appropriate to his subject
17.
William Bell Scott
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William Bell Scott was a Scottish artist in oils and watercolour and sometimes printmaking. He was one of the first British artists to depict the processes of the Industrial Revolution. He returned to London, working for the Science and Art Department until 1885 and he did not paint many portraits, but his striking portrait of his friend Algernon Charles Swinburne is the iconic image of the poet. His etchings were mostly designed to illustrate his books, the son of Robert Scott, the engraver, and brother of David Scott, the painter, he was born in Edinburgh. While a young man he studied art and assisted his father, in 1837 he went to London, and in 1839 he married Letitia Margery Norquoy, the marriage was childless. In London, he became well known as an artist to be appointed in 1844 master of the government school of design at Newcastle-on-Tyne. He held the post for twenty years, and did work in organizing art-teaching and examining under the Science and it was there that he gained as a pupil Alice Boyd, the sister of the then-laird of Penkill Castle in Scotland. In 1860, Bell Scott visited Penkill Castle and began a liaison with Alice that would last until his death at Penkill in 1890, for Penkill Castle, he executed a similar series, illustrating James Is The Kingis Quair. In Newcastle, Scott was visited by all the Rossetti family, Algernon Charles Swinburne, who wrote two poems to Scott, spent much time with him in Newcastle after being sent down from Oxford. After 1870 Scott was much in London, where he bought a house in Chelsea, and he was a friend of Rossetti and in high repute as an artist. He was, however, at daggers drawn with John Ruskin. E. L, byron, Coleridge, Shelley, Shakespeare and Scott. It is for his connection with Rossettis circle that Bell Scott will be chiefly remembered, William Bell Scott biography 44 Painting by or after William Bell Scott at the Art UK site William Bell Scott at Future Museum, South West Scotland
18.
Mural
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other permanent surface. A distinguishing characteristic of painting is that the architectural elements of the given space are harmoniously incorporated into the picture. Some wall paintings are painted on canvases, which are then attached to the wall. Whether these works can be accurately called murals is a subject of controversy in the art world. Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France, many ancient murals have been found within ancient Egyptian tombs, the Minoan palaces and in Pompeii. During the Middle Ages murals were executed on dry plaster. The huge collection of Kerala mural painting dating from the 14th century are examples of fresco secco, in Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting. In modern times, the became more well-known with the Mexican muralism art movement. There are many different styles and techniques, the best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts. The colors lighten as they dry, the marouflage method has also been used for millennia. Murals today are painted in a variety of ways, using oil or water-based media, the styles can vary from abstract to trompe-lœil. Initiated by the works of artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-loeil painting has experienced a renaissance in private. The buon fresco technique consists of painting in pigment mixed with water on a layer of wet, fresh. The pigment is absorbed by the wet plaster, after a number of hours. After this the painting stays for a time up to centuries in fresh. Fresco-secco painting is done on dry plaster, the pigments thus require a binding medium, such as egg, glue or oil to attach the pigment to the wall. By the end of the century this had largely displaced the buon fresco method. This technique had, in reduced form, the advantages of a secco work, in Greco-Roman times, mostly encaustic colors applied in a cold state were used
19.
