1.
National Portrait Gallery, London
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The National Portrait Gallery is an art gallery in London housing a collection of portraits of historically important and famous British people. It was the first portrait gallery in the world when it opened in 1856, the gallery moved in 1896 to its current site at St Martins Place, off Trafalgar Square, and adjoining the National Gallery. It has been expanded twice since then, the National Portrait Gallery also has regional outposts at Beningbrough Hall in Yorkshire and Montacute House in Somerset. It is unconnected to the Scottish National Portrait Gallery in Edinburgh, the gallery is a non-departmental public body sponsored by the Department for Culture, Media and Sport. The gallery houses portraits of important and famous British people, selected on the basis of the significance of the sitter. The collection includes photographs and caricatures as well as paintings, drawings, one of its best-known images is the Chandos portrait, the most famous portrait of William Shakespeare although there is some uncertainty about whether the painting actually is of the playwright. Not all of the portraits are exceptional artistically, although there are self-portraits by William Hogarth, Sir Joshua Reynolds, some, such as the group portrait of the participants in the Somerset House Conference of 1604, are important historical documents in their own right. Portraits of living figures were allowed from 1969, the three people largely responsible for the founding of the National Portrait Gallery are commemorated with busts over the main entrance. At centre is Philip Henry Stanhope, 5th Earl Stanhope, with his supporters on either side, Thomas Babington Macaulay, 1st Baron Macaulay and it was Stanhope who, in 1846 as a Member of Parliament, first proposed the idea of a National Portrait Gallery. It was not until his attempt, in 1856, this time from the House of Lords. With Queen Victorias approval, the House of Commons set aside a sum of £2000 to establish the gallery, as well as Stanhope and Macaulay, the founder Trustees included Benjamin Disraeli and Lord Ellesmere. It was the latter who donated the Chandos portrait to the nation as the gallerys first portrait, Carlyle became a trustee after the death of Ellesmere in 1857. For the first 40 years, the gallery was housed in locations in London. The first 13 years were spent at 29 Great George Street, there, the collection increased in size from 57 to 208 items, and the number of visitors from 5,300 to 34,500. In 1869, the moved to Exhibition Road and buildings managed by the Royal Horticultural Society. Following a fire in buildings, the collection was moved in 1885. This location was unsuitable due to its distance from the West End, condensation. Following calls for a new location to be found, the government accepted an offer of funds from the philanthropist William Henry Alexander, Alexander donated £60,000 followed by another £20,000, and also chose the architect, Ewan Christian
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.
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
4.
John Lucas (painter)
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John Lucas was an English portrait painter. Born in London on 4 July 1807, he was son of William Lucas, from a Kings Lynn family, originally in the Royal Navy, then a writer and journalist and he was apprenticed to Samuel William Reynolds, the mezzotint engraver, where Samuel Cousins was his fellow-pupil. At the end of his apprenticeship he set up as a portrait-painter, Lucas was a member of the Clipstone Street academy, where he worked with William Etty and other artists. One of his earliest patrons and sitters was Henry Milton, who introduced him to Mary Russell Mitford, whose portrait he painted and he then substituted a portrait of her father. A further portrait of her, he kept in his studio, one of the fashionable portrait-painters of his time, Lucas had a successful career. He died at his residence in St Johns Wood, London, on 30 April 1874, works in his possession at his death went to auction by Messrs. Christie, Manson, & Woods, on 25 February 1875, Lucas exhibited 96 portraits at the Royal Academy,13 at the British Institution, and eight at the Suffolk Street Gallery, between 1828 and his death. He contributed to Sir Robert Peels gallery of contemporary portraits, many of Lucass portraits were engraved, some, like that of Nicholas Conyngham Tindal, by himself in mezzotint. He also engraved a few portraits after Sir Thomas Lawrence, including one of the Queen of Portugal, Lucas married early in life Miss Milborough Morgan, and left three sons and two daughters. The eldest son, John Templeton Lucas, was an artist, William Lucas became a water-colour painter, John Seymour Lucas was a nephew and pupil. 53 Painting by or after John Lucas at the Art UK site Attribution This article incorporates text from a now in the public domain, Lee, Sidney, ed. Lucas
5.
Marie Seymour Lucas
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Marie Seymour Lucas née Marie Elizabeth Cornelissen was a French-born English painter. She was the daughter of Louis Dieudonné Cornelissen and Marianne, née Bath and she attended St. Martins Lane Academy and later the Royal Academy, where she began showing her work in 1877. She married the painter John Seymour Lucas the same year and was only known professionally by her married name. She is known for works and genre scenes, but she later concentrated on domestic scenes with children. Her painting of orphans We are but little children weak, nor born to any high estate was included in the 1905 book Women Painters of the World
6.
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
7.
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
8.
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
9.
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
