1.
David Wilkie (artist)
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Sir David Wilkie RA was a Scottish painter. Wilkie was the son of the minister of Cults in Fife. He developed a love for art at an early age, in 1799, after he had attended school at Pitlessie, Kingskettle and Cupar, his father reluctantly agreed to his becoming a painter. Through the influence of the Earl of Leven Wilkie was admitted to the Trustees Academy in Edinburgh, in 1804, Wilkie left the Trustees Academy and returned to Cults. In addition to this elaborate figure-piece, Wilkie was much employed at the time upon portraits, Wilkie now turned to historical art, and painted his Alfred in the Neatherds Cottage, for the gallery illustrative of English history which was being formed by Alexander Davison. His next great work was the Ale-House Door, afterwards entitled The Village Festival and it was followed in 1813 by the well-known Blind Mans Buff, a commission from the Prince Regent, to which a companion picture, the Penny Wedding, was added in 1818. In November 1809 he was elected an associate of the Royal Academy, when he had attained the age prescribed by its laws. In 1812 he opened an exhibition of his works in Pall Mall. In 1814 he executed the Letter of Introduction, one of the most delicately finished, in the same year he made his first visit to the continent, and in Paris entered upon a profitable and delighted study of the works of art collected in the Louvre. On his return he began Distraining for Rent, one of the most popular, in 1816 he made a tour through Holland and Belgium in company with Raimbach, the engraver of many of his paintings. The Sir Walter Scott and his Family, a picture with small full-length figures in the dress of Scottish peasants, was the result of a visit to Abbotsford in 1818. In 1822 Wilkie visited Edinburgh, in order to select from the Visit of King George IV to Scotland a fitting subject for a picture. But several years elapsed before its completion, for, like all such works, it proved a harassing commission, uncongenial to the painter while in progress. His health suffered from the strain to which he was subjected, in 1825 he sought relief in foreign travel, after visiting Paris, he went to Italy, where, in Rome, he received the news of fresh disasters through the failure of his publishers. A residence at Toplitz and Carlsbad was tried in 1826, with good result. In October he passed into Spain, whence he returned to England in June 1828 and it is impossible to overestimate the influence upon Wilkies art of these three years of foreign travel. It amounts to nothing short of a change of style. But now he experienced the spell of the Italian masters, and of Diego Velázquez, the popular verdict had in it a basis of truth, Wilkie was indeed greatest as a genre-painter
2.
Royal Academy of Arts
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The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
3.
Julia Margaret Cameron
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Julia Margaret Cameron was a British photographer. She became known for her portraits of celebrities of the time, Camerons photographic career was short, spanning eleven years of her life. She took up photography at the late age of 48. She found more acceptance among pre-Raphaelite artists than among photographers and her work has influenced modern photographers, especially her closely cropped portraits. Her house, Dimbola Lodge, on the Isle of Wight is open to the public, Julia Margaret Cameron was born Julia Margaret Pattle in Calcutta, India, to Adeline de lEtang and James Pattle, a British official of the East India Company. Adeline de lEtang was the daughter of Chevalier Antoine de lEtang and he had married the Indian-born Therese Blin de Grincourt, a daughter of French aristocrats. Cameron was from a family of celebrated beauties and was considered an ugly duckling among her sisters, as her great-niece Virginia Woolf wrote in the 1926 introduction to the Hogarth Press collection of Camerons photographs, In the trio where. Was Beauty, and Dash, Mrs. Cameron was undoubtedly Talent, Camerons sister Virginia was the mother of the temperance leader Lady Henry Somerset. Cameron was educated in France, but returned to India, and in 1838 married Charles Hay Cameron, a jurist and member of the Law Commission stationed in Calcutta, who was twenty years her senior. They had five children together, and also raised five young relations, in 1848, Charles Hay Cameron retired, and the family moved to London, England. In 1860, Cameron visited the estate of poet Alfred Lord Tennyson on the Isle of Wight, Cameron was taken with the location, and the Cameron family purchased a property on the island soon after. They called it Dimbola Lodge after the familys Ceylon estate, in 1863, when Cameron was 48 years old, her daughter gave her a camera as a present, thereby starting her career as a photographer. Within a year, Cameron became a member of the Photographic Societies of London and she remained a member of the Photographic Society, London, until her death. In her photography, Cameron strove to capture beauty and she wrote, I longed to arrest all the beauty that came before me and at length the longing has been satisfied. The basic techniques of soft-focus fancy portraits, which she developed, were taught to her by David Wilkie Wynfield. She later wrote that to my feeling about his beautiful photography I owed all my attempts, Lord Tennyson, her neighbour on the Isle of Wight, often brought friends to see the photographer and her works. At the time, photography was an art that also was highly dependent upon crucial timing. Sometimes Cameron was obsessive about her new occupation, with sitting for countless exposures in the blinding light as she laboriously coated, exposed
4.