Kingdom of Northumbria
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The Kingdom of Northumbria was a medieval Anglian kingdom in what is now northern England and south-east Scotland, which subsequently became an earldom in a unified English kingdom. The name reflects the southern limit to the kingdoms territory. Northumbria was formed by Æthelfrith in central Great Britain in Anglo-Saxon times, at the beginning of the 7th century, the two kingdoms of Bernicia and Deira were unified. At its height, the kingdom extended at least from just south of the Humber to the River Mersey, the later earldom came about when the southern part of Northumbria was lost to the Danelaw. The earldom was bounded by the River Tees in the south, much of this land was debated between England and Scotland, but the Earldom of Northumbria was eventually recognised as part of England by the Anglo-Scottish Treaty of York in 1237. On the northern border, Berwick-upon-Tweed, which is north of the Tweed but had changed many times, was defined as subject to the laws of England by the Wales. The local Environment Agency office, located in Newcastle Business Park, otherwise, the term is not the official name for the UK and EU region of North East England. See also, List of monarchs of Northumbria and Timeline of Northumbria Northumbria was originally formed from the union of two independent kingdoms, Bernicia and Deira, Bernicia covered lands north of the Tees, while Deira corresponded roughly to modern-day Yorkshire. Bernicia and Deira were first united by Aethelfrith, a king of Bernicia who conquered Deira around the year 604. He was defeated and killed around the year 616 in battle at the River Idle by Raedwald of East Anglia, who installed Edwin, the son of Ælla, a former king of Deira, as king. Edwin, who accepted Christianity in 627, soon grew to become the most powerful king in England, he was recognised as Bretwalda and conquered the Isle of Man and Gwynedd in northern Wales. He was, however, himself defeated by an alliance of the king of Gwynedd, Cadwallon ap Cadfan. After Edwins death, Northumbria was split between Bernicia, where Eanfrith, a son of Aethelfrith, took power, and Deira, cumbria tended to remain a country frontier with the Britons. Both of these rulers were killed during the year that followed, after the murder of Eanfrith, his brother, Oswald, backed by warriors sent by Domnall Brecc of Dál Riata, defeated and killed Cadwallon at the Battle of Heavenfield in 634. He incorporated Gododdin lands northwards up to the Firth of Forth and also extended his reach westward, encroaching on the remaining Cumbric speaking kingdoms of Rheged. Thus, Northumbria became not only part of modern Englands far north, King Oswald re-introduced Christianity to the Kingdom by appointing St. Aidan, an Irish monk from the Scottish island of Iona to convert his people. This led to the introduction of the practices of Celtic Christianity, a monastery was established on Lindisfarne. In 642, Oswald was killed by the Mercians under Penda at the Battle of Maserfield and this battle marked a major turning point in Northumbrian fortunes, Penda died in the battle, and Oswiu gained supremacy over Mercia, making himself the most powerful king in England
20.
Wallington Hall
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Wallington is a country house and gardens located about 12 miles west of Morpeth, Northumberland, England, near the village of Cambo. It has been owned by the National Trust since 1942, after it was donated complete with the estate and farms by Sir Charles Philips Trevelyan and it is a Grade I listed building. The estate was owned by the Fenwick family from 1475 until their financial problems caused them to sell their properties to the Blacketts, Charles Philips Trevelyan inherited the property from his father George Otto Trevelyan in 1928. After Pauline Jermyn married the naturalist Sir Walter Calverley Trevelyan, they began hosting literary, as a cultural centre, Wallington visitors included the members of the Pre-Raphaelite Brotherhood. Set in 100 acres of rolling parkland, the estate includes a wooded dene, ornamental lakes, lawns, and a recently refurbished walled garden. The National Trust also own the estate of which the house is a part, the farm shop shut in 2012. Minding the Manor, the Memoir of a 1930s English Kitchen Maid, first published in the UK in 2013 as Aprons and Silver Spoons by Penguin Books
21.
