1.
1855 in art
–
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
2.
1857 in art
–
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
3.
1859 in art
–
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
4.
1863 in art
–
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
5.
1864 in art
–
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
6.
1865 in art
–
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
7.
1870 in art
–
Events from the year 1870 in art. June 28 – Claude Monet marries his mistress and model Camille Doncieux in Paris, july – Franco-Prussian War breaks out, Monet and Pissarro flee to London, Cézanne and his mistress, Marie-Hortense Fiquet, leave Paris for LEstaque where he predominantly paints landscapes. In September the Dutch painter Lourens Alma Tadema moves permanently to London where he adopts the name Lawrence Alma-Tadema, Édouard Manet and Louis Edmond Duranty fight a duel at Café Guerbois, Paris. Russian industrialist and patron of the arts Savva Mamontov acquires the Abramtsevo Colony, dante Gabriel Rossettis Poems are published, exhumed from Elizabeth Siddals grave. Daoud Corm goes to Rome to study under Roberto Bompiani at the Accademia di San Luca
8.
1871 in art
–
Events from the year 1871 in art. March – Edward Lear settles at his villa in Sanremo, spring – James McNeill Whistler publishes Sixteen etchings of scenes on the Thames and paints his first moonlights of the river. May – James Tissot flees Paris for London, june 14 – Camille Pissarro marries his mistress Julie Vellay in the London borough of Croydon and moves to Pontoise. Summer – Claude Monet visits Zaandam, december – Monet and his wife Camille move to Argenteuil. William Morris and Dante Gabriel Rossetti become tenants of Kelmscott Manor, marie Spartali marries William James Stillman. Crocker establishes the Crocker Art Museum in Sacramento, California, the Apotheosis of War George Frederic Watts – Portrait of Frederic Leighton Alfred Waud – A Home on the Mississippi James McNeill Whistler Arrangement in Grey and Black No
9.
1861 in architecture
–
The year 1861 in architecture involved some significant architectural event and new buildings. Arlington Street Church in Boston, Massachusetts, United States, designed by Arthur Gilman, st James the Less, Pimlico, London, designed by George Edmund Street. St. Michaels Church, Berlin, designed by August Soller in 1845 and completed by Richard Lucae, Andreas Simons, tromsø Cathedral, Norway, designed by Christian Heinrich Grosch. Palácio do Grão-Pará, Petrópolis, Brazil, designed by Theodore Marx with de Araújo Porto Alegre, mary Birdsall House in Richmond, Indiana. Grand Prix de Rome, architecture, Constant Moyaux
10.
1861 in science
–
The year 1861 in science and technology involved some significant events, listed below. May 13 – Comet C/1861 J1 first observed from Australia by John Tebbutt, anton de Bary publishes his first work on fungi, describing sexual reproduction in Peronospora. March 30 – William Crookes announces his discovery of thallium, rubidium is discovered by Robert Bunsen and Gustav Kirchhoff, in Heidelberg, Germany, in the mineral lepidolite through the use of their spectroscope. Aleksandr Butlerov is instrumental in creating the theory of chemical structure, josef Loschmidt publishes Chemische Studien, proposing two-dimensional representations for over 300 molecules and recognising variations in atomic size. Ernest Solvay develops the Solvay process for the manufacture of soda ash, eduard Suess proposes the former existence of the supercontinent Gondwana. Paul Broca identifies the production center of the brain. Franciscus Donders introduces the term visual acuity, guillaume Duchenne describes Duchenne muscular dystrophy. Prosper Ménière reports the association of vertigo with inner ear disorders, Ádám Politzer publishes the technique of Politzerization used in otorhinolaryngology. Ignaz Semmelweis publishes Die Ätiologie, der Begriff und die Prophylaxis des Kindbettfiebers, september – First complete identified skeleton of Archaeopteryx unearthed near Langenaltheim, Germany. January 1 – First steam-powered carousel recorded, in Bolton, England, William Froude publishes the first results of his research into ship hull design. Dr. Richard J. Gatling invents the Gatling gun, james Clerk Maxwell demonstrates the principle of permanent three-colour photography. Michael Faradays Royal Institution Christmas Lectures published as The Chemical History of a Candle, copley Medal, Louis Agassiz Wollaston Medal for geology, Heinrich Bronn February 15 – Alfred North Whitehead, English mathematician. April 24 – Hedda Andersson, Swedish physician May 20 – Henry Gantt, june 9 – Pierre Duhem, French philosopher of science. July 18 – Kadambini Ganguly, Indian physician, july 26 – Ægidius Elling, Norwegian gas turbine pioneer. August 9 – Dorothea Klumpke, American astronomer, december 17 – Arthur E. Kennelly, Irish American electrical engineer. January 3 – Arnold Adolph Berthold, German physiologist, may 16 – John Stevens Henslow, English botanist. June 18 – Eaton Hodgkinson, English structural engineer, november 10 – Isidore Geoffroy Saint-Hilaire, French zoologist. November 13 – Sir John Forbes, Scottish-born royal physician, december 10 – Thomas Southwood Smith, English physician and sanitary reformer
11.
English people
–
The English are a nation and an ethnic group native to England, who speak the English language. The English identity is of medieval origin, when they were known in Old English as the Angelcynn. Their ethnonym is derived from the Angles, one of the Germanic peoples who migrated to Great Britain around the 5th century AD, England is one of the countries of the United Kingdom. Collectively known as the Anglo-Saxons, they founded what was to become England along with the later Danes, Normans, in the Acts of Union 1707, the Kingdom of England was succeeded by the Kingdom of Great Britain. Over the years, English customs and identity have become closely aligned with British customs. The English people are the source of the English language, the Westminster system and these and other English cultural characteristics have spread worldwide, in part as a result of the former British Empire. The concept of an English nation is far older than that of the British nation, many recent immigrants to England have assumed a solely British identity, while others have developed dual or mixed identities. Use of the word English to describe Britons from ethnic minorities in England is complicated by most non-white people in England identifying as British rather than English. In their 2004 Annual Population Survey, the Office for National Statistics compared the ethnic identities of British people with their national identity. They found that while 58% of white people in England described their nationality as English and it is unclear how many British people consider themselves English. Following complaints about this, the 2011 census was changed to allow respondents to record their English, Welsh, Scottish, another complication in defining the English is a common tendency for the words English and British to be used interchangeably, especially overseas. In his study of English identity, Krishan Kumar describes a common slip of the tongue in which people say English, I mean British. He notes that this slip is made only by the English themselves and by foreigners. Kumar suggests that although this blurring is a sign of Englands dominant position with the UK and it tells of the difficulty that most English people have of distinguishing themselves, in a collective way, from the other inhabitants of the British Isles. In 1965, the historian A. J. P. Taylor wrote, When the Oxford History of England was launched a generation ago and it meant indiscriminately England and Wales, Great Britain, the United Kingdom, and even the British Empire. Foreigners used it as the name of a Great Power and indeed continue to do so, bonar Law, by origin a Scotch Canadian, was not ashamed to describe himself as Prime Minister of England Now terms have become more rigorous. The use of England except for a geographic area brings protests and this version of history is now regarded by many historians as incorrect, on the basis of more recent genetic and archaeological research. The 2016 study authored by Stephan Schiffels et al, the remaining portion of English DNA is primarily French, introduced in a migration after the end of the Ice Age
12.
Joanna Mary Boyce
–
Joanna Mary Boyce, also known by her married name as Mrs. H. T. Wells, or as Joanna Mary Wells, was an English painter of portraits, genre pictures and she was the sister of Pre-Raphaelite watercolourist George Price Boyce, and was herself associated with the Brotherhood. Boyce, born in Maida Hill, London, was the daughter of George Boyce, a former wine-merchant who had found prosperity as a pawnbroker, and his wife Anne. At the age of eighteen she entered Carys art academy, and afterwards worked under James Mathews Leigh, at his school in Newman Street and her first exhibited work was a life-size head, which appeared at the Royal Academy in 1855. In the same year she went to Paris, where she joined the class in Thomas Coutures atelier. She spent 1857 in Italy, and in December of that year married Henry Tanworth Wells, before returning to England, she painted the greater part of The Boys Crusade, exhibited at the Academy in 1859. Subsequent exhibited works were, The Outcasts, The Heather-Gatherers, Do I like Butter, la Veneziana, Peep-Bo. and A Bird of God. This last painting was complete on her easel at the time of her death. Boyce died from complications following the birth of her child, Joanna Margaret. After her death, Dante Gabriel Rossetti described her as a gifted woman. English women painters from the early 19th century who exhibited at the Royal Academy of Art Nunn,2 Painting by or after Joanna Mary Boyce at the Art UK site J. M. Boyce on Artnet Joanna Mary Boyces sketchbooks in the British Museum
13.
Henry Tanworth Wells
–
Henry Tanworth Wells RA was an English miniature and portrait painter. He was a member of the Pre-Raphaelite circle though he painted in the academic style and his most popular painting was Victoria Regina, showing the young Queen Victoria receiving the news of her accession to the throne. Wells was born in London on 14 December 1828, the son of Henry Tanworth Wells, a merchant. He was baptised in St Pancras Old Church and they lived in Percy Street, St Pancras from 1838 to 1854. He was educated at Lancing College, Sussex, Wells first met the artist Joanna Mary Boyce in Betws-y-Coed in north Wales in 1849, where she was studying under painter David Cox. He arranged to be introduced to Boyce in 1851, and asked her to him in 1855. She refused, saying she wanted to be free to carry on her lifes work and he pursued her, and they were engaged, but after her fathers death, her mother persuaded her to change her mind, and Joanna gave the engagement ring back. Wells still did not give up, and despite social disapproval they continued to write to each other and they married on 9 December 1857. They had two daughters, Alice Joanna Street and Joanna Margaret Hadley and his wife Joanna died in childbirth after four years of marriage in 1861. Her brother was the Pre-Raphaelite painter George Price Boyce, so the marriage brought Wells into the group of friends that included Dante Gabriel Rossetti, Ford Madox Brown and John Ruskin. Wells was trained as an artist in his teens, first being apprenticed to Messrs Dickinson as a draughtsman for lithographs in 1843, while working, he studied at J. M. Leighs school during the evenings. He began to exhibit his work at the Royal Academy when he was only 18, in 1850 he went to Paris for six months to learn from the portrait painter Thomas Couture. When photography took over most of the market for images, in 1861 Wells switched to painting portraits in oils. He also executed portraits of individuals in society and politics. His popular painting Victoria Regina, which depicts Victoria hearing that she had become Queen, was reproduced in prints. It exists in two versions, one exhibited at the Royal Academy in 1880 and a one, with a different background, painted in 1887. Wells was elected as a member of the Royal Academy on 30 June 1870 and he died at his home, Thorpe Lodge, on Campden Hill in Kensington on 16 January 1903 and was buried in Kensal Green cemetery. Joanna, George and Henry, A Pre-Raphaelite Tale of Art, Love and Friendship
14.
Dante Gabriel Rossetti
–
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
15.
Berthe Morisot
–
Berthe Marie Pauline Morisot was a painter and a member of the circle of painters in Paris who became known as the Impressionists. She was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond, in 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by Academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris and it was held at the studio of the photographer Nadar. She was married to Eugène Manet, the brother of her friend, Morisot was born in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect of the department of Cher and he also studied architecture at École des Beaux Arts. Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard and she had two older sisters, Yves and Edma, plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child and it was common practice for daughters of bourgeois families to receive art education, so Berthe and her sisters Yves and Edma were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. Morisot and her sisters initially started taking lessons so that they could make a drawing for their father for his birthday. In 1857 Guichard, who ran a school for girls in Rue des Moulins, introduced Berthe and Edma to the Louvre gallery where they could learn by looking and he also introduced them to the works of Gavarni. Guichard later became the director of École des Beaux Arts where Morisots father earned his degree, as art students, Berthe and Edma worked closely together until Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, had children, and had less time to paint. Letters between the show a loving relationship, underscored by Berthes regret at the distance between them and Edmas withdrawal from painting. Edma wholeheartedly supported Berthes continued work and their families always remained close, Edma wrote “… I am often with you in thought, dear Berthe. I’m in your studio and I like to slip away, if only for a quarter of an hour and her sister Yves married Theodore Gobillard, a tax inspector, in 1866, and was painted by Edgar Degas as Mrs Theodore Gobillard. In 1860, under Corots influence she took up the plein air method of working, by 1863 she was studying under Achille Oudinot, another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, Morisots first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two landscape paintings. She continued to show regularly in the Salon, to favorable reviews, until 1873. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1878 when her daughter was born, Morisots mature career began in 1872. She found an audience for her work with Durand-Ruel, the private dealer, in 1877, she was described by the critic for Le Temps as the one real Impressionist in this group
16.
Jean-Baptiste-Camille Corot
–
Jean-Baptiste-Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. He is a figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition. Jean-Baptiste-Camille Corot was born in Paris on July 16,1796, in a house at 125 Rue du Bac, now demolished. After his parents married, they bought the shop where his mother had worked. The store was a destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three born to the family, who lived above their shop during those years. Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen and he was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, during those years he lived with the Sennegon family, whose patriarch was a friend of Corots father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature, at nineteen, Corot was a big child, shy and awkward. Before the beautiful ladies who frequented his mothers salon, he was embarrassed and fled like a wild thing, emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corots parents moved into a new residence in 1817, the 21-year-old Corot moved into the room on the third floor. Later Corot stated, I told my father that business and I were simply incompatible, the business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and he immediately rented a studio on quai Voltaire. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors, michallon had a great influence on Corots career. Though this school was on the decline, it held sway in the Salon. Corot later stated, I made my first landscape from nature. under the eye of this painter, the lesson worked, since then I have always treasured precision. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature and his notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two, a condition by his parents before leaving was that he paint a self-portrait for them, his first
17.
Salon (Paris)
–
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
18.
Morris & Co.
–
Morris, Marshall, Faulkner & Co. was a furnishings and decorative arts manufacturer and retailer founded by the artist and designer William Morris with friends from the Pre-Raphaelites. The firms designs are sold today under licences given to Sanderson and Sons. The prospectus set forth that the firm would undertake carving, stained glass, metal-work, paper-hangings, chintzes, the first headquarters of the firm were at 8 Red Lion Square in London. The work shown by the firm at the 1862 International Exhibition attracted much notice, in the autumn of 1864 a severe illness obliged Morris to choose between giving up his home at Red House in Kent and giving up his work in London. With great reluctance he gave up Red House, and in 1865 established himself under the roof with his workshops, now relocated to larger premises in Queen Square. The decoration of churches was from the first an important part of the business, a great wave of church-building and remodelling by the Church of England in the 1840s and 1850s increased the demand for ecclesiastical decoration of all kinds, especially stained glass. But this market shrank in the depression of the later 1860s. Morris was producing repeating patterns for wallpaper as early as 1862, in August 1874, Morris determined to restructure the partnership, generating a dispute with Marshall, Rossetti, and Madox Brown over the return on their shares. The company was dissolved and reorganized under Morriss sole ownership as Morris & Co. on 31 March 1875, during these years, Morris took up the practical art of dyeing as a necessary adjunct of his manufacturing business. He spent much of his time at the Staffordshire dye works of Thomas Wardle, mastering the processes of that art and making experiments in the revival of old or discovery of new methods. The complex, on 7 acres, included buildings and a dyeworks, and the various buildings were soon adapted for stained-glass, textile printing. In 1879, Morris had taught himself tapestry weaving in the medieval style, Dearle executed Morris and Co. s first figural tapestry from a design by Walter Crane in 1883. and animal figures by Philip Webb. Two significant secular commissions helped establish the reputation in the late 1860s, a royal project at St. Jamess Palace. The green dining room featured stained glass windows and panel figures by Burne-Jones, panels with branches of fruit or flowers by Morris, and olive branches and a frieze by Philip Webb. The St. Jamess commission comprised decorative schemes for the Armoury and the Tapestry Room, and included panels of stylized floral patterns painted on ceilings, cornices, dados, windows, and doors. In 1871 Morris & Co. were responsible for the windows at All Saints church in the village of Wilden near to Stourport-on-Severn and they were designed by Edward Burne-Jones for Alfred Baldwin, his wifes brother-in-law. Standen near East Grinstead, West Sussex, was designed between 1892 and 1894 by Philip Webb for a prosperous London solicitor, James Beale, his wife Margaret and it is decorated with Morris carpets, fabrics and wallpapers. Stanmore Hall was the last major decorating commission executed by Morris & Co. before Morriss death in 1896, as Morris pursued other interests, notably socialism and the Kelmscott Press, day-to-day work at the firm was delegated
19.
London
–
London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
20.
William Morris
–
William Morris was an English textile designer, poet, novelist, translator, and socialist activist. Associated with the British Arts and Crafts Movement, he was a contributor to the revival of traditional British textile arts. His literary contributions helped to establish the modern fantasy genre, while he played a significant role in propagating the early socialist movement in Britain. Born in Walthamstow, Essex, to a wealthy family, Morris came under the strong influence of medievalism while studying Classics at Oxford University. Webb and Morris designed a home, Red House, then in Kent. In 1861, Morris founded a decorative arts firm with Burne-Jones, Rossetti, Webb, and others, in 1875, Morris assumed total control of the company, which was renamed Morris & Co. Although retaining a main home in London, from 1871 Morris rented the rural retreat of Kelmscott Manor, greatly influenced by visits to Iceland, with Eiríkr Magnússon he produced a series of English-language translations of Icelandic Sagas. In 1877 he founded the Society for the Protection of Ancient Buildings to campaign against the damage caused by architectural restoration, in 1891 he founded the Kelmscott Press to publish limited-edition, illuminated-style print books, a cause to which he devoted his final years. Morris is recognised as one of the most significant cultural figures of Victorian Britain, though best known in his lifetime as a poet, founded in 1955, the William Morris Society is devoted to his legacy, while multiple biographies and studies of his work have seen publication. Many of the associated with his life are open to visitors, much of his work can be found in art galleries and museums. Morris was born at Elm House in Walthamstow, Essex, on 24 March 1834. Raised into a wealthy family, he was named after his father. His mother was Emma Morris, who came from Woodford Hall in Woodford, Essex and he also took rides through the Essex countryside on his pony, and visited the various churches and cathedrals throughout the country, marveling at their architecture. His father took him on visits outside of the county, for instance to Canterbury Cathedral, the Chiswick Horticultural Gardens, and to the Isle of Wight, where he adored Blackgang Chine. In February 1848 Morris began his studies at Marlborough College in Marlborough, Wiltshire and he despised his time there, being bullied, bored, and homesick. He did use the opportunity to many of the prehistoric sites of Wiltshire, such as Avebury and Silbury Hill. At Christmas 1851, Morris was removed from the school and returned to Water House, guy, Assistant Master at the nearby Forest School. In June 1852 Morris entered Oxford Universitys Exeter College, although since the college was full and he disliked the college and was bored by the manner in which they taught him Classics
21.
Peter Paul Marshall
–
He worked as a draughtsman for Thomas Grainger, a civil engineer and early Scottish railway builder. In 1847, he became an assistant to architect James Newlands, Marshall exhibited paintings at the Liverpool Academy in 1852 and 1854. Marshall was living in London by 16 March 1857, when he married Augusta Buchanan Miller, daughter of John Miller, later that year he became surveyor to the Tottenham Local Board of Health. Marshall was introduced to Pre-Raphaelite circles in London by Ford Madox Brown, in 1861 Marshall became a founder-shareholder in Morris, Marshall, Faulkner & Co. Fine Art Workmen in Painting, Carving, Furniture and the Metals, along with William Morris, Ford Madox Brown, Edward Burne-Jones, Charles Faulkner, Dante Gabriel Rossetti, marshalls exact role in the firm is unlcear. Marshall continued his work as an engineer during the early years of the partnership. He resigned his position with the Tottenham Board of Health under pressure following an outbreak in 1873. He retired to Teignmouth the following year, where he continued his artistic pursuits and he died on 16 February 1900. Gibeling, Keith E. Peter Paul Marshall, The Forgotten Member of the Morris Firm, journal of the William Morris Society. William Morris, design and enterprise in Victorian Britain
22.
Ford Madox Brown
–
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.
Edward Burne-Jones
–
Burne-Joness early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic voice. In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery and these included The Beguiling of Merlin. The timing was right, and he was taken up as a herald, Edward Coley Burne Jones was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painters childhood. He attended Birminghams King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, at Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The members of the Brotherhood read John Ruskin and Tennyson, visited churches, at this time Burne-Jones discovered Thomas Malorys Le Morte dArthur which was to be so influential in his life. In February 1857, Rossetti wrote to William Bell Scott In 1856 Burne-Jones became engaged to Georgiana Georgie MacDonald and she was training to be a painter, and was the sister of Burne-Joness old school friend. The couple married in 1860, after which she made her own work in woodcuts, Georgiana bore a son, Philip, in 1861. A second son, born in the winter of 1864 while Georgiana was gravely ill with scarlet fever, the family soon moved to 41 Kensington Square, and their daughter Margaret was born there in 1866. In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a garden in North End, Fulham. During these difficult years Georgiana developed a friendship with Morris. Morris and Georgie may have been in love, but if he asked her to leave her husband, in the end, the Burne-Joneses remained together, as did the Morrises, but Morris and Georgiana were close for the rest of their lives. His troubled son Philip, who became a portrait painter. His adored daughter Margaret married John William Mackail, the friend and biographer of Morris and their children were the novelists Angela Thirkell and Denis Mackail. In an edition of the magazine, Chums, an article on Burne-Jones stated that. his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there he was delighted to find the wall prettily decorated with fairies, flowers, birds and his indulgent grandfather had utilised his talent to alleviate the tedium of his favourites period of penance. Burne-Jones once admitted that after leaving Oxford he found himself at five-and-twenty what he ought to have been at fifteen and he had had no regular training as a draughtsman, and lacked the confidence of science. Many are pen-and-ink drawings on vellum, exquisitely finished, of which his Waxen Image is one of the earliest and best examples, although the subject, medium and manner derive from Rossettis inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognized by Rossetti himself, who before long avowed that he had nothing more to teach him
24.
Philip Webb
–
Philip Speakman Webb was an English architect sometimes called the Father of Arts and Crafts Architecture. Born in Oxford, Webb studied at Aynho in Northamptonshire and was articled to firms of builder-architects in Wolverhampton and Reading. He then moved to London where he became a junior assistant for George Edmund Street. While there he met William Morris in 1856 and then started his own practice in 1858 and he is particularly noted as the designer of Red House at Bexleyheath, southeast London in 1859 for William Morris, and – towards the end of his career – the house Standen. These were among several works in his niche, country houses. A Greater London Council blue plaque commemorates Webb and Morris at the Red House, with Morris he wrote the SPAB Manifesto, one of the key documents in the history of building conservation. He attended over 700 SPAB Committee meetings as well as undertaking numerous site visits, Webb also joined Morriss revolutionary Socialist League, becoming its treasurer. George Howard of Naworth Castle near Brampton in Cumbria was an able artist and friend of the Pre-Raphaelites, Webb had built two houses for his Naworth Castle Estate, Four Gables and Green Lane House, as well as his London house at 1 Palace Green. Much financial help was offered towards building a new church in Brampton by Charles Howard MP on condition that he chose the architect, webbs plan for St Martins Church is quite unlike most other Victorian churches, with the body of the church being almost square. It is the church designed by Webb, and contains an exquisite set of stained glass windows designed by Burne-Jones. An additional commission in the Cleveland area was Briarmead completed in 1883, located north of Greatham village, the adjoining St Francis Cottage was completed by W. F Linton in 1895 in the style of Webb. In 1901 Philip Webb retired to the country and ceased practising, ISBN9780906997000 Kirk, Sheila. Philip Webb, Pioneer of the Arts and Crafts Movement. Wiley-Academy ISBN 0-470-86808-2 Miele, Chris. From William Morris, Building Conservation, ISBN 0-300-10730-7 Media related to Philip Webb at Wikimedia Commons
25.
Pre-Raphaelite Brotherhood
–
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member brotherhood and their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones, the groups intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been an influence on the academic teaching of art. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, to the Pre-Raphaelites, according to William Michael Rossetti, sloshy meant anything lax or scamped in the process of painting. Any thing or person of a commonplace or conventional kind, the brotherhood sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background, the group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a movement, created a distinct name for their form of art. The groups debates were recorded in the Pre-Raphaelite Journal, the Pre-Raphaelite Brotherhood was founded in John Millaiss parents house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848, at that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting The Eve of St. Agnes based on Keatss poem of the same name, as an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism, other young painters and sculptors became close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. The PRB intended to keep the existence of the secret from members of the Royal Academy. The principles were deliberately non-dogmatic, since the brotherhood wished to emphasise the personal responsibility of artists to determine their own ideas. Influenced by Romanticism, the members thought freedom and responsibility were inseparable, nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. The emphasis on medieval culture clashed with principles of realism which stress the independent observation of nature, in its early stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in later years the movement divided and moved in two directions. The realists were led by Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris
26.
William Bell Scott
–
William Bell Scott was a Scottish artist in oils and watercolour and sometimes printmaking. He was one of the first British artists to depict the processes of the Industrial Revolution. He returned to London, working for the Science and Art Department until 1885 and he did not paint many portraits, but his striking portrait of his friend Algernon Charles Swinburne is the iconic image of the poet. His etchings were mostly designed to illustrate his books, the son of Robert Scott, the engraver, and brother of David Scott, the painter, he was born in Edinburgh. While a young man he studied art and assisted his father, in 1837 he went to London, and in 1839 he married Letitia Margery Norquoy, the marriage was childless. In London, he became well known as an artist to be appointed in 1844 master of the government school of design at Newcastle-on-Tyne. He held the post for twenty years, and did work in organizing art-teaching and examining under the Science and it was there that he gained as a pupil Alice Boyd, the sister of the then-laird of Penkill Castle in Scotland. In 1860, Bell Scott visited Penkill Castle and began a liaison with Alice that would last until his death at Penkill in 1890, for Penkill Castle, he executed a similar series, illustrating James Is The Kingis Quair. In Newcastle, Scott was visited by all the Rossetti family, Algernon Charles Swinburne, who wrote two poems to Scott, spent much time with him in Newcastle after being sent down from Oxford. After 1870 Scott was much in London, where he bought a house in Chelsea, and he was a friend of Rossetti and in high repute as an artist. He was, however, at daggers drawn with John Ruskin. E. L, byron, Coleridge, Shelley, Shakespeare and Scott. It is for his connection with Rossettis circle that Bell Scott will be chiefly remembered, William Bell Scott biography 44 Painting by or after William Bell Scott at the Art UK site William Bell Scott at Future Museum, South West Scotland
