1.
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
2.
History painting
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History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings usually depict a moment in a story, rather than a specific and static subject. The term is derived from the senses of the word historia in Latin and Italian, meaning story or narrative. Most history paintings are not of scenes from history, especially paintings from before about 1850, History paintings almost always contain a number of figures, often a large number, and normally show some type of action that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as scenes from mythology. These groups were for long the most frequently painted, works such as Michelangelos Sistine Chapel ceiling are therefore history paintings, History painting may be used interchangeably with historical painting, and was especially so used before the 20th century. Where a distinction is made historical painting is the painting of scenes from secular history, in the 19th century historical painting in this sense became a distinct genre. In phrases such as historical painting materials, historical means in use before about 1900 and he placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. Scenes from ancient history had been popular in the early Renaissance, and once again became common in the Baroque and Rococo periods, and still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from history, rather than those from religious narratives. Scenes from ancient history and mythology were also popular, artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited. The large works of Raphael were long considered, with those of Michelangelo, un Peintre qui ne fait que des portraits, na pas encore cette haute perfection de lArt, & ne peut prétendre à lhonneur que reçoivent les plus sçavans. He who produces perfect landscapes is above another who only produces fruit, a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. By the late 18th century, with religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history. Classical history remained popular, but scenes from national histories were often the best-received, the unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770, Benjamin West proposed to paint The Death of General Wolfe in contemporary dress and he ignored these comments and showed the scene in modern dress. Although George III refused to purchase the work, West succeeded both in overcoming his critics objections and inaugurating a more historically accurate style in such paintings. M. W, conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts
3.
Vanity Fair (UK magazine)
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The second Vanity Fair was a British weekly magazine published from 1868 to 1914. Subtitled A Weekly Show of Political, Social and Literary Wares, it was founded by Thomas Gibson Bowles, the first issue appeared in London on 7 November 1868. It offered its readership articles on fashion, current events, the theatre, books, social events, Thomas Allinson bought the magazine in 1911 from Frank Harris, by which time it was failing financially. He failed to revive it and the issue of Vanity Fair appeared on 5 February 1914, after which it was merged into Hearth. A full-page, colour lithograph of a celebrity or dignitary appeared in most issues. Subjects included artists, athletes, royalty, statesmen, scientists, authors, actors, soldiers, religious personalities, business people and scholars. More than two thousand of these images appeared, and they are considered the cultural legacy of the magazine
4.
Anthony van Dyck
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Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, the Van Dyke beard is named after him. Antoon van Dyck was born to parents in Antwerp. By the age of fifteen he was already an accomplished artist, as his Self-portrait, 1613–14. He was admitted to the Antwerp painters Guild of Saint Luke as a master by February 1618. His influence on the young artist was immense, Rubens referred to the nineteen-year-old van Dyck as the best of my pupils. At the same time the dominance of Rubens in the small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. After about four months he returned to Flanders, but moved on in late 1621 to Italy and he was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artists colony in Rome, says Giovan Pietro Bellori, by appearing with the pomp of Zeuxis. He was mostly based in Genoa, although he travelled extensively to other cities. In 1627, he went back to Antwerp where he remained for five years, a life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, by 1630 he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he produced many religious works, including large altarpieces. King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his elevated view of the monarchy. In 1628, he bought the collection that the Gonzagas of Mantua were forced to dispose of. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was a target, who eventually came on a diplomatic mission, which included painting, in 1630. He was very well-treated during his visit, during which he was knighted
5.
Tudor period
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The Tudor period is the period between 1485 and 1603 in England and Wales and includes the Elizabethan period which ends with the completion of the reign of Elizabeth I in 1603. The Tudor period coincides with the rule of the Tudor dynasty in England whose first monarch was Henry VII. In terms of the century, Guy argues that England was economically healthier, more expansive. Following the Black Death and the depression of the late 15th century. The export of woollen products resulted in an upturn with products exported to mainland Europe. Henry VII negotiated the favourable Intercursus Magnus treaty in 1496, the high wages and abundance of available land seen in the late 15th century and early 16th century were replaced with low wages and a land shortage. Various inflationary pressures, perhaps due to an influx of New World gold and this was a period of significant change for the majority of the rural population, with manorial lords beginning the process of enclosure. Historian Geoffrey Elton revolutionized the study of Tudor government with his 1953 book The Tudor Revolution in Government and he argued that Thomas Cromwell, who was Henry VIIIs chief minister from 1532 to 1540, was the author of modern, bureaucratic government, which replaced medieval, government-as-household-management. Cromwell introduced reforms into the administration that delineated the Kings household from the state and he injected Tudor power into the darker corners of the realm and radically altered the role of Parliament. This transition happened in the 1530s, Elton argued, and must be regarded as part of a planned revolution, by masterminding these reforms, wrote Elton, Cromwell laid the foundations of Englands future stability and success. However, Eltons thesis has been challenged by recent historians. The Tudor Government raised an amount of revenue from the Dissolution of the Monasteries. The clerical income from First Fruits and Tenths, which went to the Pope. The Tudor Government gained further revenue from the lands by receiving rents from confiscated lands. Altogether, between 1536 and Henrys death, the Government collected £1.3 million, this influx of money caused Cromwell to change the Crowns financial system to manage the money. He created a new department of state and a new official to collect the proceeds of the dissolution, the Court of Augmentations and number of departments meant a growing number of officials, which made the management of revenue troublesome and expensive. Partly because of the new revenue raised from the dissolution of monasteries and these were the six courts or departments of state, each fully organised with its own specialised officials, equipped with seals and habitat, and responsible for a particular kind of revenue. The growing number of departments meant that the number of officials involved increased, there were further financial and administrative difficulties in 1540–58, aggravated by war, debasement, corruption and inefficiency, which were mainly caused by Somerset
6.