Bavarian National Museum
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The Bavarian National Museum in Munich is one of the most important museums of decorative arts in Europe and one of the largest art museums in Germany. Since the beginning the collection has been divided into two groups, the art historical collection and the folklore collection. The museum was founded by King Maximilian II of Bavaria in 1855 and it houses a large collection of European artifacts from the late antiquity until the early 20th century with particular strengths in the medieval through early modern periods. The building, erected in the style of historicism by Gabriel von Seidl 1894-1900, is one of the most original and it is situated in the Prinzregentenstrasse, one of the citys four royal avenues. The house replaced a building which houses today the Museum Five Continents. Already in 1905/06, the museum was expanded to the north by a few rooms, German Bestelmeyer added a wing at the southeast corner in 1937. The main building of the Bavarian National Museum includes on three floors exhibition rooms with in total about 13,000 square meters, the core of the collection dates from the art collection of the Wittelsbach family. This gives the National Museum an importance far beyond the local area, diversity and breadth of the collections, however, were particularly motivated by the new additions to the subsequent period. To date, the inventory is updated continuously not only through acquisitions, support experienced by the National Museum, in particular, by the 1960 launched club Friends of the Bavarian National Museum. The National Museum has several museums throughout Bavaria. The western side wing of the museum houses The Bollert Collection with late medieval sculptures, the museum is especially noted for its collections of carved ivory, goldsmith works, textiles, glass painting, tapestries and shrines. The museum is famous for its collections of courtly culture, musical instruments, furniture, oil paintings, sketches, clocks, stoneware, majolica, miniatures, porcelain and faience and it has probably the worlds best collection of the Nymphenburg porcelain figures of Franz Anton Bustelli. The Romanesque period is represented by sculptures from the monastery of Wessobrunn. Important pieces of Romanesque art include wooden figures of crucifixion groups from Bamberg, Schongau and Kaufbeuren, the Kasten der Heiligen Kunigunde, is a unique masterpiece made in the year 1000 in Scandinavia of wood, bronze and narwhal tusk. Key works of art, important stained glass windows. On display are also historic Gothic chamber ensembles such as the magnificently painted Zunftstube of Augsburg weavers, the Bavarian National Museum displays one of the largest and most important collections of late medieval sculpture from the German-speaking countries. Special attractions are the knights hall with the ceremonial armor of the 15th and 16th Century. The portrait art of the Renaissance is represented by medals, miniatures, paintings, many items come from the art chamber of the Wittelsbach family
22.
Maximilian II of Bavaria
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Maximilian II reigned as King of Bavaria between 1848 and 1864. Unlike his father, King Ludwig I and son King Ludwig II, King Max was very popular, ascending the throne during the German Revolution of 1848, King Maximilian restored stability in his Kingdom. He was born in Munich, as the son of King Ludwig I, after studying at Göttingen and Berlin and travelling in Germany, Italy and Greece, he was introduced by his father into the council of state. From the first he showed a disposition, declaring on one occasion that had he not been born in a royal cradle his choice would have been to become a professor. The Wittelsbacher Palais was built for Maximilian as a Crown Prince Palace in Munich, when the abdication of Ludwig I called him suddenly to the throne, his choice of ministers promised a liberal regime. In 1849 an uprising in the Bavarian Palatinate was broken down with the support of the Prussian Army, devoted to his family and his people, the King also financed studies of the art, costumes, dialects, and customs of the Bavarian peasantry. This was done in order to promote a national identity against Prussian-inspired Pan-Germanism. In this, the King was assisted by his Personal Private Secretary, Maximilian II responded also to the demands of the people for a united German state, by attending the Frankfurt Assembly which intended to create such a state. The progress of the 1848 Revolution, however, gave him pause, in the aftermath of the failure of the Frankfurt Assembly, Prussia and Austria continued to debate of which monarchy had the inherent right to rule Germany. The dispute between Austria and the Electoral Prince of Hesse-Kassel was used by Austria and its allies to promote the isolation of Prussia in German political affairs and this diplomatic insult almost led to war when Austria, Bavaria and other allies moved troops through Bavaria towards Hesse-Kassel in 1850. However, the Prussian army backed down and accepted the principle of dual leadership and this event was known as the Punctation of Olmütz but also known as the Humiliation of Olmütz by Prussia. This event solidified the Bavarian kingdoms alliance with Austria against Prussia, in his German policy Maximilian was guided by the desire to maintain the union of the princes. Simultaneously, however, the King and his Ministers also attempted to preserve Bavarias independence by trying to both powers against each other. This policy continued under his son, King Ludwig II, in 1863, however, the King supported the project of reform proposed by Austria at the Frankfurt Fürstentag. Attempts by Prussia to reorganize the loose and un-led German Confederation, were opposed by King Maximilian, the Emperor Franz Joseph, the failure of these plans, and the attitude of the Austrian Court towards the Confederation and the Schleswig-Holstein Question, disillusioned King Maximilian. The last days of his reign were spent attempting to deal with the new situation created by the outbreak of the war with Denmark, in the summers of 1849 and 1855, King Maximilian travelled his kingdom. Between 24 June and 27 July 1858, he undertook a journey on foot through his country, however, because of frequent rain he repeatedly had to be carried physically. In government policy, the King repeatedly requested the advice of his ministers and scholarly experts before making a decision, in addition, King Maximilian often traveled to Italy and Greece, which also led to long delays
23.
