1.
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
2.
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
3.
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
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.
Lewis Carroll
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Charles Lutwidge Dodgson, better known by his pen name Lewis Carroll, was an English writer, mathematician, logician, Anglican deacon, and photographer. He is noted for his facility at word play, logic, There are societies in many parts of the world dedicated to the enjoyment and promotion of his works and the investigation of his life. Dodgsons family was predominantly northern English, with Irish connections, conservative, most of Dodgsons male ancestors were army officers or Church of England clergy. His great-grandfather, also named Charles Dodgson, had risen through the ranks of the church to become the Bishop of Elphin. His paternal grandfather, another Charles, had been an army captain, the older of these sons – yet another Charles Dodgson – was Carrolls father. He went to Westminster School and then to Christ Church, Oxford and he reverted to the other family tradition and took holy orders. He was mathematically gifted and won a double first degree, which could have been the prelude to a brilliant academic career, instead, he married his first cousin Frances Jane Lutwidge in 1830 and became a country parson. Dodgson was born in the parsonage at Daresbury in Cheshire near the towns of Warrington and Runcorn. When Charles was 11, his father was given the living of Croft-on-Tees in North Yorkshire, and this remained their home for the next 25 years. He was High Church, inclining to Anglo-Catholicism, an admirer of John Henry Newman and the Tractarian movement, Young Charles was to develop an ambiguous relationship with his fathers values and with the Church of England as a whole. During his early youth, Dodgson was educated at home and his reading lists preserved in the family archives testify to a precocious intellect, at the age of seven, he was reading books such as The Pilgrims Progress. He also suffered from a stammer – a condition shared by most of his siblings – that often influenced his life throughout his years. At the age of twelve, he was sent to Richmond Grammar School at nearby Richmond, in 1846, Dodgson entered Rugby School where he was evidently unhappy, as he wrote some years after leaving, I cannot say. That any earthly considerations would induce me to go through my three years again, I can honestly say that if I could have been. Secure from annoyance at night, the hardships of the daily life would have been comparative trifles to bear, scholastically, though, he excelled with apparent ease. I have not had a promising boy at his age since I came to Rugby. He left Rugby at the end of 1849 and matriculated at Oxford in May 1850 as a member of his fathers old college, after waiting for rooms in college to become available, he went into residence in January 1851. He had been at Oxford only two days when he received a summons home and his mother had died of inflammation of the brain – perhaps meningitis or a stroke – at the age of 47
11.
Dante Gabriel Rossetti
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Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt, Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a precursor of the Aesthetic movement. Rossettis art was characterised by its sensuality and its medieval revivalism and his early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence, poetry and image are closely entwined in Rossettis work. Rossettis personal life was linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth. The son of émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Mary Lavinia Polidori, Rossetti was born in London, England and his family and friends called him Gabriel, but in publications he put the name Dante first in honour of Dante Alighieri. He was the brother of poet Christina Rossetti, critic William Michael Rossetti and his father was a Roman Catholic, at least prior to his marriage, and his mother was an Anglican, ostensibly Gabriel was baptized as and was a practicing Anglican. During his childhood, Rossetti was home educated and often read the Bible, along with the works of Shakespeare, Dickens, Sir Walter Scott, the youthful Rossetti is described as self-possessed, articulate, passionate and charismatic but also ardent, poetic and feckless. Like all his siblings, he aspired to be a poet and attended Kings College School and he also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass Drawing Academy from 1841 to 1845, when he enrolled in the Antique School of the Royal Academy, after leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he retained a close relationship throughout his life. Following the exhibition of William Holman Hunts painting The Eve of St. Agnes, the painting illustrated a poem by the little-known John Keats. Rossettis own poem, The Blessed Damozel, was an imitation of Keats, together they developed the philosophy of the Pre-Raphaelite Brotherhood which they founded along with John Everett Millais. Their approach was to return to the abundant detail, intense colours, the eminent critic John Ruskin wrote, Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a portrait of some living person. Rossettis first major paintings in oil display the realist qualities of the early Pre-Raphaelite movement and his Girlhood of Mary Virgin and Ecce Ancilla Domini portray Mary as a teenage girl. I saw at once that he was not an orthodox boy, the mixture of genius and dilettantism of both men shut me up for the moment, and whetted my curiosity. Although his work subsequently won support from John Ruskin, Rossetti only rarely exhibited thereafter, in 1850, Rossetti met Elizabeth Siddal, an important model for the Pre-Raphaelite painters
12.
