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.
1858 in architecture
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The year 1858 in architecture involved some significant events. The Hamilton Mausoleum in Scotland is completed to an 1842 design by David Hamilton by David Bryce with sculptor Alexander Handyside Ritchie, Saint Isaacs Cathedral in Saint Petersburg is completed to an 1818 design by Auguste de Montferrand. Trinity Church in Norway, designed by Alexis de Chateauneuf and Wilhelm von Hanno, is consecrated, wesley Church, Melbourne, Australia, is opened. Leopoldstädter Tempel in Vienna, designed by Ludwig Förster, is built, grand Synagogue of Aden is built. Church of the Resurrection in Katowice is completed, fishergate Baptist Church in Preston, Lancashire, designed by James Hibbert and Nathan Rainford, is completed. Leeds Town Hall in Yorkshire, designed by Cuthbert Brodrick, is completed, ontario County Courthouse in Canandaigua, New York, is built. United States Customhouse and Post Office is built, the Liverpool, London and Globe Building in Liverpool, designed by C. R. Cockerell, is completed. The West of England and South Wales Bank in Bristol, designed by Bruce Gingell, the rebuilt Royal Opera House, Covent Garden, London, designed by Edward Middleton Barry, is completed. St Jamess Hall, Piccadilly, London, designed by Owen Jones, is opened, hownes Gill Viaduct in County Durham, England, designed by Thomas Bouch, is opened. New westwork at Speyer Cathedral, designed by Heinrich Hübsch, is completed, construction of Woodchester Mansion in Gloucestershire, England, designed by Benjamin Bucknall, is begun, work is abandoned in the 1870s. The competition to design Central Park in New York City is won by Frederick Law Olmsted, Royal Gold Medal - Friedrich August Stüler. Grand Prix de Rome, architecture, Georges-Ernest Coquart
11.
1858 in music
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January 2 – Sigismond Thalberg is given a farewell concert by the Academy of Music, New York. January 14 – While on their way to the Paris Opéra, Napoleon III of France, the emperor proceeds to attend the performance. January 30 – Hallé Orchestra founded by Charles Hallé in Manchester, february 20 – Giacomo Meyerbeer pays Mathilde Heine 4,500 francs not to publish four poems by her late husband Heinrich Heine. April 7 – Richard Wagners affair with Mathilde Wesendonck is discovered by his wife, june 17 – Modest Musorgsky resigns from the Preobrazhensky Regiment to take up music full-time. September 7 – Queen Victoria of the United Kingdom opens Leeds Town Hall, september 16 – 16-year-old pianist Jules Massenet gives his first recital. October 6 – Edvard Grieg enters Leipzig Conservatory, having had his talent recognised by Ole Bull, october 21 – Jacques Offenbachs operetta Orpheus in the Underworld, featuring music associated with the can-can, is first performed, at the Théâtre des Bouffes Parisiens in Paris. Arthur Sullivan goes to Leipzig to study music, the Harvard Glee Club is founded at Harvard University. Hector Berlioz completes the score for his opera Les Troyens, the Infernal Gallop, music by Jacques Offenbach Warblings at Eve m. Henry Brinley Richards Saint-Saëns — Piano concerto No.1 Violin Concerto No
12.
1858 in science
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The year 1858 in science and technology involved some significant events, listed below. In Luxor, Egypt, the Rhind papyrus is found, it is called the Ahmes papyrus for the scribe who wrote it around 1650 BC. Donatis Comet, the first comet to be photographed, is discovered by Giovanni Battista Donati on 2 June, william Herschel initiates fingerprinting as a means of identification, in Bengal. George Benthams Handbook of the British flora is published and this will be in use for a century. Publication of Darwins theory, June 18 – Charles Darwin receives papers from Alfred Russel Wallace setting out the theory of natural selection which he forwards to Charles Lyell. They are first published on August 20, february 13 – Richard Francis Burton and John Hanning Speke become the first Europeans to discover Lake Tanganyika. August 3 – John Hanning Speke discovers Lake Victoria, source of the River Nile, the Möbius strip is discovered independently by German mathematicians August Ferdinand Möbius and Johann Benedict Listing. Arthur Cayley publishes A memoir on the theory of matrices, introducing the concept of the matrix in mathematics. August 2 – Medical Act 1858 passed to Regulate the Qualifications of Practitioners in Medicine, publication in London of Thomas B. Peacocks On Malformations, &c. of the Human Heart, with cases which becomes a standard cardiology textbook. French pediatrician Eugène Bouchut develops a new technique for non-surgical orotracheal intubation to bypass laryngeal obstruction resulting from a diphtheria-related pseudomembrane, first treatise on postpartum psychiatric disturbances, by Louis-Victor Marcé, MD. January 31 – I. K. Brunels SS Great Eastern, August – The first aerial photography is carried out by Nadar from a moored balloon in France using the collodion process. Hoffmann kiln patented in Germany by Friedrich Hoffmann for continuous production brickmaking, copley Medal, Charles Lyell Wollaston Medal for geology, James Hall January 28 – Eugène Dubois, Dutch paleoanthropologist. February 7 – Herman Frederik Carel ten Kate, Dutch anthropologist, march 18 – Rudolf Diesel, German mechanical engineer. April 23 – Max Planck, German theoretical physicist, may 19 – Thomas Allinson, English physician and dietetic reformer. August 11 – Christiaan Eijkman, Dutch physiologist, August 19 – Ellen Willmott, English horticulturist. August 27 – Giuseppe Peano, Italian mathematician, october 4 – Mihajlo Idvorski Pupin, Banat-born physicist. November 1 – Ludwig Struve, Russian astronomer, november 30 – Jagadish Chandra Bose, Bengali physicist
13.