Stuart period
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The Stuart period of British history usually refers to the period between 1603 and 1714 and sometimes from 1731 in Scotland. This coincides with the rule of the House of Stuart, whose first monarch of Scotland was Robert II, the period ended with the death of Queen Anne and the accession of George I from the House of Hanover. The Stuart period was plagued by internal and religious strife, the English Civil War took place during the reign of Charles I, the second Stuart monarch. The war ended in victory for the Parliamentarians, after this conflict, the line of Stuart monarchs was temporarily displaced by the Commonwealth of England. Their rule lasted from 1649 to 1660, oliver Cromwell ruled directly from 1653 to 1658. After Cromwells death the Commonwealth fell apart, the Convention Parliament welcomed Charles II, son of Charles I, to return from war and become king. This event was known as the English Restoration, Stuart England was consumed with internal affairs. During 1600-1650 the king made repeated efforts to colonize Guiana in South America and they all failed and the lands were ceded to the Dutch in 1667. James Is foreign policy placed much higher priority on European affairs, the Anglo-Dutch Wars were a series of three wars which took place between the English and the Dutch from 1652 to 1674. The causes included political disputes and increasing competition from merchant shipping, religion was not a factor, since both sides were Protestant. The British in the first war had the advantage with larger numbers of more powerful ships of the line which were well suited to the naval tactics of the era. The British also captured numerous Dutch merchant ships, in the second war Dutch naval victories followed. This second war cost London ten times more than it had planned on, and it ended the fights over mercantilism Meanwhile, the French were building up fleets that threatened both the Netherlands and Great Britain. In third war, The British counted on a new alliance with France, the Dutch gained domination of sea trading routes until 1713. The British gained the colony of New Netherland, and renamed it New York. Historians have long regarded the overthrow of King James II in 1688 as a break in English history. Pincus argues that this revolution was the first modern revolution, it was violent, popular and he rejects older theories to the effect that it was an aristocratic coup or a Dutch invasion. Instead, Pincus argues it was a supported and decisive rejection of James II
7.
Spanish Armada
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The Armada finally dropped anchor off Calais. While awaiting communications from the Duke of Parmas army the Armada was scattered by an English fireship attack, in the ensuing Battle of Gravelines the Spanish fleet was damaged and forced to abandon its rendezvous with Parmas army, who were blockaded in harbour by Dutch flyboats. The Armada managed to regroup and, driven by southwest winds, the commander ordered a return to Spain, but the Armada was disrupted during severe storms in the North Atlantic and a large number of the vessels were wrecked on the coasts of Scotland and Ireland. Of the initial 130 ships over a third failed to return, the expedition was the largest engagement of the undeclared Anglo-Spanish War. The word armada is from the Spanish armada, which is a cognate with English army, originally from the Latin armāta, the past participle of armāre to arm, used in Romance languages as a noun, for armed force, army, navy, fleet. Armada Española is still the Spanish term for the modern Spanish Navy, Armada was also the Portuguese traditional term of the Portuguese Navy. Henry VIII began the English Reformation as a political exercise over his desire to divorce his first wife, a devout Catholic, Mary began to reassert Roman influence over church affairs. Her attempts led to over 260 people being burned at the stake, marys death in 1558 led to her half-sister, Elizabeth I, taking the throne. Unlike Mary, Elizabeth was firmly in the reformist camp, Philip, no longer co-monarch, deemed Elizabeth a heretic and illegitimate ruler of England. Under Roman law, Henry had never officially divorced Catherine, making Elizabeth illegitimate, Elizabeth retaliated against Philip by supporting the Dutch revolt against Spain, as well as funding privateers to raid Spanish ships across the Atlantic. In retaliation, Philip planned an expedition to invade England in order to overthrow Elizabeth, the King was supported by Pope Sixtus V, who treated the invasion as a crusade, with the promise of a subsidy should the Armada make land. A raid on Cadiz, led by Francis Drake in April 1587, had captured or destroyed some thirty ships and great quantities of supplies, the Duke of Parma would then follow with a large army from the Low Countries crossing the English Channel. Parma was uneasy about mounting such an invasion without any possibility of surprise and he was also alarmed by the costs that would be incurred, and advised Philip to postpone or abandon it. The Armadas appointed commander was the highly experienced Álvaro de Bazán, Marquis of Santa Cruz, but he died in February 1588, and the Duke of Medina Sidonia, while a competent soldier and distinguished administrator, Medina Sidonia had no naval experience. He wrote to Philip expressing grave doubts about the planned campaign, prior to the undertaking, Pope Sixtus V allowed Philip II of Spain to collect crusade taxes and granted his men indulgences. The blessing of the Armadas banner on 25 April 1588, was similar to the ceremony used prior to the Battle of Lepanto in 1571, on 28 May 1588, the Armada set sail from Lisbon and headed for the English Channel. The fleet was composed of 130 ships,8,000 sailors and 18,000 soldiers, the full body of the fleet took two days to leave port. It included twenty eight purpose-built warships, of twenty were galleons, four galleys
8.
