1.
Flemish painting
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Flemish painting flourished from the early 15th century until the 17th century. These painters were invited to work at foreign courts and had a Europe-wide influence, since the end of the Napoleonic era, Flemish painters had again been contributing to a reputation that had been set by the Old Masters. The Franco-Flemish School of musical composition flourished at the same time, the so-called Flemish Primitives were the first to popularize the use of oil paint. Their art has its origins in the painting of the late Gothic period. Chief among them were Jan van Eyck, Hans Memling, Hugo van der Goes, Robert Campin, the court of the Duchy of Burgundy was an important source of patronage. From the early 16th century, the Italian Renaissance started to influence the Flemish painters, the result was very different from the typical Italian Renaissance painting. The leading artist was Pieter Brueghel the Elder, who avoided direct Italian influence, after the Siege of Antwerp, the Southern Provinces of the Netherlands remained under Spanish rule and were separated from the independent Dutch Republic. Following the deaths of major artists like Rubens in 1640 and the end of the Eighty Years War in 1648, a revival of painting in this region came in the advent of the Belgian Revolution of 1830 and work around that time is often considered Flemish. The painters, who flourished in the aftermath of this period, are usually referred to as Belgian rather than Flemish. That kingdom comprising Flanders, often influences also more recent artistss categorization, new York, The Metropolitan Museum of Art. Moderne Vlaamse schilderkunst van 1850 tot 1950 van Leys tot Permeke, cS1 maint, Multiple names, authors list Liedtke, Walter A. Flemish paintings in the Metropolitan Museum of Art. New York, The Metropolitan Museum of Art
2.
Painting
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Painting is the practice of applying paint, pigment, 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, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, 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 also 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, thus, 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, writers and scientists, including Goethe, Kandinsky, 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, indigo, cobalt, ultramarine, 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, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, 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
3.
Hunting and shooting in the United Kingdom
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In the United Kingdom hunting without qualification generally refers to hunting with hounds-normally fox hunting, beagling, stag hunting or minkhunting-whereas shooting is the shooting of game birds. What is called deer hunting elsewhere is deer stalking, as of 2012 game shooting and deer stalking are practised in the UK. Hunting with hounds in the traditional manner became illegal in 2002 in Scotland and 2005 in England and Wales, since 2005 it has also been illegal in England and Wales to shoot flights or game birds while they are not in flight. Following a trail rather than a live quarry subsequently grew in importance, the British Association for Shooting and Conservation says that over a million people a year participate in shooting, including game shooting, clay shooting and target shooting. Hunting has been practised in Britain since prehistoric times, it was an activity of hunter-gatherer societies before the domestication of animals. During the last ice age, humans and neanderthals hunted mammoths and woolly rhinoceroses by driving them over cliffs, in Britain, hunting with hounds was popular in Celtic Britain before the Romans arrived, using the Agassaei breed. The Romans brought their Castorian and Fulpine hound breeds to England, along with importing the brown hare and fallow deer as quarry. The earliest known attempt to hunt a fox with hounds was in Norfolk, in the East of England, in 1534. Packs of hounds were first trained specifically to hunt foxes in the late 17th century, by the end of the 17th century, many organised packs were hunting both hare and fox. Shotguns were improved during the 18th and 19th centuries and game shooting became more popular, Game Laws were relaxed in 1831 which meant anyone could obtain a permit to take rabbits, hares and gamebirds. Shooting on the estates of Scotland was particularly popular. This trend is attributed to the Victorians who were inspired by the romantic imagery of the Scottish Highlands. The shooting of birds, in particular pheasant, is found in the UK, on large, traditional driven shoots on estates. Shooting of game birds is carried out using a shotgun, most often 12 and 20 bore or a.410, Game birds are shot in different ways. The guns will be members of a syndicate sharing costs, or have paid in the region of £25+ per bird for pheasants, the total bag will be anywhere between 10 and 400, again dependent on the budget and quarry. The day may be formal, and the head gamekeeper or a shoot captain will oversee proceedings. Great emphasis is placed on safety, pickers-up with dogs are also employed to make sure all shot or wounded game is collected. On such estates, large numbers of pheasants, partridge and duck, grouse cannot be reared intensively but the heather moorland where they live is intensively managed to maximise numbers
4.