John Ruskin
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John Ruskin was the leading English art critic of the Victorian era, as well as an art patron, draughtsman, watercolourist, a prominent social thinker and philanthropist. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany and his writing styles and literary forms were equally varied. Ruskin also penned essays and treatises, poetry and lectures, travel guides and manuals, letters, the elaborate style that characterised his earliest writing on art was later superseded by a preference for plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society and he also made detailed sketches and paintings of rocks, plants, birds, landscapes, and architectural structures and ornamentation. He was hugely influential in the half of the 19th century. After a period of decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability, from the 1850s he championed the Pre-Raphaelites who were influenced by his ideas. His work increasingly focused on social and political issues, Unto This Last marked the shift in emphasis. In 1869, Ruskin became the first Slade Professor of Fine Art at the University of Oxford, in 1871, he began his monthly letters to the workmen and labourers of Great Britain, published under the title Fors Clavigera. In the course of this complex and deeply personal work, he developed the principles underlying his ideal society, as a result, he founded the Guild of St George, an organisation that endures today. Ruskin was the child of first cousins. His father, John James Ruskin, was a sherry and wine importer founding partner and de facto manager of Ruskin, Telford. John James was born and brought up in Edinburgh, Scotland, to a mother from Glenluce and his wife, Margaret Cox, née Cock, was the daughter of an aunt on the English side of the family and a publican in Croydon. She had joined the Ruskin household when she became companion to John Jamess mother, John James had hoped to practice law, but was instead articled as a clerk in London. His father, John Thomas Ruskin, described as a grocer, was an inadequate businessman, to save the family from bankruptcy, John James, whose prudence and success were in stark contrast to his father, took on all debts, settling the last of them in 1832. John James and Margaret were engaged in 1809, but opposition to the union from John Thomas, Ruskin was born at 54 Hunter Street, Brunswick Square, London, south of St Pancras railway station. His childhood was characterised by the influences of his father and mother. John James Ruskin helped to develop his sons Romanticism and they shared a passion for the works of Byron, Shakespeare and especially Walter Scott
14.
Rose La Touche
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Rose La Touche was the pupil, cherished student, pet, and ideal from which John Ruskin based Sesame and Lilies. Ruskin met La Touche when she was nine years old as an art tutor. Roses mother, Mrs. Maria La Touche, was a friend of Louisa, Lady Waterford, Ruskin recalls the correspondence in Praeterita, Soon after I returned home, in the eventful year 1858, a lady wrote to me from—somewhere near Green Street, W. Rather he sent William Ward to see her, being too busy to call himself, when Ruskin did call on the La Touches for the first time, he was taken with them and felt there was something exceptional about Rose. Upon first meeting Rose, Ruskin wrote in the pages of Praeterita that. Nine years old, on 3 January 1858, thus now rising towards ten, neither tall nor short for her age, the eyes rather deep blue at that time, and fuller and softer than afterwards. She was a high-spirited, precocious, but also very childlike adolescent, tim Hilton writes that The Irish girl was a puzzle, for she was precocious in some ways and not in others. Sometimes she had an understanding of adult attitudes, at the next moment she was once more completely a child. She had a pretty way of making herself engaging, even coquettish, I dont know what to make of her, Ruskin confessed. She wears her round hat in the sauciest way possible—and is a firm—fiery little thing. Ruskins interest in Rose grew into fascination and adoration for his pupil, in fact, Ruskins first letter from Rose impressed him so much that he reprinted it in its entirety in Praeterita. Writing Some wise, and prettily mannered, people have told me I shouldnt say anything about Rosie at all. But I am too old now to take advice, and I wont have this following letter—the first she ever wrote me—moulder away, the letter Rose writes is addressed Dearest St. Crumpet—her pet name for him was St. Thank you so much both of us. --Mama is very glad you went to Dr. Ferguson She says you must not give him up. How very kind of you to see & talk to our old man Certainly the name is not beautiful We have all read your letter & we all care for it That was indeed a dear Irish labourer. Will you give them our love please & take for yourself as much as ever you please and it will be a great deal if you deign to take all we send you. I like Nice, but I dont much like being transplanted except going home, although much speculation exists over when Ruskin fell in love with Rose, most critics maintain that she was between the ages of 14–18. The author George MacDonald was entrusted by her parents to oversee Roses welfare during their absence, Ruskin repeated his marriage proposal after Rose became legally free to decide for herself, but she still refused. Rose died in 1875 at the age of 27, in a Dublin nursing home, various authors describe the death as arising from either madness, anorexia, a broken heart, religious mania or hysteria, or a combination of these
15.