English Civil War
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The English Civil War was a series of armed conflicts and political machinations between Parliamentarians and Royalists over, principally, the manner of Englands government. The war ended with the Parliamentarian victory at the Battle of Worcester on 3 September 1651, the monopoly of the Church of England on Christian worship in England ended with the victors consolidating the established Protestant Ascendancy in Ireland. The term English Civil War appears most often in the singular form, the war in all these countries are known as the Wars of the Three Kingdoms. Unlike other civil wars in England, which focused on who should rule, this war was more concerned with the manner in which the kingdoms of England, Scotland, the two sides had their geographical strongholds, such that minority elements were silenced or fled. The strongholds of the royalty included the countryside, the shires, on the other hand, all the cathedral cities sided with Parliament. All the industrial centers, the ports, and the advanced regions of southern and eastern England typically were parliamentary strongholds. Lacey Baldwin Smith says, the words populist, rich, at times there would be two groups of three lines allowing one group to reload while the other group arranged themselves and fired. Mixed in among the musketeers were pikemen carrying pikes that were between 12 feet and 18 feet long, whose purpose was to protect the musketeers from cavalry charges. The Royalist cavaliers skill and speed on horseback led to early victories. While the Parliamentarian cavalry were slower than the cavaliers, they were better disciplined. The Royalists had a tendency to chase down individual targets after the initial charge leaving their forces scattered and tired, Cromwells cavalry, on the other hand, trained to operate as a single unit, which led to many decisive victories. The English Civil War broke out fewer than forty years after the death of Queen Elizabeth I in 1603, in spite of this, James personal extravagance meant he was perennially short of money and had to resort to extra-Parliamentary sources of income. Charles hoped to unite the kingdoms of England, Scotland and Ireland into a new single kingdom, many English Parliamentarians had suspicions regarding such a move because they feared that setting up a new kingdom might destroy the old English traditions which had bound the English monarchy. As Charles shared his fathers position on the power of the crown, at the time, the Parliament of England did not have a large permanent role in the English system of government. Instead, Parliament functioned as an advisory committee and was summoned only if. Once summoned, a continued existence was at the kings pleasure. Yet in spite of this role, Parliament had, over the preceding centuries. Without question, for a monarch, Parliaments most indispensable power was its ability to tax revenues far in excess of all other sources of revenue at the Crowns disposal
9.