Fanny Cornforth
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Fanny Cornforth was an Englishwoman who became the artists model and mistress of the Pre-Raphaelite painter Dante Gabriel Rossetti. Later, Cornforth performed the duties of housekeeper for Rossetti, in Rossettis paintings, the figures modeled by Fanny Cornforth are generally rather voluptuous, differing from those of other models such as Jane Morris and Elizabeth Siddal. It is believed that Cornforths real name was Mary Cox, and that she was born in Steyning, West Sussex and she is recorded in the 1851 census living in Brighton, working as a house servant. Cornforth met Rossetti in 1858, and became his model and mistress in the absence of Elizabeth Siddal whom Rossetti married in 1860, many biographers presumed Siddal disliked Cornforth, but there is no proof that Siddal even knew of her existence. Three months after Rossettis wedding Cornforth married mechanic Timothy Hughes, and it is not known for certain when she adopted the name Fanny Cornforth, but Cornforth was the name of her first husbands stepfather, which she took as her surname. After Siddals death in 1862, Cornforth moved into the widowed Rossettis home as his housekeeper, the affair between them lasted until Rossettis death. For much of the time Rossetti was engaged in a relationship with Jane Morris who was married to his colleague. Their relationship was not made public but his relationship with Cornforth was, Cornforth came from the lower/rural working class of English society. Her coarse accent and lack of education shocked Rossettis friends and family, Rossettis brother William Michael Rossetti praised her beauty, but said she had no charm of breeding, education, or intellect. Many never accepted her and pressured Rossetti to end the affair, over the course of their relationship, Cornforth gained weight. Much has been made of this by biographers, but the growing girths of both Rossetti and Cornforth was a mutual joke and his pet name for her was My Dear Elephant and she called him Rhino. When they were apart, he drew cartoons of elephants and sent them to her, after Rossettis health started to seriously decline, his family became more directly involved in his life. Cornforth was forced to leave Rossettis house in 1877 and he gave her several of his paintings, ensuring that her legal ownership was documented. Her estranged husband had died in 1872, while separated from Rossetti, she became involved with John Schott, a publican from a family of actors. Schott divorced his first wife, who was living in a bigamous marriage with another man. He married Fanny almost immediately after the divorce, in November 1879, the couple ran the Rose tavern in Jermyn Street, Westminster, London. Cornforth nevertheless repeatedly returned to Rossetti to nurse him, accompanying him to Cumbria in 1881, after Rossettis death, she and her husband opened a Rossetti gallery in 1883 to sell some of the works she owned. Her husband John died in 1891, after which she lived with her stepson Frederick, during this period she was visited by Rossetti collector Samuel Bancroft, who was able to buy from her the paintings and other memorabilia she still had
13.