Landscape
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A landscape is the visible features of an area of land, its landforms and how they integrate with natural or man-made features. The character of a landscape helps define the self-image of the people who inhabit it and it is the dynamic backdrop to people’s lives. Landscape can be as varied as farmland, a landscape park, the activity of modifying the visible features of an area of land is referred to as landscaping. There are several definitions of what constitutes a landscape, depending on context, the term landscape emerged around the turn of the sixteenth century to denote a painting whose primary subject matter was natural scenery. Land may be taken in its sense of something to people belong. The suffix ‑scape is equivalent to the more common English suffix ‑ship, the roots of ‑ship are etymologically akin to Old English sceppan or scyppan, meaning to shape. The suffix ‑schaft is related to the verb schaffen, so that ‑ship, the word landscape, first recorded in 1598, was borrowed from a Dutch painters term. An example of this usage can be found as early as 1662 in the Book of Common Prayer, Could we but climb where Moses stood. Setting, In works of narrative, it includes the moment in time and geographic location in which a story takes place. Picturesque, The word literally means in the manner of a picture, fit to be made into a picture, and used as early as 1703, gilpin’s Essay on Prints defined picturesque as a term expressive of that peculiar kind of beauty, which is agreeable in a picture. A view, A sight or prospect of some landscape or extended scene, wilderness, An uncultivated, uninhabited, and inhospitable region. Cityscape, The urban equivalent of a landscape, in the visual arts a cityscape is an artistic representation, such as a painting, drawing, print or photograph, of the physical aspects of a city or urban area. Seascape, A photograph, painting, or other work of art depicts the sea. Geomorphology is the study of the origin and evolution of topographic and bathymetric features created by physical or chemical processes operating at or near Earths surface. Geomorphology is practiced within physical geography, geology, geodesy, engineering geology, archaeology and this broad base of interests contributes to many research styles and interests within the field. The surface of Earth is modified by a combination of processes that sculpt landscapes, and geologic processes that cause tectonic uplift and subsidence. Many of these factors are strongly mediated by climate, the Earth surface and its topography therefore are an intersection of climatic, hydrologic, and biologic action with geologic processes. Desert, Plain, Taiga, Tundra, Wetland, Mountain, Mountain range, Cliff, Coast, Littoral zone, Glacier, Polar regions of Earth, Shrubland, Forest, Rainforest, Woodland, Jungle, Moors
5.
John Wootton
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John Wootton was an English painter of sporting subjects, battle scenes and landscapes, and illustrator. As such, his paintings were very fashionable and were sought after by those among the highest strata of the British society and these included figures such as George II of Great Britain, Frederick, Prince of Wales, and the Duke of Marlborough. He is now somewhat eclipsed in the field of paintings by the later George Stubbs. John Wootton died in London on 13 November 1764, examples of his animal painting can be found in the Tate Gallery, London, the Virginia Museum of Fine Arts, Richmond, the Yale Center for British Art, and in the Elizabethan Great Hall at Longleat. British art English school of painting List of British artists Lee, Sidney, ed. Wootton, London, Smith, Elder & Co. p.440. British Artists and War, The Face of Battle in Paintings and Prints, penguin Books, Yale History of Art series. John Wootton, Landscape and Sporting Art in Early Georgian England, kenwood House, London, the Iveagh Bequest
6.
James Seymour
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James Seymour was an English painter, widely recognized for his equestrian art. Luke - a gentlemans club his father belonged to, specializing in art, in a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period. Seymours love of art was matched only by his love of horses and he began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, jolliffes love for horses and art proved great, and his will would later establish an equestrian statue in Hampshire. In time, Seymours work and fame had spread throughout Europe and America
7.
John Michael Rysbrack
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Johannes Michel or John Michael Rysbrack, original name Jan Michiel Rijsbrack, was an 18th-century Flemish sculptor. His birth-year is sometimes given as 1693 or 1684, Rysbrack was born in Antwerp as the son of the landscape painter Pieter Rijsbraeck. His older brother Pieter Andreas Rijsbrack was a landscape and still life painter and he studied drawings by Italian masters, before settling in London in 1720. Here he quickly established himself as the sculptor, a position he was to retain until the mid-1740s. He produced vivid portraits and monuments of lively baroque composition, rapidly establishing himself as a highly sought-after sculptor, dr Cox Macro commissioned him to make a bust of Flemish painter Peter Tillemans on his death in 1734. In 1733 Rysbrack carved a magnificent marble portrait bust of George Hamilton, Orkney was a distinguished general serving under the Duke of Marlborough. Orkney had taken the surrender of the French at the Battle of Blenheim in 1704, one of Rysbracks greatest works, the bust of Lord Orkney is on display at the Victoria and Albert Museum, London. Following the battle and pursuit, city after city – including Brussels, Bruges, the arrival in Antwerp of Marlborough’s victorious forces, led by Orkney is an event that Rysbrack, then a boy aged 12, would surely have witnessed. These events must have given sculptor and Lord Orkney a great deal of opportunity for shared reminiscences during the sittings for the bust, in St Michael and All Angels Church, Badminton, there is another splendid monument by Rysbrack, signed and dated 1754. The 2nd and the 3rd Duke of Beaufort are depicted in Roman costume, one standing, decorative, asymmetrical drapery hangs down over the sarcophagus. Rysbrack also cast the equestrian statue of William III in Queen Square, Bristol in 1733. He died in Vere Street, Westminster, London, England, portraits of Rysbrack Model for the tomb of Sir Isaac Newton. John Michael Rysbrack at Find a Grave
8.
Antwerp
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Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
9.