Prix de Rome
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The Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them to stay in Rome for three to five years at the expense of the state, the prize was extended to architecture in 1720, music in 1803, and engraving in 1804. The prestigious award was abolished in 1968 by André Malraux, the Minister of Culture, the Prix de Rome was initially created for painters and sculptors in 1663 in France during the reign of Louis XIV. It was an annual bursary for promising artists having proved their talents by completing a very difficult elimination contest, the prize, organised by the Académie Royale de Peinture et de Sculpture, was open to their students. From 1666, the winner could win a stay of three to five years at the Palazzo Mancini in Rome at the expense of the King of France. In 1720, the Académie Royale d’Architecture began a prize in architecture, six painters, four sculptors, and two architects would be sent to the French Academy in Rome founded by Jean-Baptiste Colbert from 1666. Expanded after 140 years into five categories, the contest started in 1663 as two categories, painting and sculpture, in 1803, music was added, and after 1804 there was a prix for engraving as well. The primary winner took the First Grand Prize and the Second Prizes were awarded to the runners-up, in 1803, Napoleon Bonaparte moved the French Academy in Rome to the Villa Medici with the intention of preserving an institution once threatened by the French Revolution. At first, the villa and its gardens were in a sad state, in this way, he hoped to retain for young French artists the opportunity to see and copy the masterpieces of antiquity and the Renaissance. Jacques-Louis David, having failed to win the three years in a row, considered suicide. Édouard Manet, Edgar Degas, Ernest Chausson and Maurice Ravel attempted the Prix de Rome, but did not gain recognition. Ravel tried a total of five times to win the prize, during World War II the prize winners were accommodated in the Villa Paradiso in Nice. The Prix de Rome was abolished in 1968 by André Malraux, since then, a number of contests have been created, and the academies, together with the Institut de France, were merged by the State and the Minister of Culture. Selected residents now have an opportunity for study during an 18-month stay at The Academy of France in Rome, the heyday of the Prix de Rome was during the late eighteenth and early nineteenth centuries. The Prix de Rome for Architecture was created in 1720, the engraving prize was created in 1804. A Prix de Rome was also established in the Kingdom of Holland by Lodewijk Napoleon to award young artists and architects, during the years 1807–1810 prize winners were sent to Paris and onwards to Rome for study. Suspended in 1851 it was reinstated in 1870 by William III of the Netherlands, since then the winners have been selected by the Rijksakademie in Amsterdam under the main headings of architecture and the visual arts. The Belgian Prix de Rome is an award for artists, created in 1832
24.
Henri Chapu
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Henri-Michel-Antoine Chapu was a French sculptor in a modified Neoclassical tradition who was known for his use of allegory in his works. Born in Le Mée-sur-Seine into modest circumstances, Chapu moved to Paris with his family, there his talents began to be recognized and he was admitted to the École des Beaux-Arts in 1849. In 1850 he began working and studying with a well-known sculptor James Pradier, following Pradiers death in 1852 Chapu began studying with another sculptor, Francisque Duret. After coming in second in 1851, he won the Prix de Rome in 1855 and his statues Mercury of 1861 and Jeanne dArc of 1870 were his first big successes, and led to many commissions thereafter. He is also known for his medals, and led the French revival in the medal as an artistic form, an Officer of the French Legion of Honor, Chapu died in Paris in 1891. List of works by Henri Chapu Henri Chapu in American public collections, on the French Sculpture Census website
25.