Europe
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Europe is a continent that comprises the westernmost part of Eurasia. Europe is bordered by the Arctic Ocean to the north, the Atlantic Ocean to the west, yet the non-oceanic borders of Europe—a concept dating back to classical antiquity—are arbitrary. Europe covers about 10,180,000 square kilometres, or 2% of the Earths surface, politically, Europe is divided into about fifty sovereign states of which the Russian Federation is the largest and most populous, spanning 39% of the continent and comprising 15% of its population. Europe had a population of about 740 million as of 2015. Further from the sea, seasonal differences are more noticeable than close to the coast, Europe, in particular ancient Greece, was the birthplace of Western civilization. The fall of the Western Roman Empire, during the period, marked the end of ancient history. Renaissance humanism, exploration, art, and science led to the modern era, from the Age of Discovery onwards, Europe played a predominant role in global affairs. Between the 16th and 20th centuries, European powers controlled at times the Americas, most of Africa, Oceania. The Industrial Revolution, which began in Great Britain at the end of the 18th century, gave rise to economic, cultural, and social change in Western Europe. During the Cold War, Europe was divided along the Iron Curtain between NATO in the west and the Warsaw Pact in the east, until the revolutions of 1989 and fall of the Berlin Wall. In 1955, the Council of Europe was formed following a speech by Sir Winston Churchill and it includes all states except for Belarus, Kazakhstan and Vatican City. Further European integration by some states led to the formation of the European Union, the EU originated in Western Europe but has been expanding eastward since the fall of the Soviet Union in 1991. The European Anthem is Ode to Joy and states celebrate peace, in classical Greek mythology, Europa is the name of either a Phoenician princess or of a queen of Crete. The name contains the elements εὐρύς, wide, broad and ὤψ eye, broad has been an epithet of Earth herself in the reconstructed Proto-Indo-European religion and the poetry devoted to it. For the second part also the divine attributes of grey-eyed Athena or ox-eyed Hera. The same naming motive according to cartographic convention appears in Greek Ανατολή, Martin Litchfield West stated that phonologically, the match between Europas name and any form of the Semitic word is very poor. Next to these there is also a Proto-Indo-European root *h1regʷos, meaning darkness. Most major world languages use words derived from Eurṓpē or Europa to refer to the continent, in some Turkic languages the originally Persian name Frangistan is used casually in referring to much of Europe, besides official names such as Avrupa or Evropa
16.
Robert Jefferson Bingham
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Robert Jefferson Bingham was an English pioneer photographer, mainly active in France, making portraits and reproductions of paintings. He is one of the first photographers to use and write about the collodion process, born in Billesdon, England, probably in 1825, Bingham first started working as a chemist at the London Institution. These pictures and others by Bingham were shown in 1852 at the exhibition Recent Specimens of Photography held at the Society of Arts, London, Bingham also made photographs of the Exposition Universelle of 1855 in Paris. Henry Cole sent him at the time to the Louvre to photograph the masterpieces of the museum collection. At some point in 18511855, or 1859, Bingham moved to Paris to work there as a photographer, Bingham not only worked at the 1855 Exposition, but also displayed his own life-size portraits, for which he won a Medal First Class. Due to a lack of success, however, he soon stopped producing these huge photographs. He became friends with artists, photographing them and their works, and started on a new project. Published in 1858, it was the first photographic catalogue raisonné and it was followed over the next few years by similar works about other artists, including one in 1860 on Ary Scheffer and another one with photographs of the major works of the 1860 Salon. Smaller works with only a handful of photographs were produced for particular collections, Gustave Moreau used to send photographs of his paintings, made by Bingham, to people to inform them of his latest creations, without the need to wait for a Salon or other exhibition. Similarly, Gustave Courbet showed his paintings, which were rejected for the Salon and his 1863 work Retour de conférence, which was even rejected at the Salon des Refusés, was destroyed by a fundamentalist Christian, making the photographs by Bingham the only remaining trace of it. But the public outrage about the painting was so great that the government had the destroyed in 1867 as well. Courbets 1864 Vénus et Psyché has disappeared as well and is only known through Binghams photographs. Bingham continued to exhibit in Great Britain and France, winning another medal at the 1862 International Exhibition in London and he was one of the leading members of the Société française de photographie, contributing a lot of works to their exhibitions. Early in 1870, he suddenly left Paris for Brussels, where he died in February of that year and his atelier remained open until 1875, publishing more reproductions of his negatives. Grand prix de Rome published by Alfred Cadart,1860, Oeuvre de Ary Scheffer, reproduit en photographie par Bingham. Accompagné dune notice sur la vie et les ouvrages de Ary Scheffer, another candidate was Gustave Le Gray, who published another, less practical collodion process in 1850
17.