Jacobite risings
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The series of conflicts takes its name Jacobitism, from Jacobus, the Latin form of James. The major Jacobite risings were called the Jacobite rebellions by the ruling governments, the first Jacobite rebellion and second Jacobite rebellion were also known respectively as the Fifteen and the Forty-five, after the years in which they occurred. Although each Jacobite rising had unique features, they were part of a series of military campaigns by Jacobites attempting to restore the Stuart kings to the thrones of Scotland and England. James II was deposed in 1688 and the thrones were claimed by his daughter Mary II jointly with her husband, after the House of Hanover succeeded to the British throne in 1714, the risings continued and intensified. They continued until the last Jacobite rebellion, led by Charles Edward Stuart, was defeated at the Battle of Culloden in 1746. This ended any hope of a Stuart restoration. During the 17th century, the kingdoms of England, Scotland and Ireland suffered political, the Commonwealth ended with the Restoration of Charles II, re-establishment of the Church of England and the imposition of an Episcopalian church government. In 1685, Charles II was succeeded by his Roman Catholic brother, James saw Covenanters as troublemakers and initially tried to end their influence in Scotland. Jamess half-hearted attempts to woo the Presbyterians seemingly did not win him popularity among that section of society either. They remembered his earlier suppression of them and did not believe him to be sincere in his recognition of Presbyterianism. Although these actions were unpopular, at first the majority of his subjects tolerated these acts because James was in his 50s. It seemed that Jamess reign would be short and the throne would soon return to Protestant hands, in 1688, however, Jamess young second wife, Mary of Modena, gave birth to a boy, Prince James, who was promptly baptized a Roman Catholic. Due to English and Scottish succession laws, Prince James immediately supplanted his older sisters as heir to the throne. Now the prospect of a Catholic dynasty on the English, Scottish and Irish thrones seemed all, the Immortal Seven invited Jamess daughter Mary and her husband William of Orange to depose James and jointly rule in his place. On 4 November 1688, William arrived at Torbay, England, after he landed, James fled London, returned and finally left for France on 23 December. In February 1689, the Glorious Revolution formally changed Englands monarch, Scotland was slow to accept William, who summoned a Convention of the Estates which met on 14 March 1689 in Edinburgh. It reviewed a conciliatory letter from William and a haughty one from James, on Jamess side, a modest force of 50 horsemen gathered by John Graham of Claverhouse, Viscount Dundee was in town. Graham attended the convention at the start but withdrew four days later when its support for William became evident, the convention set out its terms and William and Mary were proclaimed monarchs at Edinburgh on 11 April 1689
10.
John Singer Sargent
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John Singer Sargent was an American artist, considered the leading portrait painter of his generation for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and his oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. His parents were American, but he was trained in Paris prior to moving to London and his commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work and he lived most of his life in Europe. Art historians generally ignored the society such as Sargent until the late 20th century. Before Sargents birth, his father, FitzWilliam, was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844–1854, after Johns older sister died at the age of two, his mother, Mary, suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives, although based in Paris, Sargents parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Tuscany, Sargent was born there in 1856. A year later, his sister Mary was born, after her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wifes entreaties to remain abroad. They lived modestly on an inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world, four more children were born abroad, of whom only two lived past childhood. Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, as his father wrote home, He is quite a close observer of animated nature. His mother was convinced that traveling around Europe, and visiting museums and churches. Several attempts to have him formally schooled failed, owing mostly to their itinerant life, Sargents mother was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions, young Sargent worked with care on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his sons interest in ships and the sea might lead him toward a naval career, at thirteen, his mother reported that John sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist, at the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his education was far from complete, Sargent grew up to be a literate and cosmopolitan young man, accomplished in art, music
11.
Tate Britain
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Tate Britain is an art museum on Millbank in the City of Westminster in London. It is part of the Tate network of galleries in England, with Tate Modern, Tate Liverpool and it is the oldest gallery in the network, having opened in 1897. It is one of the largest museums in the country, the gallery is situated on Millbank, on the site of the former Millbank Prison. Construction, undertaken by Higgs and Hill, commenced in 1893, however, from the start it was commonly known as the Tate Gallery, after its founder Sir Henry Tate, and in 1932 it officially adopted that name. As a consequence, it was renamed Tate Britain in March 2000, the front part of the building was designed by Sidney R. J. Smith with a classical portico and dome behind, and the central sculpture gallery was designed by John Russell Pope. Tate Britain includes the Clore Gallery of 1987, designed by James Stirling, crises during its existence include flood damage to work from the River Thames, and bomb damage during World War II. However, most of the collection was in storage elsewhere during the war. In 1970, the building was given Grade II* listed status, the museum stayed open throughout the three phases of renovation. Completed in 2013, the newly designed sections were conceived by the architects Caruso St John and included a total of nine new galleries, with reinforced flooring to accommodate heavy sculptures. A second part was unveiled later that year, the centrepiece being the reopening of the buildings Thames-facing entrance as well as a new spiral staircase beneath its rotunda, the circular balcony of the rotundas domed atrium, closed to visitors since the 1920s, was reopened. The gallery also now has a dedicated entrance and reception beneath its entrance steps on Millbank. The front entrance is accessible by steps, a side entrance at a lower level has a ramp for wheelchair access. The gallery provides a restaurant and a café, as well as a Friends room and this membership is open to the public on payment of an annual subscription. As well as offices the building complex houses the Prints and Drawings Rooms, as well as the Library. The restaurant features a mural by Rex Whistler, Tate Britain and Tate Modern are now connected by a high speed boat along the River Thames, which runs from Millbank Millennium Pier immediately outside Tate Britain. The boat is decorated with spots, based on paintings of similar appearance by Damien Hirst, the lighting artwork incorporated in the piers structure is by Angela Bulloch. The main display spaces show the permanent collection of historic British art, the gallery also organises career retrospectives of British artists and temporary major exhibitions of British Art. Every three years the gallery stages a Triennial exhibition in which a guest curator provides an overview of contemporary British Art, the 2003 Tate Triennial was called Days Like These