Rosa Bonheur
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Rosa Bonheur, born Marie-Rosalie Bonheur, was a French artist, an animalière and sculptor, known for her artistic realism. Bonheur is widely considered to be the most famous painter of the nineteenth century. Bonheur was born on 16 March 1822 in Bordeaux, Gironde and her mother was Sophie Bonheur, a piano teacher, she died when Rosa Bonheur was eleven. Her father was Oscar-Raymond Bonheur, a landscape and portrait painter, the Bonheur family adhered to Saint-Simonianism, a Christian-socialist sect that promoted the education of women alongside men. Bonheurs siblings included the animal painters Auguste Bonheur and Juliette Bonheur, francis Galton used the Bonheurs as an example of Hereditary Genius in his 1869 essay of the same title. Bonheur moved to Paris in 1828 at the age of six with her mother and siblings, her father having gone ahead of them to establish a residence and income. By family accounts, she had been a child and had a difficult time learning to read, though even before she could talk she would sketch for hours at a time with pencil. Her mother taught her to read and write by asking her to choose, the artist credits her love of drawing animals to these reading lessons with her mother. At school she was often disruptive, and she was expelled from numerous schools, after a failed apprenticeship with a seamstress at the age of twelve, her father undertook to train her as a painter. Following the traditional art school curriculum of the period, Bonheur began her training by copying images from drawing books, at fourteen, she began to copy paintings at the Louvre. She studied animal anatomy and osteology in the abattoirs of Paris and by dissecting animals at the École nationale vétérinaire dAlfort, there she prepared detailed studies that she later used as references for her paintings and sculptures. During this period, she befriended father-and-son comparative anatomists and zoologists, a French government commission led to Bonheurs first great success, Ploughing in the Nivernais, exhibited in 1849. Her most famous work, the monumental Horse Fair, measured eight feet high by sixteen feet wide and it depicts the horse market held in Paris, on the tree-lined boulevard de l’Hôpital, near the Pitié-Salpêtrière Hospital, which is visible in the paintings background. This work led to fame and recognition, that same year she traveled to Scotland and met Queen Victoria en route. In Scotland, she completed sketches for works including Highland Shepherd, completed in 1859. These pieces depicted a way of life in the Scottish highlands that had disappeared a century earlier, and they had enormous appeal to Victorian sensibilities. Though she was popular in England than in her native France, she was decorated with the French Legion of Honour by the Empress Eugénie in 1865. Art dealer Ernest Gambart represented her, he brought Bonheur to the United Kingdom in 1855, many engravings of Bonheurs work were created from reproductions by Charles George Lewis, one of the finest engravers of the day
26.
The Horse Fair
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The Horse Fair is an oil on canvas painting by Rosa Bonheur, begun in 1852. It was first exhibited in 1853 at the Paris Salon and reworked until completed in 1855 and it has been in the collection of the Metropolitan Museum of Art in New York since 1887, when it was donated by Cornelius Vanderbilt II. Bonheur painted The Horse Fair from a series of sketches she had made at the Paris horse market on the boulevard de lHôpital and she attended the market twice weekly for a year and a half, dressed as a man to receive less attention. After its showing at the Paris Salon of 1853, the painting subsequently was shown throughout Europe and it was the most acclaimed of Bonheurs works, and is described by the Metropolitan Museum as one of its best known works of art. Painter Molly Luce claimed that The Horse Fair was the first work which influenced her, the Horse Fair, Metropolitan Museum of Art Glueck, Grace. Beyond Bonheurs Horse Fair, The New York Times, December 19,1997
27.
Metropolitan Museum of Art
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The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
28.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
29.
Joanna Mary Boyce
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Joanna Mary Boyce, also known by her married name as Mrs. H. T. Wells, or as Joanna Mary Wells, was an English painter of portraits, genre pictures and she was the sister of Pre-Raphaelite watercolourist George Price Boyce, and was herself associated with the Brotherhood. Boyce, born in Maida Hill, London, was the daughter of George Boyce, a former wine-merchant who had found prosperity as a pawnbroker, and his wife Anne. At the age of eighteen she entered Carys art academy, and afterwards worked under James Mathews Leigh, at his school in Newman Street and her first exhibited work was a life-size head, which appeared at the Royal Academy in 1855. In the same year she went to Paris, where she joined the class in Thomas Coutures atelier. She spent 1857 in Italy, and in December of that year married Henry Tanworth Wells, before returning to England, she painted the greater part of The Boys Crusade, exhibited at the Academy in 1859. Subsequent exhibited works were, The Outcasts, The Heather-Gatherers, Do I like Butter, la Veneziana, Peep-Bo. and A Bird of God. This last painting was complete on her easel at the time of her death. Boyce died from complications following the birth of her child, Joanna Margaret. After her death, Dante Gabriel Rossetti described her as a gifted woman. English women painters from the early 19th century who exhibited at the Royal Academy of Art Nunn,2 Painting by or after Joanna Mary Boyce at the Art UK site J. M. Boyce on Artnet Joanna Mary Boyces sketchbooks in the British Museum
30.
Ford Madox Brown
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Ford Madox Brown was an English painter of moral and historical subjects, notable for his distinctively graphic and often Hogarthian version of the Pre-Raphaelite style. Arguably, his most notable painting was Work, Brown spent the latter years of his life painting the Manchester Murals, depicting Mancunian history, for Manchester Town Hall. Brown was the grandson of the medical theorist John Brown, founder of the Brunonian system of medicine and his great grandfather was a Scottish labourer. His father Ford Brown served as a purser in the Royal Navy, including a period serving under Sir Isaac Coffin and he left the Navy after the end of the Napoleonic Wars. In 1818, Ford Brown married Caroline Madox, of an old Kentish family, Browns parents had limited financial resources, and they moved to Calais to seek cheaper lodgings, where their daughter Elizabeth Coffin was born in 1819 and their son Ford Madox Brown in 1821. Browns education was limited, as the family moved between lodgings in the Pas-de-Calais and relatives in Kent, but he showed artistic talent in copying of old master prints. His father initially sought a career for his son, writing to his former captain Sir Isaac Coffin. The family moved to Bruges in 1835 so Brown could study at the academy under Albert Gregorius, Brown moved to Ghent in 1836 to continue his studies under Pieter van Hanselaere. He moved to Antwerp in 1837 to study under Gustaf Wappers and he continued to study in Antwerp after his mothers death in 1839. His sister died in 1840, and then his father in 1842, the Tate Gallery holds an early example of Browns work, a portrait of his father. He lived in Montmartre with his new wife and aging father in 1841 and he painted Manfred on the Jungfrau, inspired by Lord Byrons poem Manfred while he was in Paris. In 1843 he submitted work to the Westminster Cartoon Competition, for compositions to decorate the new Palace of Westminster and his entry, The Body of Harold Brought before William, was not successful. His early works were, however, greatly admired by the young Dante Gabriel Rossetti, through Rossetti, Brown came into contact with the artists who went on to form the Pre-Raphaelite Brotherhood. Though closely linked to them, he was never actually a member of the brotherhood itself and he was also influenced by the works of Holbein that he saw in Basel in 1845, and by Friedrich Overbeck and Peter Cornelius, whom he met in Rome in 1845-46. Brown struggled to make his mark in the 1850s, with his paintings failing to find buyers, in 1852 he started work on two of his most significant works. One of his most famous images is The Last of England, painted from 1852 to 1855 and it depicts a pair of stricken emigrants as they sail away on the ship that will take them from England forever. It was inspired by the departure of the Pre-Raphaelite sculptor Thomas Woolner, the husband and wife are portraits of Brown and his second wife Emma. Browns most important painting was Work, begun in Hampstead in 1852, Thomas Plint advanced funds to enable Brown to complete the work, in anticipation of obtaining the finished painting, but died in 1861 before the painting had been completed
31.