Paul Delaroche
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Paul Delaroche was a French painter who achieved his greater successes painting history. He became famous in Europe for his scenes that often portrayed subjects from English. Delaroche aimed to depict his subjects and history with pragmatic realism, Delaroche was a leading pupil of Antoine-Jean Gros and later mentored a number of notable artists like Thomas Couture, Jean-Léon Gérôme, and Francisque Millet. Delaroche was born into a generation that saw the conflicts between Romanticism and Davidian Classicism. Davidian Classicism was widely accepted and enjoyed by society so as a developing artist at the time of the introduction of Romanticism in Paris, later in the 1830s, Delaroche exhibited the first of his major religious works. His change of subject and “the painting’s austere manner” were ill-received by critics and after 1837, at the time of his death in 1856, he was painting a series of four scenes from the Life of the Virgin. Only one work from this series was completed, the Virgin Contemplating the Crown of Thorns and he was born, worked, and died in Paris. His studio was in the rue Mazarin and his subjects were painted with a firm, solid, smooth surface, which gave an appearance of the highest finish. This texture was the manner of the day and was found in the works of Vernet, Ary Scheffer, Louis Léopold Robert. Among his students were British landscape artist Henry Mark Anthony, British history painters Edward Armitage and Charles Lucy, the first Delaroche picture exhibited was the large Jehosheba saving Joash. This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix and he visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy in Rome. In 1845, he was elected into the National Academy of Design, New York, paul Delaroche was born into a family of artists, dealers, collectors, and art administrators. His father, Gregoire-Hippolyte Delaroche, was a prominent art dealer in Paris, paul Delaroche was the second of two sons and was introduced to fine art at a young age. At age nineteen, Delaroche was afforded by his father the opportunity to study at LÉcole des Beaux-Arts under the instruction of Louis Étienne Watelet. Delaroche was influenced by his father to focus on landscapes while he was at L’École because his brother, Jules-Hippolyte Delaroche, after two years at L’École, Delaroche voiced his disinterest in landscapes and acted on his overall disagreement to the French academic system. He left LÉcole des Beaux-Art in at the end of 1817, in the year 1818, Delaroche entered the studio of Antoine-Jean Gros where he could pursue his greater interest of history painting. Delaroche’s debuted at the Salon in 1822 where he exhibited Christ Descended from the Cross, the latter was a product of Gros’s influence and was praised by Géricault who supported the beginning of Romanticism. His painting, Joan of Arc in Prison, which was exhibited in the Salon of 1824, Delaroche studied the recent tradition of English history painting at the time, which he incorporated into his own productions
18.
Goupil & Cie
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Goupil & Cie was a leading art dealership in 19th-century France, with headquarters in Paris. Instrumental for this expansion were the Ateliers Photographiques, a plant north of Paris, in Asnières, the leading figure was Adolphe Goupil. His daughter Marie married the French artist Jean-Léon Gérôme, after several partnerships from 1827 onwards, Adolphe Goupil formed Goupil & Cie in 1850. Until 1861 the firm concentrated on buying, selling and editing prints, Goupils reproductions made Jean-Léon Gérôme, in particular, a well known artist. Vincent van Gogh fell ill and retired in 1872, but left his money in the firm until 1878 and his duties were taken over by Albert Goupil, son of Adolphe. When, in 1878, the van Gogh shares were finally withdrawn, from then on the firm was completely in the hands of the Goupil family and their sons-in-law Léon Boussod and René Valadon. In 1884 the Goupil family retired and the firm was transformed and renamed Boussod, Valadon & Cie. No.19 became a sales room when the administration was moved to Rue Chaptal. From 1881 this branch was run by Theo van Gogh, Paris 2 Place de lOpéra Goupils main sales room displaying Old Masters as well as the contemporary Salon New York 289 Broadway Established in 1846 by Léon Goupil. W. van Gogh, after his retirement this branch was run by V. Schmidt, moved to 25 Bedford Street, Strand in 1875 when Goupil & Cie took over Holloway & Sons and their salerooms. Goupils manager in London was at this time Charles Obach, Uncle Cent, as he was called by his nephews, moved to Paris in 1858 and took residence at 9 Rue Chaptal, which housed Goupils headquarters, too. In 1861, he became partner of Goupil & Cie, but retired in 1872, due to his health, to settle in Princenhage for the summers. Six years later, he withdrew his shares, as Uncle Cent had no children, his nephews were evidently supposed to follow him up in the firm, Vincent entered in 1869, Theo in 1873. When Vincent was sacked by Léon Boussod in 1876, the balance between the shareholders suffered - and so Theo got his chance, called to the Paris office for the time of the World Fair 1878, he was offered to stay in Paris. In these years, Vincent took up his vocation and began to study art, based on the Cours de dessin, Gérôme and edited by Goupil & Cie, 1868–1873. In 1880, he asked his former director Herman Gijsbert Tersteeg, at Goupils in The Hague, to him a copy. ISBN 90-400-9359-8 Gérôme & Goupil, Art and Enterprise, Réunion de musées nationaux, Paris 2000 ISBN 2-7118-4152-9 Musée Goupil, Bordeaux Goupil & Cie and Boussod, Research Library at the Getty Research Institute. Goupil & Cie/Boussod, Valadon & Cie Stock Books, Getty Provenance Index at the Getty Research Institute
19.