Found (Rossetti)
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Found is an unfinished oil painting by Dante Gabriel Rossetti, now in the Delaware Art Museum. Rossetti had addressed the topic of prostitution as early as 1847 in letters to his friend William Bell Scott, the Gate of Memory, a drawing Rossetti made c. 1854, shows a scene from Rosabell where a prostitute is beginning her evening of work, the drawing may have been intended to illustrate the poem in a book, but was painted as a larger watercolour in 1857, which was repainted in 1864. In 1870 Rossetti published a poem about a prostitute, Jenny. The artist Alexander Munros maid Ellen Frazer may have posed for an early head-study for the country girl of Found. Rossetti began work on the painting in the autumn of 1854, on 30 September 1853 Rossetti wrote to his mother and sister describing the type of wall, cart and calf that he wished for them to find as models so that he could begin the painting. The unfinished Carlisle version consists only of three elements, plus the head of Fanny Cornforth, apparently added later. Ford Madox Brown noted in his diary Rossettis difficulties in painting the calf in November 1854, from want of habit I see nature bothers him—but it is sweetly drawn & felt. The calfs role in the painting is two-fold, first, it explains why the farmer has come to the city. But more importantly, its situation as an innocent animal trapped and on its way to be sold parallels the womans, is the prostitute rejecting salvation or is she accepting it, or is she repentant but unable to escape her fate, like the calf. Rossetti replaced the word espousal in the motto as he found it with betrothal, in 1858, Rossetti met Fanny Cornforth, who soon became his mistress. She later described how he invited her to his studio and put my head against the wall and he made several pen and ink drawings about this time of the heads of both the male and female subjects. A version in oils was commissioned in 1859 by James Leathart, Rossetti struggled with Found, abandoning and returning to it intermittently until at least 1881, and leaving it unfinished at his death. His assistants Henry Treffry Dunn and Frederic Shields both helped with the painting, and Dunn and Edward Burne-Jones may have worked on it after Rossettis death, Rossetti published a poem, also titled Found, as a companion to the painting in 1881 in the volume Ballads and Sonnets. A number of studies for Found have survived, the earliest may be the black and brown ink sketch now in the British Museum, which is signed and dated 1853. The Birmingham Museum and Art Gallery has a sketch in pen and black ink dated to 1854–55 as well as a pen. The painting was first commissioned by Francis McCracken but the commission was dropped because of lack of progress on the painting, next James Leathart, then William Graham commissioned the work. Graham only took possession of the work after Rossettis death
14.
National Portrait Gallery, London
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The National Portrait Gallery is an art gallery in London housing a collection of portraits of historically important and famous British people. It was the first portrait gallery in the world when it opened in 1856, the gallery moved in 1896 to its current site at St Martins Place, off Trafalgar Square, and adjoining the National Gallery. It has been expanded twice since then, the National Portrait Gallery also has regional outposts at Beningbrough Hall in Yorkshire and Montacute House in Somerset. It is unconnected to the Scottish National Portrait Gallery in Edinburgh, the gallery is a non-departmental public body sponsored by the Department for Culture, Media and Sport. The gallery houses portraits of important and famous British people, selected on the basis of the significance of the sitter. The collection includes photographs and caricatures as well as paintings, drawings, one of its best-known images is the Chandos portrait, the most famous portrait of William Shakespeare although there is some uncertainty about whether the painting actually is of the playwright. Not all of the portraits are exceptional artistically, although there are self-portraits by William Hogarth, Sir Joshua Reynolds, some, such as the group portrait of the participants in the Somerset House Conference of 1604, are important historical documents in their own right. Portraits of living figures were allowed from 1969, the three people largely responsible for the founding of the National Portrait Gallery are commemorated with busts over the main entrance. At centre is Philip Henry Stanhope, 5th Earl Stanhope, with his supporters on either side, Thomas Babington Macaulay, 1st Baron Macaulay and it was Stanhope who, in 1846 as a Member of Parliament, first proposed the idea of a National Portrait Gallery. It was not until his attempt, in 1856, this time from the House of Lords. With Queen Victorias approval, the House of Commons set aside a sum of £2000 to establish the gallery, as well as Stanhope and Macaulay, the founder Trustees included Benjamin Disraeli and Lord Ellesmere. It was the latter who donated the Chandos portrait to the nation as the gallerys first portrait, Carlyle became a trustee after the death of Ellesmere in 1857. For the first 40 years, the gallery was housed in locations in London. The first 13 years were spent at 29 Great George Street, there, the collection increased in size from 57 to 208 items, and the number of visitors from 5,300 to 34,500. In 1869, the moved to Exhibition Road and buildings managed by the Royal Horticultural Society. Following a fire in buildings, the collection was moved in 1885. This location was unsuitable due to its distance from the West End, condensation. Following calls for a new location to be found, the government accepted an offer of funds from the philanthropist William Henry Alexander, Alexander donated £60,000 followed by another £20,000, and also chose the architect, Ewan Christian
15.