The Last of England (painting)
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The Last of England is an 1855 oil-on-panel painting by Ford Madox Brown depicting two emigrants leaving England to start a new life in Australia with their baby. Brown began the painting in 1852 inspired by the departure of his friend, the Pre-Raphaelite sculptor, Thomas Woolner. Emigration from England was at a peak, with over 350,000 people leaving that year, Brown, who at the time considered himself very hard up and a little mad, was himself thinking of moving to India with his new family. Although Ford Madox Brown was never a member of the Pre-Raphaelite Brotherhood, The Last of England, like many of his paintings, the painting depicts a man and his wife seeing England for the last time. The two main figures, based on Brown and his wife, Emma, stare ahead, stony-faced, the hand of the baby, which can be seen clasped by the woman, is supposedly that of their second child, Oliver. He was seen as strange by his neighbours who saw him out in all kinds of weather, browns painting room was above a china shop at 33 High Street, Hampstead and sittings took place in the houses garden. His diary noted that the. ribbons of the bonnet took me 4 weeks to paint, two finished versions of the picture exist, one in Birmingham Museum and Art Gallery and the other in the Fitzwilliam Museum in Cambridge. A reduced watercolour replica of the painting in Birmingham produced between 1864–66 is in Tate Britain, a fully worked study also exists, and a detailed compositional drawing. All are in the form of panels, a rarely revived Renaissance format called a tondo. In March 1859 The Last Sight of England as it was known, was sold by Benjamin Windus to Ernest Gambart for 325 Guineas. The picture was voted Britains eighth-favourite picture in a poll carried out by BBC Radio 4, in 2013 it was voted 32 out of 57 paintings chosen by the British public from national collections, which were used for Art Everywhere The Worlds Largest Public Art Exhibition. Birmingham Museums & Art Gallery, Last of England Online Biography,1001 Paintings You Must See Before You Die
32.
Philip Hermogenes Calderon
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Philip Hermogenes Calderon RA was an English painter of French birth and Spanish ancestry who initially worked in the Pre-Raphaelite style before moving towards historical genre. He was Keeper of the Royal Academy in London, Calderon was born in Poitiers, France. His father, Reverend Juan Calderón was a professor of Spanish literature, Calderon planned to study engineering, but he became so interested in drawing technical figures and diagrams that he changed his mind and devoted his time to art. In 1850, he trained at Leighs art school, London and his first successful painting was called By the waters of Babylon, which was followed by a much more popular one called Broken Vows. From the beginning he was inspired by the Pre-Raphaelites, and some of his work showed the detail, deep colors, the artist Henry Stacy Marks was his friend and brother-in-law, and Calderon exhibited his portrait at the Royal Academy in 1872. Historical, biblical, and literary themes were common in Calderons later work, many of his pieces show women wearing rich, silky clothing in gently colored landscapes. His Morning features a copper-haired maiden watching a sunrise and his Juliet shows Shakespeares Juliet seated on her balcony gazing at the stars. His later paintings adopt more classical style, comparable to Edward Poynter, Calderon became Keeper of the Royal Academy in 1887, and from then on worked to support the teaching of anatomy based on nude models at the Royal Academy Schools. It depicted the saint bending nude over an altar watched by monks, volume 2 The modern school of art, volume 2 pp. 212–20. P. H. Calderon online Biography and paintings Calderon biography Biography and paintings s, Calderon, Philip Hermogenes