Edward Lear
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Edward Lear was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. As an author, he is principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes. He also composed and published twelve musical settings of Tennysons poetry, Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children of Ann Clark Skerrett and Jeremiah Lear. He was raised by his eldest sister, also named Ann,21 years his senior, owing to the familys limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Ann doted on Edward and continued to act as a mother for him until her death, Lear suffered from lifelong health afflictions. From the age of six he suffered frequent grand mal seizures, and bronchitis, asthma. Lear experienced his first seizure at a fair near Highgate with his father, the event scared and embarrassed him. Lear felt lifelong guilt and shame for his epileptic condition and his adult diaries indicate that he always sensed the onset of a seizure in time to remove himself from public view. When Lear was about seven years old he began to show signs of depression and he suffered from periods of severe melancholia which he referred to as the Morbids. He was the first major bird artist to draw birds from real live birds, Lears first publication, published when he was 19 years old, was Illustrations of the Family of Psittacidae, or Parrots in 1830. One of the greatest ornithological artists of his era, he contributed to John Goulds works and was compared favourably with the naturalist John James Audubon. Unfortunately his eyesight deteriorated too much to work with precision on the fine drawings and etchings of plates used in lithography, thus he turned to landscape painting. Among other travels, he visited Greece and Egypt during 1848–49 and his landscape style often shows views with strong sunlight, with intense contrasts of colour. Between 1878 and 1883 Lear spent his summers on Monte Generoso and his oil painting The Plains of Lombardy from Monte Generoso is in the Ashmolean Museum in the English city of Oxford. Throughout his life he continued to paint seriously and he had a lifelong ambition to illustrate Tennysons poems, near the end of his life a volume with a small number of illustrations was published. In 1842 Lear began a journey into the Italian peninsula, travelling through the Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. Of particular interest to Lear was the Abruzzo, which he visited in 1843, through the Marsica, at Castel di Sangro, Lear described the winter stillness of the mountains and the beautiful basilica
20.
Holy Land
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The Holy Land is an area roughly located between the Jordan River and the Mediterranean Sea that also includes the Eastern Bank of the Jordan River. Traditionally, it is synonymous with both the biblical Land of Israel and historical Palestine, the term usually refers to a territory roughly corresponding to the modern State of Israel, the Palestinian territories, western Jordan, and parts of southern Lebanon and southwestern Syria. It is considered holy by Jews, Christians, and Muslims, many sites in the Holy Land have long been pilgrimage destinations for adherents of the Abrahamic religions, including Jews, Christians, Muslims, and Baháís. Pilgrims visit the Holy Land to touch and see physical manifestations of their faith, confirm their beliefs in the context with collective excitation. Jews do not commonly refer to the Land of Israel as Holy Land, the Tanakh explicitly refers to it as holy land in only one passage, in Zechariah 2,16. The holiness of the Land of Israel is generally implied in the Tanakh by the Land being given to the Israelites by God, that is, it is the promised land, an integral part of Gods covenant. In the Torah many mitzvot commanded to the Israelites can only be performed in the Land of Israel, for example, in the Land of Israel, no land shall be sold permanently. Shmita is only observed with respect to the land of Israel, according to Eliezer Schweid, The uniqueness of the Land of Israel is. geo-theological and not merely climatic. This is the land which faces the entrance of the spiritual world, Jerusalem, as the site of the Temple, is considered especially significant. Sacred burials are still undertaken for diaspora Jews who wish to lie buried in the soil of Israel. According to Jewish tradition, Jerusalem is Mount Moriah, the location of the binding of Isaac, the Hebrew Bible mentions the name Jerusalem 669 times, often because many mitzvot can only be performed within its environs. The name Zion, which refers to Jerusalem, but sometimes the Land of Israel. The Talmud mentions the religious duty of colonising Israel, so significant in Judaism is the act of purchasing land in Israel, the Talmud allows for the lifting of certain religious restrictions of Sabbath observance to further its acquisition and settlement. Rabbi Johanan said that one who walks a distance of 4 cubits in Israel may be confident of a share in the future world, a story says that when R. Eleazar b. Due to the Jewish population being concentrated in Israel, emigration was generally prevented, many Jews wanted Israel to be the place where they died. R. Anan said, To be buried in Israel is like being buried under the altar, the saying His land will absolve His people implies that burial in Israel will cause one to be absolved of all ones sins. Christian books, including editions of the Bible, often had maps of the Holy Land, for instance, the Itinerarium Sacrae Scripturae of Heinrich Bünting, a German Protestant pastor, featured such a map. As a geographic term, the description Holy Land loosely encompasses modern-day Israel, in the Quran, the term الأرض المقدسة is mentioned at least seven times, once when Moses proclaims to the Children of Israel, O my people
21.