Owen Jones (architect)
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Owen Jones was an English-born Welsh architect. A versatile architect and designer, he was one of the most influential design theorists of the nineteenth century. He helped pioneer modern color theory, and his theories on flat patterning and he rose to prominence with his studies of Islamic decoration at the Alhambra, and the associated publication of his drawings, which pioneered new standards in chromolithography. Jones was also responsible for the decoration and layout of exhibits for the Great Exhibition building of 1851. These design propositions also formed the basis for his publication, The Grammar of Ornament. Other departments within the museum hold examples of his furniture and textiles, Jones was born on 15 February 1809 at 148 Thames Street, London the son of Owen Jones, a successful furrier and amateur Welsh antiquary, and his wife, Hannah Jane Jones. Being the Son of Owen Jones Snr, Joness studies of the Alhambra in Granada were pivotal in the development of his theories on flat pattern, geometry and polychromy. Goury died of cholera – at the age of 31 – during their stay at the Alhambra. The standard of colour printing at that time was not sophisticated enough to do justice to the decoration of the Alhambra. Collaborating with chemists and printers, Jones took it himself to research the new process of chromolithography. He issued this labour of love, Plans, Elevations, Sections and Details of the Alhambra, in parts over a period of almost ten years. It was the worlds first ever published work of any significance to employ chromolithography, apart from these books, Joness most significant printing output was through his long-standing relationship with the firm of De La Rue. Jones was employed as one of the Superintendents of Works for the Great Exhibition of 1851, colour theories were relatively new, and his controversial paint scheme created much debate and negative publicity in the newspapers and journals of the day. Crucially, after early viewings, Prince Albert maintained his support, after the Great Exhibition closed, the Crystal Palace was re-erected in Sydenham. Jones was given joint responsibility, with Matthew Digby Wyatt, for the decoration and layout for this new incarnation which opened in 1854 as a permanent venue for education and entertainment. Jones and Digby Wyatt envisaged a series of Fine Arts Courts which would take the visitor through a narrative of the history of design. Jones had the opportunity to re-visit his work at the Alhambra by building a luxurious re-creation of the palace in the Alhambra Court. He also designed the Egyptian, Greek and Roman courts, the Crystal Palace was destroyed by a fire in 1936, and was never rebuilt
16.
Chromolithography
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Chromolithography is a unique method for making multi-colour prints. This type of colour printing stemmed from the process of lithography, when chromolithography is used to reproduce photographs, the term photochrome is frequently used. Lithographers sought to find a way to print on flat surfaces with the use of chemicals instead of relief or intaglio printing, hand-colouring also remained important, elements of the official British Ordnance Survey maps were coloured by hand by boys until 1875. The initial technique involved the use of multiple lithographic stones, one for each colour, depending on the number of colours present, a chromolithograph could take months to produce, by very skilled workers. However much cheaper prints could be produced by simplifying both the number of used, and the refinement of the detail in the image. Cheaper images, like advertisements, relied heavily on a black print. The process is based on the rejection of grease by water, the image is applied to stone, grained zinc or aluminium surfaces, with a grease-based crayon or ink. Limestone and zinc are two commonly used materials in the production of chromolithographs, as aluminium unfortunately corrodes easily, after the image is drawn onto one of these surfaces, the image is gummed-up with a gum arabic solution and weak nitric acid to desensitize the surface. Before printing, the image is proved before finally inking up the image with oil based transfer or printing ink, the inked image under pressure is transposed onto a sheet of paper using a flat-bed press. This describes the form of printing. The offset indirect method uses a cylinder that transfers the image from printing surface to the paper. Colours may be overprinted by using stones or plates to achieve a closer reproduction of the original. Accurate registration for multi-coloured work is achieved by the use of a key outline image, ben-Day medium, uses a raised gelatin stipple image to give tone gradation. An air-brush sprays ink to give soft edges and these are just two methods used to achieve gradations of tone. The use of twelve overprinted colours would not be considered unusual, each sheet of paper will therefore pass through the printing press as many times as there are colours in the final print. In order that each colour is placed in the position, each stone or plate must be precisely ‘registered, ’ or lined up. Chromolithographs are considered to be reproductions that are smaller than double demi, autolithographs are prints where the artist draws and perhaps prints his or her own limited number of reproductions. This is the true art form
17.