Pieter Casteels III
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Pieter Casteels III was a Flemish painter and engraver mainly known for his flower pieces, game pieces and bird scenes. He spent a significant portion of his life in England where he had a career as a still life painter, printmaker. Pieter Casteels III was born in Antwerp as the son of Elisabeth Bosschaert and Pieter Casteels II, in 1708 he left with his brother-in-law Peter Tillemans to England to work for a picture dealer named Turner for whom they made copies of Old Master paintings. Casteels became a participant in Londons artistic community, subscribing to the Kneller Academy of Painting and Drawing in 1711 and becoming a member of the Rose. He returned briefly to Antwerp in 1712 where he became a member of the local Guild of Saint Luke in the same year, Casteels settled permanently in England around 1717. He developed a practice as a painter of flowers and exotic birds that chiefly served a decorative purpose as overdoors. He worked simultaneously as an art dealer and imported paintings from Europe and his customers included James Stanley, 10th Earl of Derby who bought imported art as well as original work of Casteels. In 1726 Casteels launched a subscription for a set of 12 prints of birds, the success of this project encouraged him to work on two further publications, the Twelve Months of Flowers and the Twelve Months of Fruit. Casteels advertised the usefulness of the illustrations in these publications as patterns for workers in luxury industries, Casteels was thus able to demonstrate his potential as a textile designer. He died on 16 May 1749 in Richmond after a long illness, Casteels painted flowers, flower pieces, landscapes, bird scenes, game pieces and occasional portraits. He is often confused with Peter Frans Casteels, a still life painter active in Antwerp in the late 17th century, as he spent most of his active career in England, a large portion of his work is in public and private collections in the UK. When in 1726 Casteels embarked on his first publishing venture, the production of 12 plates of bird scenes, the birds were depicted against gardens with classical decoration as background settings. The British Museum has a set of the original prints in its collection. It is possible that the direct or indirect inspiration for the series of paintings on the 12 months made by Casteels was a series of the 12 months by the Antwerp painter Pieter Snyers. The 12 paintings by Casteels were engraved by Henry Fletcher and published by Robert Furber, the prints illustrate seasonal flowers that could be ordered from Furber and are thus the first illustrated nursery catalogue published in England. Each plant is numbered, with a list of the species names provided. More than 400 different species of plant are featured, for clear identification each flower is depicted facing to the front and is arranged separately. The plates were sold on a subscription basis for £1 5s in uncolored form
10.
Low Countries
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Most of the Low Countries are coastal regions bounded by the North Sea or the English Channel. The countries without access to the sea have linked themselves politically and economically to those with access to one union of port. The Low Countries were the scene of the northern towns, newly built rather than developed from ancient centres. In that period, they rivaled northern Italy for the most densely populated region of Europe, all of the regions mainly depended on trade, manufacturing and the encouragement of the free flow of goods and craftsmen. Germanic languages such as Dutch and Luxembourgish were the predominant languages, secondary languages included French, Romance-speaking Belgium, the Romance Flanders, and Namur. Governor Mary of Hungary used both the expressions les pays de par deça and Pays dEmbas, which evolved to Pays-Bas or Low Countries, today the term is typically fitted to modern political boundaries and used in the same way as the term Benelux, which also includes Luxembourg. The name of the country the Netherlands has the same meaning. The same name of countries can be found in other European languages, for example German Niederlande, French, les Pays-Bas, and so on. In the Dutch language itself no plural is used for the name of the modern country, so Nederland is used for the modern nation and de Nederlanden for the 16th century domains of Charles V. In Dutch, and to an extent in English, the Low Countries colloquially means the Netherlands and Belgium, sometimes the Netherlands. For example, a Derby der Lage Landen, is an event between Belgium and the Netherlands. Belgium was renamed only in 1830, after splitting from the Kingdom of the Netherlands, politically, before the Napoleonic wars, it was referred to as the Southern, Spanish or later Austrian Netherlands. It is still referred to as part of the low countries, the region politically had its origins in Carolingian empire, more precisely, most of it was within the Duchy of Lower Lotharingia. After the disintegration of Lower Lotharingia, the Low Countries were brought under the rule of various lordships until they came to be in the hands of the Valois Dukes of Burgundy. Hence, a part of the low countries came to be referred to as the Burgundian Netherlands also called the Seventeen Provinces up to 1581. Even after the secession of the autonomous Dutch Republic in the north. The Low Countries were part of the Roman provinces of Gallia Belgica, Germania Inferior and they were inhabited by Belgic and Germanic tribes. In the 4th and 5th century, Frankish tribes had entered this Roman region and they came to be ruled by the Merovingian dynasty, under which dynasty the southern part was re-Christianised
11.
Dirk Maas
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Dirk Maas, was a Dutch Golden Age landscape painter. According to Houbraken he was first a pupil of Hendrick Mommers, a Haarlem painter of market scenes, and then took lessons from Nicolaes Berchem. Maas became a follower of Berchems Italianate landscape painting, eventually he took up with Jan van Huchtenburg, whereupon he devoted himself to painting horses. He was a pupil of Mommers, Berchem, and Huchtenburg who made prints, Italianate landscapes, in 1697 he became a member of the Confrerie Pictura, though he seems to have remained active in Haarlem also. Watercolor of the Siege of Namur by Dirk Maas on Geheugen van Nederland
12.