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
22.
Jean-Jacques Henner
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Jean-Jacques Henner was a French painter, noted for his use of sfumato and chiaroscuro in painting nudes, religious subjects, and portraits. He began his studies in art as a pupil of Michel Martin Drolling, in 1848, he entered the École des Beaux Arts in Paris, and took the Prix de Rome with a painting of Adam and Eve finding the Body of Abel in 1858. In Rome, he was guided by Flandrin, and painted four pictures for the gallery at Colmar among other works and he first exhibited Bather Asleep at the Salon in 1863 and subsequently contributed Chaste Susanna, now in the Musée dOrsay. The Levite of the Tribe of Ephraim was awarded a first-class medal, among other professional distinctions, Henner also took a Grand Prix for painting at the Paris Exposition Universelle of 1900. He was made Chevalier of the Legion of Honour in 1873, Officer in 1878, in 1889, he succeeded Cabanel in the Institut de France. Henners most widely known work is his 1885 portrait of Saint Fabiola, although the original is now lost, it was copied by artists around the world for devotional purposes. Artist Francis Alÿs has collected over 500 copies of the portrait in a variety of media, the collection, known as the Fabiola Project, is on exhibit at the Byzantine Fresco Chapel of the Menil Collection in Houston from May 21,2016 - May 13,2018. Henner died at age 76 in Paris, Henner had numerous pupils, among them were the American painter Mathilde Mueden Leisenring and the Romanian artist Dimitrie Serafim. From 1874 to 1889, organized with Carolus-Duran, what he called the studio of the ladies for women were not allowed entry to the École des Beaux-Arts, some also served as his models. One of these was Dorothy Tennant who later married Henry Morton Stanley, suzanne Valadon also worked as one of his models. Musée national Jean-Jacques Henner E Bricon, Psychologie dart, C Phillips, Art Journal Frederick Wedmore, isabelle de Lannoy, Catalogue raisonne Jean-Jacques Henner 1829-1905 This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. article name needed
23.
Augustus Egg
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Augustus Leopold Egg RA was a Victorian artist best known for his modern triptych Past and Present, which depicts the breakup of a middle-class Victorian family. Egg was born to Joseph and Ann Egg, and baptised in St Jamess Church, Piccadilly and he had an elder brother, George Hine Egg. His father Joseph Egg was a gunsmith from the distinguished gun making family. Egg was educated in the schools of the Royal Academy, beginning in 1836, Egg was a member of The Clique, a group of artists founded by Richard Dadd and others in the late 1830s. Egg sought to combine popularity with moral and social activism, in line with the work of his friend Charles Dickens. With Dickens he set up the Guild of Literature and Art and he acted the lead role in Not So Bad As We Seem, a play written by Edward Bulwer-Lytton to raise funds for the organisation. His self-portrait in the role is in Hospitalfield House in Arbroath, eggs early paintings were generally illustrations of literary subjects. Like other members of The Clique, he saw himself as a follower of Hogarth and his interest in Hogarthian moral themes is evidenced in his paired paintings The Life and Death of Buckingham, depicting the dissolute life and sordid death of the Restoration rake. Yet his paintings often took a look at their subjects. Unlike most other members of The Clique, Egg also admired the Pre-Raphaelites, he bought work from the young William Holman Hunt and his own triptych, known as Past and Present, was influenced by Hunts work. The two outer scenes depict the separated mother and children a few later, now living in poverty. The paintings use of flashback — the central scene is occurring in the past — has been seen as a precursor of cinema, Egg was also an active organiser of exhibitions, being admired by fellow-artists for his dedication and fair mindedness. He was one of the organisers of the Manchester Art Treasures Exhibition in 1857 and he was elected to the Royal Academy in 1860. A member of the circle of friends that included Dickens and Wilkie Collins and he participated, as actor and costume designer, in their amateur theatricals, which were often conducted for charitable purposes as noted above. Dickens described Egg as a gentle little fellow, always sweet-tempered, humorous, conscientious, thoroughly good. In a 1953 radio interview, Evelyn Waugh was asked What painters do you admire most and he answered Augustus Egg I’d put among the highest. Edited by William Baker and William Malpas Clarke, London, Palgrave Macmillan,1999, the Dickens Circle, A Narrative of the Novelists Friendships. New York, E. P. Dutton,1919, Art in the Age of Queen Victoria, Treasures from the Royal Academy of Arts Permanent Collection
24.