Joseph Edgar Boehm
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Sir Joseph Edgar Boehm, 1st Baronet, RA was a medallist and sculptor, best known for the Jubilee head of Queen Victoria on coinage, and the statue of the Duke of Wellington at Hyde Park Corner. His oeuvre is substantial and he exhibited 123 works at the Royal Academy, Boehm was born in Vienna of Hungarian parentage. His father, Joseph Daniel Böhm, was director of the mint in Vienna. After studying the art in Italy and at Paris, he worked for a few years as a medallist in Vienna. In 1856, he was presented with the Austrian Imperial Prize for Sculpture and he moved to England in 1862, and became a British subject three years later. In 1874 he completed a statue of John Bunyan which was unveiled on 10 June at St Peters Green, Bedford, by Lady Augusta Stanley. He became an Associate of the Royal Academy in 1878, was appointed sculptor in ordinary in 1881 and was elected to the Royal Academy in 1882. In 1889 he was created a baronet, of Wetherby Gardens in the Parish of St Mary Abbots, Kensington, in 1887, he designed and executed the model for the dies for a series of coins, commemorating the 50th anniversary of the queens reign. This design was criticised by his peers as well as the public. The coins depicted the arms in the order of the garter on the reverse. As a result, the sixpences were frequently gilded and passed off as gold half sovereigns, therefore, the sixpence reverted to its standard design. Boehm is responsible for a large free-standing statue of Queen Victoria in Queens Square, a speciality of Boehms was the portrait bust, there are many examples of these in the National Portrait Gallery. He was often commissioned by the Royal Family and members of the aristocracy to make sculptures for their parks and his most important works include St George and the Dragon, which can be found outside the State Library of Victoria, and Francis Drake. His large sculpture of the stallion King Tom was commissioned by Baron Mayer Amschel de Rothschild for his new mansion, Mentmore Towers, there are many statues by Boehm in London. For the memorial to General Charles George Gordon in St Pauls Cathedral, on the death of Dean Stanley, Boehm was commissioned to execute his sarcophagus in Westminster Abbey. Among his ideal subjects, the Herdsman and Bull is notable, Boehms most famous pupil was the Princess Louise, Duchess of Argyll, daughter of Queen Victoria. She was at his house, at 76 Fulham Road in London, dictionary of National Biography,1901 supplement
18.
Arthur Hughes (artist)
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Arthur Hughes was an English painter and illustrator associated with the Pre-Raphaelite Brotherhood. In 1846 he entered the art school at Somerset House, his first master being Alfred Stevens, here he met John Everett Millais and Holman Hunt, and became one of the Pre-Raphaelite group of painters. In 1855 Hughes married Tryphena Foord, his model for April Love, Hughes died in Kew Green, London in 1915, leaving about 700 known paintings and drawings, along with over 750 book illustrations. Following the death of Tryphena Hughes in 1921, their daughter Emily had to move to a smaller house, there was, therefore, a shortage of space. As a result, she had her father’s remaining preparatory sketches and he was the father of the English painter Arthur Ford Hughes and the uncle of another, Edward Robert Hughes. Hughes is buried in Richmond Cemetery and his best-known paintings are April Love and The Long Engagement, both of which depict troubled couples contemplating the transience of love and beauty. Like Millais, Hughes also painted Ophelia which is housed at Toledo Museum of Art, hughess version of the latter is in the form of a secular triptych, a technique he repeated for scenes from Shakespeares As You Like It. His works are noted for their magical, glowing colouring and delicate draughtsmanship, the beautiful oil portrait Springtide, first exhibited in Dublin in 1855, features his wife Tryphena. Hughes was in contact with the writer George MacDonald and illustrated some of his books, as well as producing numerous illustrations for Norman MacLeods monthly magazine. List of Pre-Raphaelite paintings - includes catalogue of Arthur Hughes work with links to individual paintings articles
19.