Jan Wyck
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Jan Wyck was a Dutch baroque painter, best known for his works on military subjects. There are still over 150 of his works known to be in existence, Jan Wyck was born on 29 October 1652, in Haarlem, then part of the Dutch Republic. The son of Thomas Wyck, also a Dutch painter, it is assumed that his father taught him to paint and his father had spent much of the 1630s in Rome, refining an Italianate style, which can be seen in the works of both father and son. It appears likely that at a young age he and his father moved to England during the reign of Charles II of England. At this hearing he also promised to deliver his proofe piece. However his father had returned to Haarlem within a year, the reference to him being a widower at the age of 24 indicates he was first married at a young age. His second wife was a 19-year-old English woman called Anne Skinner of St Martin-in-the-fields, following the death of Anne in 1687, he remarried for the third time to a Dutch woman by the name of Elizabeth Holomberg in 1688. They moved into a new home in Mortlake, and between 1689 and 1693 they had two sons and a daughter together and his wife Elizabeth died giving birth to their daughter. As the son of a successful artist, it is likely Wyck was painting and drawing from a young age. Enjoying the patronage of the Duke of Ormond Wyck was known as the best landscape painter in London by 1686, by the time William III of England ascended to the throne, Wyck was also enjoying the patronage of the Duke of Monmouth. He painted a portrait of Monmouth on horseback in the 1670s, as well as depictions of him in battle, such as at the Siege of Maastricht in 1673. Wyck was placed upon the committee of Acting Painters of the Painter-Stainers Company on 24 November 1680 and he first made a public name for himself when he accompanied fellow Dutch painter Dirk Maas to Ireland to paint the campaigns of William III. Maas had received a commission from King William to paint the Battle of the Boyne, throughout the 1690s, he is known to have created at least half a dozen oils of the battle, as well as countless battle pieces, encampments and equestrian portraits of soldiers before battle. William was impressed with his work, and commissioned him to paint himself, William had soon also called upon Wyck to depict countless scenes of his campaigns throughout the low countries during the Nine Years War, including the Siege of Namur, and the Siege of Naarden. Other scenes he painted include the Siege of Derry, and the horse and battle portion of Godfrey Knellers famous portrait of the Duke of Schomberg, wycks works are notable for their flair and colour, as well as the excellent attention to detail. He highlights features such as flourishing sabres, firing muskets, flaring horses nostrils, but most importantly he brought the viewer into the battle at a time when the prevailing trend was to present birds-eye views over a battle, showing disposition and locations of troop formations. He personalised the soldiers, and created an atmospheric presentation of the scenes depicted and he also celebrated notable commanders and recognisable figures within his works, a feature that made him popular with those commissioning works. One of his students that went on to produce great works of national importance was John Wootton
13.
Willem van de Velde the Younger
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Willem van de Velde the Younger was a Dutch marine painter. Willem van de Velde was baptised on 18 December 1633 in Leiden, Holland and he was also patronized by the Duke of York and by various members of the nobility. He died on 6 April 1707 in London, England, and was buried at St. Jamess Church, most of Van de Veldes finest works represent views off the coast of Holland, with Dutch shipping. His best productions are delicate, spirited and finished in handling, the numerous figures are tellingly introduced, and the artist is successful in his renderings of sea, whether in calm or storm. The ships are portrayed with almost photographic accuracy, and are the most precise guides available to the appearance of 17th-century ships, there are a number of van de Veldes marine paintings in the Wallace Collection, London, including The Embarkation of King Charles II at Scheveningen,1660. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Vandevelde. Dutch and Flemish paintings from the Hermitage, a catalog from The Metropolitan Museum of Art
14.
Richmond, London
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Richmond is a suburban town in southwest London,8.2 miles west-southwest of Charing Cross. The town is on a meander of the River Thames, with a number of parks and open spaces, including Richmond Park, and many protected conservation areas. A specific Act of Parliament protects the scenic view of the River Thames from Richmond, Richmond was founded following Henry VIIs building of Richmond Palace in the 16th century, from which the town derives its name. During this era the town and palace were particularly associated with Elizabeth I, during the 18th century Richmond Bridge was completed and many Georgian terraces were built, particularly around Richmond Green and on Richmond Hill. These remain well preserved and many have listed building architectural or heritage status, the opening of the railway station in 1846 was a significant event in the absorption of the town into a rapidly expanding London. Richmond was formerly part of the ancient parish of Kingston upon Thames in the county of Surrey, in 1890 the town became a municipal borough, which was later extended to include Kew, Ham, Petersham and part of Mortlake. The municipal borough was abolished in 1965 when, as a result of boundary changes, Richmond is now part of the London Borough of Richmond upon Thames, and has a population of 21,469. It has a significant commercial and retail centre with a developed day, the area now known as Richmond was formerly part of Shene. Shene was not listed in Domesday Book, although it is depicted on the maps as Sceon. Henry VII had a palace there and in 1501 he named it Richmond Palace in recognition of his earldom. The town that developed nearby took the name as the palace. Henry I lived briefly in the Kings house in Sheanes, Edward II, following his defeat by the Scots at the Battle of Bannockburn in 1314, founded a monastery for Carmelites at Sheen. When the boy-king Edward III came to the throne in 1327 he gave the manor to his mother Isabella, Edward later spent over two thousand pounds on improvements, but in the middle of the work Edward himself died at the manor, in 1377. Richard II was the first English king to make Sheen his main residence and it was rebuilt between 1414 and 1422, but destroyed by fire 1497. Following that fire Henry VII built a new residence at Sheen, there are unconfirmed beliefs that Shakespeare may have performed some plays there. Once Elizabeth I became queen she spent much of her time at Richmond and she died there on 24 March 1603. The palace was no longer in use after 1649, but in 1688 James II ordered partial reconstruction of the palace. The bulk of the palace had decayed by 1779, but surviving structures include the Wardrobe, Trumpeters House, and this has five bedrooms and was made available on a 65-year lease by the Crown Estate Commissioners in 1986
15.