Titian
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Tiziano Vecelli or Tiziano Vecellio, known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, during his lifetime he was often called da Cadore, taken from the place of his birth. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, during the course of his long life, Titians artistic manner changed drastically, but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his pieces, their loose brushwork. The exact date of Titians birth is uncertain, when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482 and he was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore, Gregorio was also a distinguished councilor and soldier. Many relatives, including Titians grandfather, were notaries, and the family of four were well-established in the area, at the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter. At that time the Bellinis, especially Giovanni, were the artists in the city. There Titian found a group of men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani. Francesco Vecellio, his brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have one of Titians earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth, now in the Accademia, a Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo, Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry, distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, one of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi, Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione
5.
Artists Rifles
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The Artists Rifles is a regiment of the British Army Reserve. Raised in London in 1859 as a light infantry unit. It did not serve outside Britain during World War II, as it was used as a training unit at that time. The regiment was disbanded in 1945 but in 1947, it was re-established to resurrect the Special Air Service Regiment, today, the full title of the Regiment is 21 Special Air Service Regiment and with 23 Special Air Service Regiment, it forms the Special Air Service. The regiment was formed in 1859, part of the volunteer movement which developed in the face of potential French invasion after Felice Orsinis attack on Napoleon III was linked to Britain. It was established on 28 February 1860 as the 38th Middlesex Rifle Volunteer Corps and its first commanders were the painters Henry Wyndham Phillips and Frederic Leighton. The units badge, designed by J. W. Wyon, shows the heads of the Roman gods Mars, until 1914 the regimental full dress uniform was light grey with white facings, silver buttons and braid. This distinctive uniform dated from the foundation as a volunteer unit. After World War I standard khaki was the normal dress, in September 1880, the corps became the 20th Middlesex Rifle Volunteer Corps, with headquarters at Dukes Road, off Euston Road, London. It formed the 7th Volunteer Battalion of the Rifle Brigade from 1881 until 1891, during this period, The Artists Rifles fought in the Second Boer War as part of the City Imperial Volunteers. After the 1860s the voluntary recruitment basis of the regiment gradually broadened to include professions other than artistic ones, by 1893 lawyers and architects made up 24% of the unit, doctors followed with 10% and civil engineers 6%. Sculptors and painters totaled about 5%, following the formation of the Territorial Force, the Artists Rifles was one of 26 volunteer battalions in the London and Middlesex areas that combined to form the new London Regiment. It became the 28th Battalion of The London Regiment on 1 April 1908, the Artists Rifles was a popular unit for volunteers. It had been increased to twelve companies in 1900 and was formed into three sub-battalions in 1914, and recruitment was restricted by recommendation from existing members of the battalion. Over fifteen thousand men passed through the battalion during the war, the battalion eventually saw battle in France in 1917 and 1918. Members of the Regiment won eight Victoria Crosses, fifty-six DSOs, in the early 1920s, the unit was reconstituted as an infantry regiment within the Territorial Army, as the 28th County of London Regiment. In 1937, this regiment became part of The Prince Consorts Own Rifle Brigade, the regiment was not deployed during the Second World War, functioning again as an Officers Training Corps throughout the war. It was disbanded in 1945, but reformed in The Rifle Brigade in January 1947, the number 21 SAS was chosen to perpetuate two disbanded wartime regiments 1 SAS and 2 SAS, with the 1 and the 2 being reversed into 21
6.