April Love (painting)
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April Love is a painting by the Pre-Raphaelite painter Arthur Hughes which was created between 1855 and 1856. It was first exhibited at the Royal Academy of Arts in 1856, originally acquired by William Morris, the painting was purchased by the Tate Gallery, London in 1909 and has remained in the Tate collection to the present day. It shows a distinctly Pre-Raphelite style in which a soft approach to nature, bright colors and red-haired women as well as an emphasis on nature and symbolism characterize this style which can be found in the late 1800s as a response to industrialization. The painting depicts a couple at a moment of emotional crisis. The male figure is visible, his head bent over the young womans left hand. The woman is looking down at fallen blossoms, suggesting the end of spring, the model for the principal figure was Tryphena Ford, whom Hughes married in 1855
20.
Ivan Aivazovsky
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Ivan Konstantinovich Aivazovsky was a Russian Romantic painter. He is considered one of the greatest marine artists in history, baptized as Hovhannes Aivazian, Aivazovsky was born into an Armenian family in the Black Sea port of Feodosia in Crimea and was mostly based there. Following his education at the Imperial Academy of Arts, Aivazovsky traveled to Europe and he then returned to Russia and was appointed the main painter of the Russian Navy. Aivazovsky had close ties with the military and political elite of the Russian Empire and he was sponsored by the state and was well-regarded during his lifetime. The saying worthy of Aivazovskys brush, popularized by Anton Chekhov, was used in Russia for describing something ineffably lovely, one of the most prominent Russian artists of his time, Aivazovsky was also popular outside Russia. He held numerous exhibitions in Europe and the United States. During his almost 60-year career, he created around 6,000 paintings, the vast majority of his works are seascapes, but he often depicted battle scenes, Armenian themes, and portraiture. Most of Aivazovskys works are kept in Russian, Ukrainian and Armenian museums as well as private collections, Ivan Aivazovsky was born on 17 July 1817 in the city of Feodosia, Crimea, Russian Empire. In the baptismal records of the local St. Sargis Armenian Church, Aivazovsky was listed as Hovhannes, during his study at the Imperial Academy of Arts, he was known in Russian as Ivan Gaivazovsky. He became known as Aivazovsky since c. He signed a 1844 letter with the version of his name. His father, Konstantin, was an Armenian merchant from the Polish region of Galicia and his family had migrated to Europe from Western Armenia in the 18th century. After numerous familial conflicts, Konstantin left Galicia for Moldavia, later moving to Bukovina and he was initially known as Gevorg Aivazian, but he changed his last name to Gaivazovsky by adding the Polish -sky. Aivazovskys mother, Ripsime, was a Feodosia Armenian, the couple had five children—three daughters and two sons. Aivazovskys elder brother, Gabriel, was a prominent historian and an Armenian Apostolic archbishop, the young Aivazovsky received parochial education at Feodosias St. Sargis Armenian Church. He was taught drawing by Jacob Koch, a local architect, Aivazovsky moved to Simferopol with Taurida Governor Alexander Kaznacheyevs family in 1830 and attended the citys Russian gymnasium. In 1833, Aivazovsky arrived in the Russian capital, Saint Petersburg, in 1835, he was awarded with a silver medal and appointed assistant to the French painter Philippe Tanneur. In September 1836, Aivazovsky met Russias national poet Alexander Pushkin during the visit to the Academy. In 1837, Aivazovsky joined the class of Alexander Sauerweid
21.