George II of Great Britain
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George II was King of Great Britain and Ireland, Duke of Brunswick-Lüneburg and Prince-elector of the Holy Roman Empire from 11 June 1727 until his death. George was the last British monarch born outside Great Britain, he was born, after the deaths of Sophia and Anne, Queen of Great Britain, in 1714, his father George I, Elector of Hanover, inherited the British throne. In the first years of his fathers reign as king, George was associated with opposition politicians, as king from 1727, George exercised little control over British domestic policy, which was largely controlled by the Parliament of Great Britain. As elector, he spent twelve summers in Hanover, where he had direct control over government policy. He had a relationship with his eldest son, Frederick. During the War of the Austrian Succession, George participated at the Battle of Dettingen in 1743, Frederick died unexpectedly in 1751, nine years before his father, and so George II was ultimately succeeded by his grandson, George III. For two centuries after George IIs death, history tended to him with disdain, concentrating on his mistresses, short temper. Since then, most scholars have reassessed his legacy and conclude that he held and exercised influence in foreign policy and military appointments. George was born in the city of Hanover in Germany, and was the son of George Louis, Hereditary Prince of Brunswick-Lüneburg, both of Georges parents committed adultery, and in 1694 their marriage was dissolved on the pretext that Sophia had abandoned her husband. She was confined to Ahlden House and denied access to her two children, George and his sister Sophia Dorothea of Hanover, who never saw their mother again. George spoke only French, the language of diplomacy and the court, until the age of four, after which he was taught German by one of his tutors, Johann Hilmar Holstein. In addition to French and German, he was schooled in English and Italian. Georges second cousin once removed, Queen Anne, ascended the thrones of England, Scotland and Ireland in 1702, consequently, after his grandmother and father, George was third in line to succeed Anne in two of her three realms. England and Scotland united in 1707 to form the Kingdom of Great Britain, Georges father did not want his son to enter into a loveless arranged marriage as he had, and wanted him to have the opportunity of meeting his bride before any formal arrangements were made. Negotiations from 1702 for the hand of Princess Hedvig Sophia of Sweden, Dowager Duchess and regent of Holstein-Gottorp, the English envoy to Hanover, Edmund Poley, reported that George was so taken by the good character he had of her that he would not think of anybody else. A marriage contract was concluded by the end of July, on 22 August /2 September 1705O. S. /N. S. Caroline arrived in Hanover for her wedding, which was held the evening in the chapel at Herrenhausen. George was keen to participate in the war against France in Flanders, in early 1707, Georges hopes were fulfilled when Caroline gave birth to a son, Frederick
16.
Suffolk
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Suffolk is an East Anglian county of historic origin in England. It has borders with Norfolk to the north, Cambridgeshire to the west, the North Sea lies to the east. The county town is Ipswich, other important towns include Lowestoft, Bury St Edmunds, Newmarket and Felixstowe, the county is low-lying with very few hills, and is largely arable land with the wetlands of the Broads in the north. The Suffolk Coast and Heaths are an Area of Outstanding Natural Beauty, by the fifth century, the Angles had established control of the region. The Angles later became the folk and the south folk. Suffolk and several adjacent areas became the kingdom of East Anglia, Suffolk was originally divided into four separate Quarter Sessions divisions. In 1860, the number of divisions was reduced to two, the eastern division was administered from Ipswich and the western from Bury St Edmunds. Under the Local Government Act 1888, the two divisions were made the administrative counties of East Suffolk and West Suffolk, Ipswich became a county borough. A few Essex parishes were added to Suffolk, Ballingdon-with-Brundon and parts of Haverhill. On 1 April 1974, under the Local Government Act 1972, East Suffolk, West Suffolk, the county was divided into several local government districts, Babergh, Forest Heath, Ipswich, Mid Suffolk, St. Edmundsbury, Suffolk Coastal, and Waveney. This act also transferred some land near Great Yarmouth to Norfolk, in 2007, the Department for Communities and Local Government referred Ipswich Borough Councils bid to become a new unitary authority to the Boundary Committee. The Boundary Committee consulted local bodies and reported in favour of the proposal and it was not, however, approved by the Secretary of State for Communities and Local Government. Beginning in February 2008, the Boundary Committee again reviewed local government in the county, West Suffolk, like nearby East Cambridgeshire, is renowned for archaeological finds from the Stone Age, the Bronze Age, and the Iron Age. Bronze Age artefacts have been found in the area between Mildenhall and West Row, in Eriswell and in Lakenheath, other finds include traces of cremations and barrows. The majority of agriculture in Suffolk is either arable or mixed, Farm sizes vary from anything around 80 acres to over 8,000. Soil types vary from clays to light sands. The continuing importance of agriculture in the county is reflected in the Suffolk Show, although latterly somewhat changed in nature, this remains primarily an agricultural show. Below is a chart of regional gross value added of Suffolk at current basic prices published by Office for National Statistics with figures in millions of British Pounds Sterling, well-known companies in Suffolk include Greene King and Branston Pickle in Bury St Edmunds
