Lemuel Francis Abbott
Lemuel Francis Abbott was an English portrait painter, famous for his likeness of Horatio Nelson, 1st Viscount Nelson and for those of other naval officers and literary figures of the 18th century. He was born Lemuel Abbott in Leicestershire in 1760 or 1761, in 1775, at the age of 14, he became a pupil of Francis Hayman and lived in London, but returned to his parents after his teachers death in 1776. There he continued to develop his artistic talents independently, but some authorities have suggested that he may have studied with Joseph Wright of Derby, in 1780, Abbott married Anna Maria, and again settled in London, residing for many years in Caroline Street in Bloomsbury. Although he exhibited at the Royal Academy, he never became an Academician and it is said that overwork, due to the commissions he took on, and domestic unhappiness led to his becoming insane. He was declared insane in 1798 and was treated by Dr Thomas Munro, the physician to Bethlem Hospital. Abbott died in London on 5 December 1802 and his portrait of Henry Callender, Captain General of the Royal Blackheath Golf Club, is one of the earliest portrayals of the game of golf.
Reproductions hang in golf clubs the world over and it is to be sold by auction at Bonhams London on 9 December 2015. Some of his paintings were signed Francis Lemuel Abbott, but it is not known why he assumed the additional Christian name, as it was not one with which he was baptised. Portraits of Lemuel Francis Abbott at the National Portrait Gallery, London L F Abbott online L F Abbott on Artnet Portrait of John Sims Portrait of Matthew Boulton Portrait of James Heath
William Ashford was an English landscape painter who worked exclusively in Ireland. Ashford was born in Birmingham, England in 1746, baptised 20 May 1746 in St Martins parish church and he was the son of Richard Ashford. Little is known about his education, but it is presumed he received some technical or artistic training in England. He moved to Dublin, Ireland, in 1764 at the age of eighteen after having obtained an appointment in the Ordnance Office through the interest of the Surveyor-General, Ralph Ward. His job, at least in the years, consisted of checking on the armaments stored at forts. Ashford married circa 1775, the name of his wife is unknown, the couple had two sons and one daughter. His son, became an artist but did not receive the same acclaim as his father, the architect, James Gandon, designed his home in Sandymount, County Dublin in 1792 where he lived for the rest of his life. Within three years of his arrival, Ashford was exhibiting with the Society of Artists on William Street, at first, he was an amateur painter specialising in flower paintings and still life, but in 1772 he exhibited his first landscape at the Dublin Royal Society of Arts.
After the death of Thomas Roberts, Ashford became the pre-eminent landscaper in Ireland and he was elected President of the Irish Society of Artists in 1813, was a founding member of the Royal Hibernian Academy, becoming its first elected President in 1823. He exhibited in England, at The Royal Academy in London from 1775, despite becoming a fellow of the Society the next year, Ashford only exhibited there sporadically, works shown there including a set of views of North Wales. From 1806 he showed at the newly established British Institution, some of his pieces seen there had been painted some years earlier, including some subject pictures showing scenes from Shakespeare. Ashford lived at a number of addresses in Dublin and London, travelling back, Ashford was among the most respected landscape painters of Ireland in his time, on par with Thomas Roberts and George Barret. Most of his works were topographical views of seats and well-ordered parks and his principal patrons were, therefore. Institutions such as Society of Artists in Ireland, the Academy of Artists in Dublin, and he was most prolific from 1777–1813, selling numerous paintings at auction.
At the beginning of the 19th century – probably between 1804 and 1806 – he painted a set of landscapes in and around Mount Merrion for Lord Fitzwilliam and it was near this time that he completed his Marino Casino, one of his finest works. The Fitzwilliam commission was the last major one he received, although he continued to paint, in the last decade of his life he painted less, with his last known painting dated as 1821. Ashfords work is viewed as heavily influenced by such as Claude Lorraine and Richard Wilson. Artists like James Arthur OConnor show Ashfords influence in the Irish landscape painting genre, as well as his landscape painting, Ashford is known for his flower paintings, with his early work painted in the Dutch style
Maxwell Ashby Armfield was an English artist and writer. Born to a Quaker family in Ringwood, Armfield was educated at Sidcot School, in 1887 he was admitted to Birmingham School of Art, under the headmastership of Edward R. Taylor and established as a major centre of the Arts and Crafts Movement. There he studied under Henry Payne and Arthur Gaskin and, outside the school and he exhibited at the Paris Salon in 1904, where his painting Faustine was bought by the French State and donated to the Musée du Luxembourg, and is now in the Musée dOrsay, Paris. In 1911, they appear on the census of that year as resident in Minchinhampton. The couple became close collaborators, working together to design, text. Armfields wife influenced him to become a pacifist and Christian Scientist, from 1915 the couple spent seven years in the United States. In 1946 Armfield released the book Tempera Painting Today, published by Pentagon Press LTD, a detail from Armfields painting Self-Portrait, was used as the cover illustration of the Oxford Worlds Classics 2006 edition of The Picture of Dorian Gray.
Armfield has paintings in the collection of several British institutions including Derby Art Gallery and Nottingham Gallery, Works by Maxwell Armfield at Project Gutenberg Works by or about Maxwell Armfield at Internet Archive
Adrian Allinson was a British painter and engraver, known for his landscapes of Southern Europe and North Africa, and for a series of posters he made for British Railways. Allinson was the eldest son of a doctor, Thomas Allinson, whose advocacy of vegetarianism and contraception had led to his being struck off, and a German Jewish portrait painter. After leaving Wycliffe College, Allinson began studying medicine, but gave this up and turned instead to art, graduating in 1910, he travelled to Europe to study in Paris and in Munich. He designed sets for the Beecham Opera Company, following the war he again travelled to Europe. He became a member of the Royal Society of British Artists in 1933, during the 1930s he made a series of posters for London Transport, and for the Empire Marketing Board. He was selected as a government war artist by the War Artists Advisory Committee during World War II, after the war, he taught at the Westminster Technical Institute. Some months before his death, he participated in the creation of a wax sculpture of Kwame Nkrumah for Madame Tussauds, Allinson died on 20 February 1959.
Works by Allinson on the BBC Your Paintings website Works by Allinson held by the V&A
Painting is the practice of applying paint, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, Painting is a mode of creative expression, and the forms are numerous. Drawing, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, abstract, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols.
In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians and scientists, including Goethe and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, cobalt, and so on.
Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, some modern painters incorporate different materials such as sand, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Fred Appleyard was a British landscape artist. He had 41 works exhibited during his lifetime by the Royal Academy, Appleyard was born in Middlesbrough, England on 9 September 1874, the son of Isaac Appleyard, an iron-merchant. Having received his education at Scarborough, he attended Scarborough School of Art under the genre. It was at the Scarborough School of Art that he met Harry Watson and he proceeded to the National Art Training School at South Kensington, and from there to the Royal Academy Schools, which he entered on 27 July 1897 at the late age of twenty-two. He was recommended to the R. A. by John Sparkes and he was awarded the Turner Gold Medal, the Creswick Prize for landscape, the Landseer Scholarship and others. He worked in South Africa 1910–12, during the 1914–18 war he worked at the Woolwich Arsenal. 1900–35 and the R. W. A. from 1918 until c and he was a painter of subject pictures, landscapes and allegorical compositions of a decorative kind associated with English Impressionism.
He exhibited widely during his lifetime, at the Royal Academy, the Walker Art Gallery and the Glasgow Institute of Fine Arts. He was at one time a regular exhibitor at The Royal Academy of both oil paintings and watercolours and at the Royal West of England Academy of which he was elected a member in 1926. He is represented at The Tate Gallery by an oil painting entitled A Secret and his works are represented in museums at the Victoria Art Gallery, Bath, in Bristol and Grahamstown, South Africa. The painting Old Walls is hanging at the Mansion House in Doncaster, Fred Appleyard is known chiefly for his scenes depicting families of obviously substantial means in outdoor settings, often incorporating ruins in his compositions. He used a technique which was ideally suited to his frequent depiction of sunlight broken through trees. He was fond of incorporating children into his work and it was after the 1914-18 war, where he worked at the Woolwich Arsenal, that the big change in his life took place.
In 1918 he left London and settled in the Hampshire village of Itchen Stoke where he lived for forty five years as a true artist despising money and fame. This combination of an academic mind linked with that of the artist philosopher produced a set of beautiful paintings. Lived at Itchen Stoke, near Alresford and died there 22 February 1963 and he was the brother-in-law of fellow artist Christopher Williams. A Secret - Tate Gallery St Cecilia - Christies 29 Painting by or after Fred Appleyard at the Art UK site
John White Abbott
John White Abbott was an English surgeon and apothecary in Exeter, remembered as a keen amateur painter in both watercolour and oils. He studied in Exeter with Francis Towne, to whom he was a friend and patron and his watercolours were generally landscapes, for which he toured to the Lake District, but in oil he did history paintings. After conveniently inheriting an estate at the age of 62, he retired there, john White Abbott was born on 13 May 1763 at Cowick near Exeter, Devon. He came from a family, which owned many estates in Exeter. Abbott exhibited regularly at the Royal Academy between 1795 and 1805, he is last recorded exhibiting there in 1822 and his oil paintings were once well known but the great bulk of his work was landscape watercolours. He had a series of etchings of his paintings created which was complete at the time of his death. He made a tour to Scotland and the Lake District in 1791. It seems that Abbott never sold a painting, and most of his works were retained by his family well into the 20th century.
Despite this, in his lifetime he was better known than Towne and he had been a pupil and patron to Towne, copying some of his Italian views. Peamore, watercolour,1802, Lady Lever Art Gallery, Port Sunlight Andrew Wilton & Anne Lyles, The Great Age of British Watercolours, 1750–1880,1993, Prestel, ISBN3791312545
John Wykeham Archer
John Wykeham Archer was a British artist and writer. Archer was born at Newcastle-upon-Tyne, in 1808, in 1820 he went to London, and became a pupil of John Scott, a noted engraver of animals. His apprenticeship was cut short when Scott became ill, and he returned to Newcastle and he moved to Edinburgh, where he made a collection of drawings of the ancient buildings and streets of the city. After a few years the market for this kind of illustration declined, having been elected a member of the New Society of Painters in Water Colours, he produced a series of drawings of St. Mary Overy, previous to its restoration, and of Lambeth Palace. In 1874 the British Museum purchased the collection from Twopennys executors, Archer made a series of drawings for the Duke of Northumberland, showing places on his estate. As an illustrator, Archer made drawings for engravings for publications including Charles Knights History of London. He claimed to have revived the practice of engraving monumental brasses and he likewise painted a few works in oil
William Artaud, was an English painter of portraits and biblical subjects. Artaud was the son of a London jeweller and he was awarded a premium at the Society of Arts in 1776, and first exhibited at the Royal Academy in 1780. He was a student at the Royal Academy Schools, winning a medal in 1783, the gold medal, in 1786. He painted both portraits and biblical subjects and his sitters included Francesco Bartolozzi, Samuel Parr Joseph Priestley, William Herschel and other leading figures of the day. Some of his subjects were engraved for Macklins Bible. The art historian Georg Kasper Nagler gives a list of engravings after Artauds paintings in his New General Dictionary of Artists and he last exhibited at the Royal Academy in 1822. The date of his death is not known, Samuel Redgrave said of him his portraits were cleverly drawn, and painted with great power. They have individuality of character, but want expression and this article incorporates text from a publication now in the public domain, William.
The life and letters of William Artaud 1763–1823 William Artaud online
Henry Thomas Alken
Henry Thomas Alken was an English painter and engraver chiefly known as a caricaturist and illustrator of sporting subjects and coaching scenes. His most prolific period of painting and drawing occurred between 1816 and 1831, Alken was born on 12 October 1785 in Soho and baptised on 6 November at St Jamess Church, Piccadilly. He was the son of Samuel Alken, a sporting artist. Two of his brothers were George and Samuel Alken the Younger, in 1789, the Alken family moved from Soho to 2, Francis Street East, Bedford Square. Young Henry first studied under his father and with the miniature painter John Thomas Barber Beaumont, in 1801, Alken sent a miniature portrait of Miss Gubbins to the Royal Academy Exhibition. He exhibited a miniature at the Royal Academy before abandoning miniature painting and taking on painting and illustrating. Early in his career, he painted sporting subjects under the name of Ben Tally-O, Alken married Maria Gordon on 14 October 1809 at St Clement’s Church, Ipswich. On 22 August of the year the couples first son was baptised.
Alken went on to five children, of whom two were artists, Samuel Henry, a sporting artist, known as Henry Alken junior. When Alken was 26, he and his family lived over a shop in Haymarket that belonged to print publisher Thomas McLean of the Repository of Wit. McLean paid Alken a daily wage of thirty shillings, considered a good income at the time, Alken died in April 1851 and was buried in Highgate cemetery. Although fairly affluent for most of his career, he fell on hard times towards the end of his life and was buried at his daughters expense, Alken worked in both oil and watercolor and was a skilled etcher. Alken provided the plates picturing hunting, coaching and steeplechasing for The National Sports of Great Britain, known as an avid sportsman, is best remembered for his hunting prints, many of which he engraved himself until the late 1830s. Nimrods Life of a Sportsman, with 32 etchings by Alken, was published by Ackermann in 1842. One of his best known paintings, The Belvoir Hunt, Jumping Into And Out Of A Lane, hangs in the Tate Britain, a collection of his illustrations can be seen in the print department of the British Museum.
Volume 2 By Pierce Egan The Art and Practice of Etching by Henry Alken,1849 Attribution This article incorporates text from a now in the public domain, Alken. Walter Shaw Sparrow, Henry Alken Henry Thomas Alken, The Grove Dictionary of Art
John Samuel Agar
John Samuel Agar, was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He did not exhibit again until 1836 and he had been declared bankrupt in February of the previous year. He was at one time president of the Society of Engravers and his engravings were chiefly in stipple. They include works after Richard and Maria Cosway, and a series of allegories of the months after Edward Francis Burney, national Portrait Gallery Profile Media related to John Samuel Agar at Wikimedia Commons