William-Adolphe Bouguereau
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William-Adolphe Bouguereau was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, during his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde, by the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau, throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. William-Adolphe Bouguereau was born in La Rochelle, France, on November 30,1825, into a family of wine, the son of Théodore Bouguereau and Marie Bonnin, known as Adeline, William was brought up a Catholic. He had a brother, Alfred, and a younger sister, Marie. The family moved to Saint-Martin-de-Ré in 1832, another sibling was born in 1834, Kitty. At 12 the boy went to Mortagne to stay with his uncle Eugène, a priest, in 1839 he was sent to study the priesthood at a Catholic college in Pons. Here he was taught to draw and paint by Louis Sage who had studied under Ingres, William reluctantly left his studies to return to his family, now residing in Bordeaux. Here the boy met a local artist, Charles Marionneau, William also worked as a shop assistant, hand-colouring lithographs and making small paintings that were reproduced using chromolithography. He was soon the best pupil in his class and decided to become an artist in Paris, to fund the move, he sold portraits -33 oils in three months. All were unsigned and only one has been traced and he arrived in Paris aged 20 in March 1846. Bouguereau became a student at the École des Beaux-Arts, to supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Édouard Picot, where he studied painting in the academic style and he also studied classical literature, which influenced his subject choice for the rest of his career. In April 1848 the young artist entered the Prix de Rome contest, soon after work began there were riots in Paris and Bouguereau enrolled in the National Guard. After an unsuccessful attempt to win the prize, he entered again in 1849, following 106 days of competition he again failed to win. His third attempt commenced in April 1850 and five months later he heard he had won a joint first prize, along with other category winners, William set off for Rome in December and finally arrived at the Villa Medici in January 1851. He explored the city, making sketches and watercolours as he went and he walked to Naples and on to Capri, Amalfi and Pompeii
22.
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
23.
Take your Son, Sir!
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Take Your Son, Sir. is an unfinished painting by Ford Madox Brown which depicts a woman showing her newborn son to its father. She is offering her baby towards the viewer of the painting, the mirror also forms a halo behind the mothers head, and the pattern on the wallpaper suggests the starry heavens. Browns principal influence was Jan van Eycks painting the Arnolfini Marriage Portrait, the mirror resembles the circular mirror in van Eycks painting, which reflects an image of the artist looking at the couple in the image. The woman is wearing crinolines, which expand to cover the whole of the part of the painting. Brown has left this part incomplete, roughly squaring up and sketching the dress in outline, the title is written on the unfinished dress, underneath the child at the right. Browns own wife was pregnant whilst he was painting this picture, Arthur then died at just ten months old and it is considered Brown was unable to complete the painting through grief for his son, so he abandoned it. There are two interpretations of the picture. Most critics see it as an image of an offering the child to her husband. Some commentators, however, interpret it as more confrontational image, the art historian Marcia Pointon has argued that the painting is deliberately paradoxical, playing on the conflict between new life and death
24.
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
25.
Samuel Colman
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Samuel Colman was an American painter, interior designer, and writer, probably best remembered for his paintings of the Hudson River. Born in Portland, Maine, Colman moved to New York City with his family as a child and his father opened a bookstore, attracting a literate clientele that may have influenced Colmans artistic development. He is believed to have studied briefly under the Hudson River school painter Asher Durand, by 1854 he had opened his own New York City studio. The following year he was elected a member of the National Academy. He was also able to paint in a style, which had become more fashionable after the Civil War. One of his works, and one of the iconic images of Hudson River School art, is his Storm King on the Hudson, now in the collection of the Smithsonian American Art Museum in Washington. Colman was a traveler, and many of his works depict scenes from foreign cities. He made his first trip abroad to France and Spain in 1860–1861, Colman often depicted the architectural features he encountered on his travels, cityscapes, castles, bridges, arches, and aqueducts feature prominently in his paintings of foreign scenes. In 1870 and again in the 1880s he journeyed to the western United States, painting western landscapes comparable in scope, in the aftermath of the Civil War, watercolor painting became more popular. In 1866, Colman was one of the founders of the American Watercolor Society, Colman also became skilled at the medium of etching. He was an member of the New York Etching Club. Colmans artistic activities became more diverse late in life. He also became a collector of Asian decorative objects. Colman died in New York City in 1920, list of Hudson River School artists American Watercolor Societys history. Gifford, a catalog from The Metropolitan Museum of Art
26.