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Stowlangtoft
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Stowlangtoft is a village and civil parish in the Mid Suffolk district of Suffolk in eastern England two miles south-east from Ixworth. Located around five miles north-east of Bury St Edmunds, in 2005 its population was 270, the village, originally just Stow, was held by the de Languetot family in the early 13th century. For all of Stowlangtofts small size, St Georges is within the group classed as Great Churches, the church was built as a single construction project in the late 14th century and barely changed until the restoration work undertaken in the 19th century. The church is in the decorated and later English styles, the chancel contains several richly-carved stalls, the church and parsonage-house are located on what was once the site of a Roman encampment. Sir Symonds DEwes, Bart. the eminent antiquary, lived in the Hall, peter Tillemans, one of the founders of the English school of sporting painting, was buried in St Georges on 7 December 1734. At some point after the Dissolution of the monasteries, St Georges acquired six 14th-century misericords and it is not clear where these misericords originated, but possible candidates are Thetford Priory or Bury Abbey. In the grounds of Stowlangtoft Hall, there is a gruesome-looking tree attracting many visitors, photos Media related to Stowlangtoft at Wikimedia Commons
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Joseph Francis Nollekens
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Joseph Francis Nollekens was a Flemish painter, baptised as Corneille François Nollekens and often called Old Nollekens in English. He was born in Antwerp, the son of Jan Baptiste Nollekens, a painter who practised for a time in England, but eventually settled in France. He perhaps studied under Antoine Watteau, whose style and choice of subject he to some extent imitated, Nollekens went to England in 1733. On 21 January 1748, he died at his house in Dean Street, Soho, according to a contemporary story of Thomas Banks, he was a miser, or had a pathological fear of being robbed of property. When first in England, Nollekens worked on making copies from Watteau and he also carried out decorative works at Stowe House for Lord Cobham, and painted pictures for the Marquess of Stafford at Trentham Hall. Nollekens found a patron in Richard Child, 1st Earl Tylney, for whom he painted conversation pieces, fêtes champêtres. Several of these were included in the held at Wanstead in 1822, one. At Windsor there was a picture by him in which portraits of Frederick, Prince of Wales, Nollekens married Mary Anne Le Sacq or Lesack, by whom he had five children, John Joseph, Joseph, Maria Joanna Sophia, Jacobus, and Thomas Charles. Of them, only Joseph Nollekens remained in England becoming one of the nations most famous sculptors, attribution This article incorporates text from a publication now in the public domain, Lee, Sidney, ed. Nollekens, Joseph Francis
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Henry Fuseli
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Henry Fuseli RA was a Swiss painter, draughtsman and writer on art who spent much of his life in Britain. Many of his works, such as The Nightmare, deal with supernatural subject-matter and he painted works for John Boydells Shakespeare Gallery, and created his own Milton Gallery. He held the posts of Professor of Painting and Keeper at the Royal Academy and his style had a considerable influence on many younger British artists, including William Blake. Fuseli was born in Zürich, Switzerland, the second of 18 children and his father was Johann Caspar Füssli, a painter of portraits and landscapes, and author of Lives of the Helvetic Painters. He intended Henry for the church, and sent him to the Caroline college of Zurich, one of his schoolmates there was Johann Kaspar Lavater, with whom he became close friends. After taking orders in 1761 Fuseli was forced to leave the country as a result of having helped Lavater to expose an unjust magistrate and he travelled through Germany, and then, in 1765, visited England, where he supported himself for some time by miscellaneous writing. Eventually, he acquainted with Sir Joshua Reynolds, to whom he showed his drawings. Following Reynolds advice, he decided to devote entirely to art. In 1770 he made an art-pilgrimage to Italy, where he remained until 1778, Early in 1779 he returned to Britain, taking in Zürich on his way. In London he found a commission awaiting him from Alderman Boydell, Fuseli painted a number of pieces for Boydell, and published an English edition of Lavaters work on physiognomy. He also gave William Cowper some valuable assistance in preparing a translation of Homer, in 1788 Fuseli married Sophia Rawlins, and he soon after became an associate of the Royal Academy. Fuseli later said I hate clever women, in 1790 he became a full Academician, presenting Thor Battering the Midgard Serpent as his diploma work. In 1799 Fuseli was appointed professor of painting to the Academy, four years later he was chosen as Keeper, and resigned his professorship, but resumed it in 1810, continuing to hold both offices until his death. As Keeper, he was succeeded by Henry Thomson, in 1799 Fuseli exhibited a series of paintings from subjects furnished by the works of John Milton, with a view to forming a Milton gallery comparable to Boydells Shakespeare gallery. There were 47 Milton paintings, many of them very large, the exhibition proved a commercial failure and closed in 1800. In 1805 he brought out an edition of Pilkingtons Lives of the Painters, which did little for his reputation. Antonio Canova, when on his visit to England, was taken with Fuselis works. As a painter, Fuseli favoured the supernatural and he pitched everything on an ideal scale, believing a certain amount of exaggeration necessary in the higher branches of historical painting
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Jacques Courtois