Henry Stacy Marks
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Most of his early works were oils but he also worked on murals and with watercolours. He was a member of the St Johns Wood Clique and was well known for his humorous performances. Marks was the child of John Isaac Marks and Elizabeth. His father was a solicitor who became a coach builder. One of his brothers was the writer John George Marks, Henry studied in small schools near Regents Park and at Eythorne, Kent where he learned to paint heraldry symbols so as to assist his father in his carriage making business. In 1845 he worked for a friend of his father as a clerk in a warehouse and he later went to work with his father and around 1846 he attended evening classes at James Mathews Leighs art school where he would become a friend of Frederick Walker. For some time he worked for magazines like Home Circle producing wood-cut illustrations, after being rejected once, Henry enrolled successfully at the Royal Academy Schools in December 1851. In 1852 his father sold off the business leaving Henry free to attend classes. He however decided to move to Paris with his friend Philip Hermogenes Calderon to study at the atelier of François Edouard Picot and his works during the 1850s and 1860s were predominantly based on Shakespeares plays and depicted medieval scenes. Marks father emigrated to Australia leaving Henry to support his mother and he supplemented his income from painting by carrying out decorative work for various patrons. His early works on medieval themes included Toothache in the Middle Ages which was bought by the publisher Charles Edward Mudie with whom he became a friend, Marks most important patron was Hugh Grosvenor, 1st Duke of Westminster. He was briefly an art critic for The Spectator, writing under the pen-name of dry-point, Marks worked on decorations for the house of the Duke of Westminster at Eaton Hall, Cheshire, between 1874 and 1880. For this purpose he painted two canvasses 35 feet long of Chaucers pilgrims in the saloon, and twelve panels of birds in the drawing room, Marks was a founding member of the St Johns Wood Clique in 1862 along with Calderon. The aim of the clique was to each other by critique and the motto framed by Calderon was the better each mans picture. Marks was also an entertainer in the group with his fake sermons and he was much loved in the club and was known as Marco. He is shown in a cartoon A vision of the clique by Frederick Walker, Marks was a good friend of several of the cartoonists of Punch including John Tenniel and Charles Keene. In 1888 the Fine Art Society planned an exhibition on birds and Marks decided to use this opportunity to take up a study of birds. In 1890 he had an exhibition on his bird works
7.
Frederic Leighton
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Frederic Leighton, 1st Baron Leighton PRA, known as Sir Frederic Leighton between 1878 and 1896, was an English painter and sculptor. His works depicted historical, biblical, and classical subject matter, Leighton was bearer of the shortest-lived peerage in history, after only one day his hereditary peerage ended with his death. Leighton was born in Scarborough to a family in the import and export business and he was educated at University College School, London. He then received his training on the European continent, first from Eduard von Steinle. When he was 24 he was in Florence, he studied at the Accademia di Belle Arti, from 1855 to 1859 he lived in Paris, where he met Ingres, Delacroix, Corot and Millet. In 1860, he moved to London, where he associated with the Pre-Raphaelites and he designed Elizabeth Barrett Brownings tomb for Robert Browning in the English Cemetery, Florence in 1861. In 1864 he became an associate of the Royal Academy and in 1878 he became its President and his 1877 sculpture, Athlete Wrestling with a Python, was considered at its time to inaugurate a renaissance in contemporary British sculpture, referred to as the New Sculpture. American art critic Earl Shinn claimed at the time that Except Leighton and his paintings represented Britain at the great 1900 Paris Exhibition. Leighton was knighted at Windsor in 1878, and was created a baronet, of Holland Park Road in the Parish of St Mary Abbots, Kensington, in the County of Middlesex, eight years later. He was the first painter to be given a peerage, in the New Year Honours List of 1896, the patent creating him Baron Leighton, of Stretton in the County of Shropshire, was issued on 24 January 1896, Leighton died the next day of angina pectoris. Leighton remained a bachelor and rumours of his having a child with one of his models in addition to the supposition that Leighton may have been homosexual continue to be debated today. He certainly enjoyed an intense and romantically tinged relationship with the poet Henry William Greville whom he met in Florence in 1856, the older man showered Leighton in letters, but the romantic affection seems not to have been reciprocated. Enquiry is furthermore hindered by the fact that Leighton left no diaries, after his death his Barony was extinguished after existing for only a day, this is a record in the Peerage. His house in Holland Park, London has been turned into a museum, the house also features many of Leightons inspirations, including his collection of Iznik tiles. Its centrepiece is the magnificent Arab Hall, the Hall is featured in issue ten of Cornucopia. A blue plaque commemorates Leighton at Leighton House Museum, Leighton was an enthusiastic volunteer soldier, enrolling with the first group to join the 38th Middlesex Rifle volunteers on 5 October 1860. His qualities of leadership were identified, and he was promoted to command A Company within a few months. On 6 January 1869 Captain Leighton was elected to command The Artists Rifles by a meeting of the corps
8.
William Swinden Barber
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William Swinden Barber FRIBA, also W. S. Barber or W. Swinden Barber, was an English Gothic Revival and Arts and Crafts architect, specialising in modest but finely furnished Anglican churches. The Barber churches often had crenellated bell-towers and he was based in Brighouse and Halifax in the West Riding of Yorkshire. At least 15 surviving examples of his work are Grade II listed buildings including his 1875 design for the Victoria Cross at Akroydon, an 1864 portrait by David Wilkie Wynfield depicts him in Romantic garb, holding a flower. He served in the Artists Rifles regiment in the 1860s alongside Wynfield, joshua was the ancestor of three main branches of the Barber family, at Southowram, Brighouse and Rastrick. William Swinden Barber was descended from the Southowram branch, and he produced work at Brighouse, joshuas second child, baptised at Cleckheaton Independent Chapel, was John who was William Swinden Barbers great-grandfather. John married Sarah Schofield and their child was William. Barbers grandfather was William Barber, baptised at Cleckheaton Independent Chapel and he arrived at Halifax from Mirfield around 1797 when he married Ann Charlton of Dewsbury. They had eight children, of whom John was the third and they moved to Barker Royde at Southowram and lived in an eighteenth century farmhouse called Barker Royde Farm, it incorporates a stone on which is carved WB1849. Close to the farmhouse, William built a mill called Barker Royde Mill, to make carding equipment. This mill was constructed during William Swinden Barbers childhood, when he would have witnessed, the 1841 census finds William Barber at Barker Royde Farm, aged 75 with his wife Mary aged 70 and his daughter Sarah aged 30. William and his wife are described as being of independent means and they have two employees with them, an agricultural labourer and a servant. On 19 April 1831 he married Sally Sarah Swinden at Dewsbury, William Swinden Barber was their only child. In 1841 he was at Valley Top at Southowram with his wife Sarah, Ann Barber, aged 25, described as a servant, is with them, but their son William Swinden Barber is absent. John was a card-maker at Southowram at Barker Royde Mill with his father William, in 1845 he was living at Slead Cottage, Chapel Lane, Southowram. Their house servant Ann Barber is still with them, John was a card-maker, that is, he made carding equipment for the wool industry at Lark Field and at Victoria Mill, Brighouse. In 1861 John and Sarah, aged 60 and 67, were still at Lark Field and they had two servants and John was still a card maker employing twelve men and two boys. In 1871 John was still at Lark Field with Sarah and two servants, but had retired, John and his son William Swinden Barber bought Bonegate Hall at Brighouse. In 1881 John a widower aged 80, now a retired card maker, was living in Hipperholme with Brighouse with one servant, Barber was baptised on 29 March 1832 at Southowram
9.
George Frederic Watts
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George Frederic Watts OM RA was an English Victorian painter and sculptor associated with the Symbolist movement. He said I paint ideas, not things, Watts became famous in his lifetime for his allegorical works, such as Hope and Love and Life. These paintings were intended to form part of an epic symbolic cycle called the House of Life, Watts was born in Marylebone, London on the birthday of George Frederic Handel, to the second wife of a poor piano-maker. The former put him off conventional religion for life, while the latter was an influence on his art. He first exhibited at the Academy in 1837 and he also began his portraiture career, receiving patronage from his close contemporary Alexander Constantine Ionides, who later came to be a close friend. He came to the eye with a drawing entitled Caractacus. Watts won a first prize in the competition, which was intended to promote narrative paintings on patriotic subjects, also while in Italy Watts began producing landscapes and was inspired by Michelangelos Sistine Chapel and Giottos Scrovegni Chapel. Leaving Florence in April 1847 for what was intended to be a return to London. In consequence most of his works are conventional oil paintings. In his studio he met Henry Thoby Prinsep and his wife Sara, Watts thus joined the Prinsep circle of bohemians, including Saras seven sisters, and Julia Margaret Cameron. One of only two pupils Watts ever accepted was Henrys son Valentine Cameron Prinsep, the other was John Roddam Spencer Stanhope – both remained friends, but neither became a major artist. He also took a trip back to Italy in 1853 and with Charles Thomas Newton to excavate Halicarnassus in 1856–57, via Constantinople. In the 1860s, Watts work shows the influence of Rossetti, often emphasising sensuous pleasure, when she eloped with another man after less than a year of marriage, Watts was obliged to divorce her. These works formed part of a version of the House of Life, influenced by the ideas of Max Müller. Watts hoped to trace the evolving mythologies of the races in a synthesis of spiritual ideas with modern science. To maintain his friendship with the Prinsep family as their children began leaving home, he built The Briary for them near Freshwater, in 1877, his decree nisi from Ellen Terry finally came through, and the Grosvenor Gallery was opened by his friend Coutts Lindsay. This was to prove his ideal venue for the ten years. In 1886, at the age of 69, Watts remarried, to Mary Fraser Tytler, in 1891 he bought land near Compton, south of Guildford, in Surrey
10.
Alphonse Legros
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Alphonse Legros was a French painter, etcher, sculptor, and medallist. Legros was born in Dijon, his father was an accountant, while young, Legros visited the farms of his relatives, and the peasants and landscapes of that part of France are the subjects of many of his works. He was sent to the art school at Dijon with a view to qualifying for a trade, in Paris, Legros studied with Charles-Antoine Cambon, scene-painter and decorator of theatres. He attended also the drawing-school of Lecoq de Boisbaudran where he himself in sympathy with Jules Dalou. In 1855, he attended the classes of the École des Beaux Arts. This work was presented to the museum at Tours by the artist when his friend Jean-Charles Cazin was curator, champfleury saw the work in the Salon, and sought out the artist to enlist him in the Realists, a group round Gustave Courbet. In 1859, Legross LAngelus was exhibited, the first of the interiors for which he was best known. Ex Voto, went the museum at Dijon, but only obtained a mention at the Salon and he moved to England in 1863 and in 1864 married Rrances Rosetta Hodgson. At first he lived by his etching and teaching and he then became teacher of etching at the South Kensington School of Art, and in 1876 Slade Professor at University College, London in succession to Edward Poynter. Whilst teaching at the Slade School Legros taught a large contingent of women, through his field of sculpture he encouraged the design of medals based upon the Italian renaissance style of portrait, illustrating the character, profession or life of the individual portrayed. The Slade Girls attracted commissions from a range of societies and organisations due to the beauty, pupils of note include the Casella sisters, Fedora Gleichen, Lilian Swainson and Elinor Hallé. Legros was naturalized as a British citizen in 1881, and remained at University College for 17 years, Legros picked up the art of etching by watching a college in Paris working at a commercial engraving, and taught himself the making of medals. He considered the traditional journey to Italy an important part of artistic training, dictionary of National Biography,1912 supplement. Dr Hans W Singer, Alphonse Legros, Die graphischen Künste, Léonce Bénédite, Alphonse Legros, Revue dan, Cosmo Monkhouse, Professor Legros, Magazine of Art. The Boston Public Librarys Alphonse Legros set on Flickr. com Alphonse Legros exhibition catalogs Alphonse Legros in American public collections, on the French Sculpture Census website
11.