William Powell Frith
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William Powell Frith RA was an English painter specialising in genre subjects and panoramic narrative works of life in the Victorian era. He was elected to the Royal Academy in 1853, presenting The Sleeping Model as his Diploma work and he has been described as the greatest British painter of the social scene since Hogarth. William Powell Frith was born in Aldfield, North Yorkshire on 19 January 1819, Frith was encouraged to take up art by his father, a hotelier in Harrogate. Frith was great uncle and an advisor to the English school portrait painter Henry Keyworth Raine and he moved to London in 1835 where he began his formal art studies at Sasss Academy in Charlotte Street, before attending the Royal Academy Schools. Frith started his career as a painter and first exhibited at the British Institution in 1838. In the 1840s he often based works on the output of writers such as Charles Dickens, whose portrait he painted. He was a member of The Clique, which also included Richard Dadd, the principal influence on his work was the hugely popular domestic subjects painted by Sir David Wilkie. Wilkies famous painting The Chelsea Pensioners was a spur to the creation of Friths own most famous compositions, in Ramsgate Sands, Life at the Seaside he depicted visitors and entertainers at the seaside resort. He followed this with The Derby Day, depicting scenes among the crowd at the race at Epsom Downs and this 1858 composition was bought by Jacob Bell for £1,500. It was so popular that it had to be protected by a specially installed rail when shown at the Royal Academy of Arts, another well-known painting was The Railway Station, a scene of Paddington station. In 1865 he was chosen to paint the Marriage of the Prince of Wales and his 1858 painting The Crossing Sweeper has been described as breaking new ground in its description of the collision of wealth and poverty on a London street. Later in his career he painted two series of five each, telling moral stories in the manner of William Hogarth. These were the Road to Ruin, about the dangers of gambling, and he retired from the Royal Academy in 1890 but continued to exhibit until 1902. Frith was a traditionalist who made known his aversion to modern-art developments in a couple of autobiographies – My Autobiography and Reminiscences and Further Reminiscences –, fellow traditionalist Frederic Leighton is featured in the painting, which also portrays painter John Everett Millais and novelist Anthony Trollope. In his later years, he painted copies of his famous paintings, as well as more sexually uninhibited works. A well-known raconteur, his writings, most notably his chatty autobiography, were very popular, in 1856, Frith was photographed at The Photographed Institute by Robert Howlett, as part of a series of portraits of fine artists. The picture was among a group exhibited at the Art Treasures Exhibition in Manchester in 1857, Frith is buried in Kensal Green Cemetery in London. The first major retrospective in Friths native Britain for half a century was staged at the Guildhall Art Gallery and it transferred to Mercer Art Gallery in Harrogate, North Yorkshire in March 2007
27.
Hiroshige
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Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō, and for his depictions of birds and flowers. The subjects of his work were atypical of the genre, whose typical focus was on beautiful women, popular actors. For scholars and collectors, Hiroshiges death marked the beginning of a decline in the ukiyo-e genre. Hiroshiges work came to have an influence on Western painting towards the close of the 19th century as a part of the trend in Japonism. Western artists closely studied Hiroshiges compositions, and some, such as van Gogh, Hiroshige was born in 1797 in the Yayosu Quay section of the Yaesu area in Edo. He was of a background, and was the great-grandson of Tanaka Tokuemon. Hiroshiges grandfather, Mitsuemon, was an instructor who worked under the name Sairyūken. Hiroshiges father, Genemon, was adopted into the family of Andō Jūemon, Hiroshige went through several name changes as a youth, Jūemon, Tokubē, and Tetsuzō. He had three sisters, one of whom died when he was three and his mother died in early 1809, and his father followed later in the year, but not before handing his fire warden duties to his twelve-year-old son. He was charged with prevention of fires at Edo Castle, a duty that left him leisure time. Not long after his parents deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting and he sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him. A librarian introduced him instead to Toyohiro of the same school, by 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige. In 1823, he resigned his post as warden, though he still acted as an alternate. He declined an offer to succeed Toyohiro upon the death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for and he also created an increasing number of bird and flower prints about this time. An invitation to join a procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints