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Jacques Courtois or Giacomo Cortese, called il Borgognone or le Bourgignon was a French-Italian painter, draughtsman and etcher. He was mainly active in Rome and Florence and became known as the battle painter of his age. He also created paintings and portraits. He became a Jesuit later in life but continued to paint, Jacques Courtois was born in Saint-Hippolyte, near Besançon in France as the son of the obscure painter Jean-Pierre Courtois. Very little is known about Guillaume’s youth but it is assumed he received his training from his father. He had two brothers who also became painters Guillaume and Jean-François. As his brother was also known as il Borgognone, some of the works of the brothers have been confused. The father took his sons to Italy around 1636 when they were still young, according to contemporary biographers he served for three years in the Spanish army. During this time he drew marches and battles, fight scenes, landscapes and he then abandoned the weapons and studied for some time in Milan with an unidentified sculptor. He moved to Bologna in 1639 where he first entered the studio of Jérôme Colomès, according to early Italian biographer Filippo Baldinucci Courtois talent got noticed in Bologna by prominent painters Guido Reni and Francesco Albani. He continued his apprenticeship in Siena, where he studied for some time at the school of Astolfo Petrazzi and it is possible that the brothers Guillaume and Jacques remained together until the later 1640s. He stayed for a time in Florence where he met two Northern painters Jan Asselijn, a battle painter, and Matthieu van Plattenberg, a marine artist. He went to Rome around 1639-1640 where he initially was permitted to live in the monastery of Santa Croce in Gerusalemme in Milan through the intercession of the abbot Don Ilarione Rancati. The abbot also was instrumental in securing Courtois first official commissions, in Rome he also became friends with Pieter van Laer, a Dutch genre painter active in Rome where he was known by the nickname Bamboccio. Pieter van Laer was known for his scenes, animal paintings and landscapes. The style of painting practiced by Pieter van Laer was followed by other Northern. These followers became known as the Bamboccianti and a painting in this style as a Bambocciata, during the early and mid-1640s he started to attract the patronage of prominent noble Roman families, among them the Sacchetti, Chigi Family and Pamphili. It was Pietro da Cortona who had introduced him to these noble families and he also worked for patrons outside Rome and abroad in Spain and Italy
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David Teniers the Younger
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David Teniers the Younger was a Flemish artist born in Antwerp, the son of David Teniers the Elder. His son David Teniers III and his grandson David Teniers IV were also painters and his wife Anna, née Anna Breughel, was the daughter of Jan Brueghel the Elder and the granddaughter of Pieter Bruegel the Elder. Through his father, he was influenced by Elsheimer and by Rubens. The influence of Adriaen Brouwer can be traced to the outset of his career, the only trace of personal relations having existed between Teniers and Rubens is the fact that the ward of the latter, Anne Breughel, the daughter of Jan Breughel, married Teniers in 1637. Admitted as a master in the Guild of St Luke in 1632, the Berlin Museum possesses a group of ladies and gentlemen dated 1630. No special signature positively distinguishes these first productions from those of his father, Dr. Bode, in a study of Brouwer and his works, expresses the opinion that Tenierss earliest pictures are those found under the signature Tenier. Tenier is a Flemish version of a thoroughly Walloon name, Taisnier which the grandfather, a mercer, brought with him when he came from Ath in 1558. His touch is of the rarest delicacy, his colour at once gay and he was little over thirty when the Antwerp guild of St. George enabled him to paint the picture which ultimately found its way to the Hermitage in St. Petersburg the Meeting of the Civic Guards. Correct to the minutest detail, yet striking in effect, the scene, under the rays of sunshine, displays an astonishing amount of acquired knowledge. Teniers was chosen by the council of Antwerp to preside over the Guild of Saint Luke in 1644. The Archduke Leopold Wilhelm, who had assumed the government of the Spanish Netherlands employed Teniers as a painter, with the title of ayuda de camara, Teniers moved to Brussels shortly after 1647. Immense sums were spent buying paintings for the archduke, a number of valuable works of Italian masters, now in the Kunsthistorisches Museum, came from Leopold Wilhelms gallery after having belonged to Charles I and the Duke of Buckingham. De Bie states that Teniers visited London, collecting pictures for the Duke of Fuensaldana, then acting as Leopold Wilhelms lieutenant in the Netherlands. Still more interesting is a canvas, now in the Munich Gallery, when Leopold Wilhelm returned to Vienna, Teniers appointment ended. Teniers nevertheless remained in favor with the new governor-general, Don Juan of Austria. The prince was his pupil, and de Bie tells us he painted the likeness of the painters son, in a petition to the king he reminded him that the honour of knighthood had been bestowed upon Rubens and van Dyck. The king at last declared his readiness to grant the request, the condition was not complied with, but it may perhaps account for his interest in founding an academy in Antwerp strictly limited to painters and sculptors. Teniers died in Brussels on 25 April 1690, the date is often wrongly given as 1694 or 1695
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Palace of Westminster