Past and Present (paintings)
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Past and Present is the title usually given to the series of three oil paintings made by Augustus Egg in 1858, which are designed to be exhibited together as a triptych. I hear she was seen on Friday last near the Strand, what a fall hers has been. The triptych depicts the discovery and disastrous consequences of a wifes adultery on a middle-class Victorian family, the artist leaves the viewer to determine whether the woman should be condemned or pitied. The works – a visual morality tale based on a single moment – were influenced by William Holman Hunts 1853 painting The Awakening Conscience. It is surmised that it derives from a misreading of John Ruskins Academy Notes, at the original 1858 exhibition, the first painting – the discovery in the drawing-room – was hung flanked by the two other paintings, which depict parallel scenes several years later. When originally exhibited, the painting was raised slightly above the flanking images. Ruskins Academy Notes described the three works, In the central piece the husband discovers his wifes infidelity, he dies five years afterwards, the two lateral pictures represent the same moment of night a fortnight after his death. The same little cloud is under the moon, the two children see it from the chamber in which they are praying for their lost mother, and their mother, from behind a boat under a vault on the river shore. Each painting measures 63.5 centimetres by 76.2 centimetres and they were all donated to the Tate Gallery in 1918 by Sir Alec and Lady Martin in memory of their daughter Nora, and are now usually given the rather prosaic titles Past and Present, No. 1, Past and Present, No.2 and Past and Present,3, although occasionally they are titled Misfortune, Prayer, and Despair. The first painting shows the drawing-room of a middle-class Victorian home, with a gilt mirror over a fireplace. It depicts the moment when the domestic bliss is broken. A woman lies prostrate on the green carpet before her husband, fallen as if in a swoon, hands clasped together and he sits dumbfounded, clutching a letter which reveals her adultery, his right foot resting on a portrait miniature of her lover. The familys two daughters are playing to the left of the painting, but their house of cards – built on top of a novel by Balzac, the mirror shows the open door, through which the wife is soon to depart. The packed bag and umbrella by the door may underline her imminent departure, the second painting shows a night scene, several years later, in a dark and sparsely-furnished bedroom shortly after the death of the heartbroken husband. The children are now, the younger one kneels in a white nightgown, weeping into the lap of the elder, who sits in a black mourning dress, looking out of a window at rooftops. The same small portraits of the husband and the wife decorate the bedroom wall, the third painting is also a night scene. The details of the cloud and moon show it is the evening as depicted in the second painting
25.
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
26.
Edward Armitage
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Edward Armitage RA was an English Victorian-era painter whose work focused on historical, classical and biblical subjects. His brother Thomas Rhodes Armitage founded the Royal National Institute of the Blind, Armitage was the uncle of Robert Armitage, the great-uncle of Robert Selby Armitage, and first cousin twice removed of Edward Leathley Armitage. Armitages art training was undertaken in Paris, where he enrolled at the École des Beaux-Arts in October 1837 and he studied under the history painter, Paul Delaroche, who at that time was at the height of his fame. Armitage was one of four selected to assist Delaroche with the fresco Hémicycle in the amphitheatre of the Palais des Beaux-Arts. Whilst still in Paris, he exhibited Prometheus Bound in 1842, in 1843 Armitage returned to London, where he entered competitions for the decoration of the new Palace of Westminster, the old Houses of Parliament having been destroyed by fire in 1834. To organise and oversee this project, a Royal Commission had been appointed in 1841, decorations were to be executed in fresco and were to illustrate subjects from British history or from the works of Spenser, Shakespeare or Milton. Competitions were held for designs, with a number of leading artists commissioned to take part. The first competition entries were unveiled in Westminster Hall in the summer of 1843, Armitages cartoon, The Landing of Julius Caesar in Britain, secured one of the three first prizes of £300. He won a prize in 1845 in a subsequent Westminster competition for his cartoon The Spirit of Religion. Unfortunately frescoes were ill-suited to the atmosphere of 19th-century London, Armitage won one of the first-class premiums in 1847 for his oil painting The Battle of Meanee, which was subsequently purchased by Queen Victoria. In this battle, General Sir Charles Napier brought the provinces of Sindh under the dominion of Great Britain, Armitage consulted both brothers for detailed information on the battle and he used sketches of the locality lent by Sir Charles. However, the painting was the subject of controversy, with doubts expressed that the war had been justified. The 1847 The Art Union review concluded with the following, Notwithstanding the great ability displayed by Mr. A horrid sight, I like to see the British lion mild and good-humoured. Not fierce, as Mr. Armitage has shown him, in 1848 Armitage exhibited for the first time at the Royal Academy when he showed two paintings, Henry VIII and Catherine Parr, and Trafalgar. He continued to send contributions most years until his death, probably the best known of these is Armitages huge imperialistic painting, Retribution, in which he allegorized the suppression and punishment of the Indian Mutiny by Great Britain in 1857. This was painted after details of the massacre of British soldiers, the melancholy results of the mutiny, which have spread mourning through so many homes, are typified in the figures of prostrate victims, with debris of books, etc. scattered around. Armitage was elected an associate of the Royal Academy in 1867 and a member in 1872. His lectures to the Royal Academy were published as Lectures on Painting, on 3 February 1853 Armitage married Catherine Laurie Barber, also an artist
27.