Simeon Solomon
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Simeon Solomon was an English Pre-Raphaelite painter noted for his depictions of Jewish life and same-sex desire. Solomon was born into a prominent Jewish family and he was the eighth and last child born to merchant Michael Solomon and artist Catherine Levy. Solomon was a brother to fellow painters Abraham Solomon and Rebecca Solomon. Born and educated in London, Solomon started receiving lessons in painting from his brother around 1850. He started attending Careys Art Academy in 1852 and his older sister first exhibited her works at the Royal Academy during the same year. His first exhibition was at the Royal Academy in 1858 and he continued to hold exhibitions of his work at the Royal Academy between 1858 and 1872. In addition to the literary paintings favoured by the Pre-Raphaelite school, Solomons subjects often included scenes from the Hebrew Bible and genre paintings depicting Jewish life and his association with Swinburne led to his illustrating Swinburnes Lesbia Brandon in 1865. In 1873 his career was cut short when he was arrested in a urinal at Stratford Place Mews, off Oxford Street, in London and charged with attempting to commit sodomy. He was arrested again in 1874 in Paris, after which he was sentenced to three months in prison. In 1884 he was admitted to the workhouse where he continued to work, however, his life. Twenty years later in 1905, he died from complications brought on by his alcoholism and he was buried at the Jewish Cemetery in Willesden. Examples of his work are on permanent display at the Victoria and Albert Museum, retrospectives of his work have been held at the Birmingham Museum and Art Gallery in 2005-6, and in London at the Ben Uri Gallery in 2006. Paintings and Drawings by the Late Simeon Solomon, Baillie Gallery,54 Baker St,9 Dec 1905-13 Jan 1906 Winter Exhibition of Works of the Old Masters and Deceased Masters of the British School, Royal Academy, London. 1 Jan-10 March 1906 Exhibition of Jewish Art and Antiquities, Whitechapel Art Gallery,7 Nov-16 Dec 1906 Exeter Museum and Art Gallery. April 1906 Jewish Exhibition, Gallery of Ancient and Modern Art, july–August 1908 Pre-Raphaelite Painters from Collections in Lancashire, Tate Britain, London. 17 July 1913 –28 September 1913 National Gallery of British Art, July 1923 Jewish Art, Ben Uri Gallery. May 1934 Subjects of Jewish Interest, Ben Uri Gallery, december 1946 Acquisitions of the Friends of the Art Museums of Israel, Ben Uri Gallery. In May the exhibition moved to Wellesley College, Wellesley, MA, april–May 1966 Solomon, A Family of Painters, Geffrye Museum, London and Birmingham Museums and Art Gallery, Birmingham
12.
Valentine Cameron Prinsep
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Valentine Cameron Val Prinsep RA was a British painter of the Pre-Raphaelite school. He is often known as Val Prinsep, henry and Sarah had settled at Little Holland House and made it a centre of artistic society. Prinsep was a friend of G. F. Watts. He went out with Watts in 1856–57 to watch Sir Charles Newtons excavation of Halicarnassus, after studying under Watts he proceeded to Marc-Charles-Gabriel Gleyres atelier in Paris. There Whistler, Poynter, and Du Maurier were among his fellow students, from Paris, Prinsep passed to Italy. With Burne-Jones he visited Siena and there he made the acquaintance of Robert Browning and he was an intimate friend of John Everett Millais and of Edward Burne-Jones, with whom he travelled in Italy. He had a share with Rossetti and others in the decoration of the hall of the Oxford Union, with other members of the Pre-Raphaelite Brotherhood, he taught at the Working Mens College during the mid-19th century. Prinsep first exhibited at the Royal Academy of Arts in 1862 with his Bianca Capella, his first picture, Prinsep lent the costume to Millais who used it in his own painting Esther. From that time to his death Prinsep was an annual exhibitor, prinseps chief paintings were Miriam watching the infant Moses, A Venetian lover, Bacchus and Ariadne, News from abroad, The linen gatherers, The gleaners, and A minuet. In 1877, he went to India and painted a picture of the Delhi Durbar, exhibited in 1880 at the Royal Academy, presented to Queen Victoria. This colossal work attracted favourable press criticism. The best of his exhibits were À Versailles, The Emperor Theophilus chooses his Wife, The Broken Idol. He was elected A. R. A. in 1879, Prinsep died at Holland Park, west London in 1904, and is buried in Brompton Cemetery, London. He is buried with his wife Florence, the highly distinctive Roman style monument lies on the western path between the north entrance and the central buildings. He married in 1884 Florence, daughter of Frederick Richards Leyland of Wootten Hall and she survived him with three sons. Prinsep wrote two plays, Cousin Dick and Monsieur le Duc, produced at the Court and the St Jamess theatres respectively and he was an enthusiastic volunteer, and one of the founders of the Artists Rifles. Attribution This article incorporates text from a now in the public domain, Gibson, Frank W. Prinsep. Dictionary of National Biography,1912 supplement, Chisholm, Hugh, ed. Prinsep, Valentine Cameron
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