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The Palace of Westminster is the meeting place of the House of Commons and the House of Lords, the two houses of the Parliament of the United Kingdom. Commonly known as the Houses of Parliament after its occupants, the Palace lies on the bank of the River Thames in the City of Westminster. The palace is owned by the monarch in right of the Crown and for ceremonial purposes, the building is managed by committees appointed by both houses, which report to the Speaker of the House of Commons and the Lord Speaker. The first royal palace was built on the site in the 11th century, part of the New Palaces area of 3.24 hectares was reclaimed from the Thames, which is the setting of its nearly 300-metre long façade, called the River Front. Barry was assisted by Augustus Pugin, an authority on Gothic architecture and style. The Palace is one of the centres of political life in the United Kingdom, Westminster has become a metonym for the UK Parliament, the Palace of Westminster has been a Grade I listed building since 1970 and part of a UNESCO World Heritage Site since 1987. The Palace of Westminster site was important during the Middle Ages. Known in medieval times as Thorney Island, the site may have been first-used for a residence by Canute the Great during his reign from 1016 to 1035. St Edward the Confessor, the penultimate Anglo-Saxon monarch of England, Thorney Island and the surrounding area soon became known as Westminster. Neither the buildings used by the Anglo-Saxons nor those used by William I survive, the oldest existing part of the Palace dates from the reign of William Is successor, King William II. The Palace of Westminster was the principal residence in the late Medieval period. The predecessor of Parliament, the Curia Regis, met in Westminster Hall, simon de Montforts parliament, the first to include representatives of the major towns, met at the Palace in 1265. The Model Parliament, the first official Parliament of England, met there in 1295, in 1512, during the early years of the reign of King Henry VIII, fire destroyed the royal residential area of the palace. In 1534, Henry VIII acquired York Place from Cardinal Thomas Wolsey, renaming it the Palace of Whitehall, Henry used it as his principal residence. Although Westminster officially remained a royal palace, it was used by the two Houses of Parliament and by the various law courts. Because it was originally a residence, the Palace included no purpose-built chambers for the two Houses. Important state ceremonies were held in the Painted Chamber which had originally built in the 13th century as the main bedchamber for King Henry III. The House of Commons, which did not have a chamber of its own, the Commons acquired a permanent home at the Palace in St Stephens Chapel, the former chapel of the royal palace, during the reign of Edward VI
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Anne, Queen of Great Britain
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Anne became Queen of England, Scotland and Ireland on 8 March 1702. On 1 May 1707, under the Acts of Union, two of her realms, the kingdoms of England and Scotland, united as a sovereign state known as Great Britain. She continued to reign as Queen of Great Britain and Ireland until her death, Anne was born in the reign of her uncle Charles II, who had no legitimate children. Her father, James, was first in line to the throne and his suspected Roman Catholicism was unpopular in England, and on Charless instructions Anne was raised as an Anglican. Three years after he succeeded Charles, James was deposed in the Glorious Revolution of 1688, Annes Dutch Protestant brother-in-law and cousin William III became joint monarch with his wife, Annes elder sister Mary II. Although the sisters had been close, disagreements over Annes finances, status and choice of acquaintances arose shortly after Marys accession, William and Mary had no children. After Marys death in 1694, William continued as sole monarch until he was succeeded by Anne upon his death in 1702, as queen, Anne favoured moderate Tory politicians, who were more likely to share her Anglican religious views than their opponents, the Whigs. The Whigs grew more powerful during the course of the War of the Spanish Succession and her close friendship with Sarah Churchill, Duchess of Marlborough, turned sour as the result of political differences. Anne was plagued by ill health throughout her life, from her thirties onwards, she grew increasingly lame and obese. Despite seventeen pregnancies by her husband, Prince George of Denmark, she died without any surviving children and was the last monarch of the House of Stuart. Anne was born at 11,39 p. m. on 6 February 1665 at St Jamess Palace, London, the child and second daughter of James, Duke of York. At her Anglican baptism in the Chapel Royal at St Jamess, her sister, Mary, was one of her godparents, along with the Duchess of Monmouth. The Duke and Duchess of York had eight children, but Anne, as a child, Anne suffered from an eye condition, which manifested as excessive watering known as defluxion. For medical treatment, she was sent to France, where she lived with her grandmother, Queen Henrietta Maria. Following her grandmothers death in 1669, Anne lived with an aunt, Henrietta Anne, on the sudden death of her aunt in 1670, Anne returned to England. Her mother died the following year, as was traditional in the royal family, Anne and her sister were brought up separated from their father in their own establishment at Richmond, London. On the instructions of Charles II, they were raised as Protestants, placed in the care of Colonel Edward and Lady Frances Villiers, their education was focused on the teachings of the Anglican church. Henry Compton, Bishop of London, was appointed as Annes preceptor, around 1671, Anne first made the acquaintance of Sarah Jennings, who later became her close friend and one of her most influential advisors
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"Tillemans, Peter". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.
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