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
28.
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
29.
Triptych
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A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works, the middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels. The form can also be used for pendant jewelry, despite its connection to an art format, the term is sometimes used more generally to connote anything with three parts, particularly if they are integrated into a single unit. The triptych form arises from early Christian art, and was a standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west, renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Triptych forms also allow ease of transport, from the Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral, the Cathedral of Our Lady in Antwerp, Belgium, contains two examples by Rubens, and Notre Dame de Paris is another example of the use of triptych in architecture. One can also see the form echoed by the structure of many stained glass windows. Although strongly identified as a form, triptychs outside that context have been created, some of the best-known examples being works by Hieronymus Bosch, Max Beckmann. The then highest price paid for an artwork at auction was $142.4 million for a 1969 triptych, Three Studies of Lucian Freud. The record was broken in May 2015 by $179.4 million for Pablo Picassos 1955 painting Les Femmes d’Alger, the format has migrated and been used in other religions, including Islam and Buddhism. Likewise, Tibetan Buddhists have used it in traditional altars, a photographic triptych is a common style used in modern commercial artwork. The photographs are arranged with a plain border between them. The work may consist of images that are variants on a theme
30.
William Henry Fisk
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William Henry Fisk, was an English painter and drawing-master. Fisk was the son of William Fisk and he was a pupil of his father, and also studied at the Royal Academy. He was a draughtsman, and as such was appointed anatomical draughtsman to the Royal College of Surgeons. He exhibited as a painter for the first time in 1846, three years later he was the first of a series of artists to be invited to Balmoral to paint watercolour views for Queen Victoria. She selected four of his images of the area for inclusion in one of her souvenir albums and he exhibited paintings of historical, religious and genre subjects at the Royal Academy from 1850 until 1873, and was an occasional exhibitor at the other London exhibitions and also in Paris. He was teacher of drawing and painting to University College School, London and he was a clear and logical lecturer on the practical aspect of art, and succeeded in attracting large audiences in London and the provinces. He also occasionally contributed articles on painting to the press, only the painting of Ghiberti was reproduced in mosaic, but Fisks full sized oil versions for both remain in the museum. He died on 13 November 1884, in his 58th year and this article incorporates text from a publication now in the public domain, Cust, Lionel
31.
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
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The Derby Day
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The Derby Day is a large oil painting showing a panoramic view of the Epsom Derby, painted by William Powell Frith over 15 months from 1856 to 1858. It has been described by Christies as Friths undisputed masterpiece and also arguably the definitive example of Victorian modern-life genre, the original version is in Tate Britain in London. As with many of Friths works, he painted a second version many years later, a much smaller but well-finished oil study was sold in 2011. The painting measures 40 inches by 88 inches and gives a view of Victorian society. Earlier pictures of the Derby crowds were drawn by such as John Leech or Dickie Doyle. On the left, near the tent of the Reform Club. To the right, one stands with his hands in his empty pockets and my first Derby had no interest for me as a race, but as giving me the opportunity of studying life and character it is ever to be gratefully remembered. Gambling-tents and thimble-rigging, prick in the garter and the trick, had not then been stopped by the police. You, said Egg, addressing the divine, you are a confederate, you know, look here, said the clergyman, dont you call names, and dont call me names, or I shall knock your d — d head off. Said Egg, his courage rising as he saw two policemen approaching, then I call the lot of you — the Quaker there, no more a Quaker than I am, and that fellow that thinks he looks like a farmer — you are a parcel of thieves. So they are, sir, said a meek-looking lad who joined us, now move off, clear out of this. Said the police, and the gang walked away, the turning and extending his arms in the act of blessing me. Further left, a country man in smock is being held back by his woman to prevent him from joining in. In the centre, an acrobat is ready to perform with his son, spectators throng behind, drinking champagne in their carriages, with the racecourse grandstand visible in the background. At the far right, a man leans against the carriage of his young mistress. Echoing her position, a high class prostitute in brown riding clothes is on the extreme left, to the right, a thief can be seen stealing a gold watch from a man with his hands in his pockets. Also visible are a group of musicians, and a group of beggars, the Royal Academician John Evan Hodgson noted, The races on Epsom Downs, the great Saturnalia of British sport, bring to the surface all that is most characteristic of London life. In this picture we can discern its elements, its luxury, its wealth, its beauty and refinement, Frith believed in physiognomy, so each individual bears the features thought to be typical of his or her social position and character
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