1.
Sudbury, Suffolk
–
Sudbury is a small market town in the English county of Suffolk. It is located on the River Stour near the Essex border, at the 2011 census, the town has a population of 13,063, rising to 21,971 including the adjoining parish of Great Cornard. It is the largest town of Babergh district council, the government district. Evidence of Sudbury as a settlement originates from the end of the 8th century during the Anglo-Saxon era and its textile industries prospered during the Late Middle Ages, the wealth of which funded many of its buildings and churches. The 19th century saw the arrival of the railway with the opening of a station on the historic Stour Valley Railway, during World War II, US Army Airforce bombers operated from RAF Sudbury. In sport, the town has a football club, A. F. C. Sudbury, which competes at the level of the football pyramid. Sudbury’s history dates back into the age of the Saxons, the town’s earliest mention is in 799 AD, when Aelfhun, Bishop of Dunwich, died in the town. The Anglo-Saxon Chronicle records the town as Suthberie, presumed to distinguish it from Norwich or Bury St Edmunds, the town is also mentioned in the Domesday Book of 1086, as a market town where the local people came to barter their goods. The market was established in 1009, a community of Dominicans arrived in the mid-13th century and gradually extended the size of their priory, which was one of three Dominican priories in the county of Suffolk. Sudbury was one of the first towns in which Edward III settled the Flemings, allowing the weaving, as the main town in the area, Sudbury prospered too, and many great houses and churches were built, giving the town a major historical legacy. The Woolsack in the House of Lords was originally stuffed with wool from the Sudbury area, one citizen of Sudbury, Archbishop Simon Sudbury showed that not even the Tower of London guarantees safety. On 14 June 1381 guards opened the Tower’s doors and allowed a party of peasants to enter. Sudbury, inventor of the tax, was dragged to Tower Hill. His body was buried in Canterbury Cathedral, but his skull is kept in St. Gregory’s with St. Peter’s Church. Simons concerns for his native town are reflected in the founding of St Leonards Hospital in 1372, for the College of St Gregory, which he founded in 1375 to support eight priests, he used his fathers former house and an adjoining plot. From the 16th to 18th century the industry was less consistently profitable. By means of the court, the mayor and corporation directed the affairs of the town
Sudbury, Suffolk
–
Statue of Thomas Gainsborough on Market Hill
Sudbury, Suffolk
–
Thomas Gainsborough's house, now a public museum and gallery of his work.
2.
Suffolk
–
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
Suffolk
–
Sheep grazing among the ruins of
Bury St Edmunds Abbey,
Bury St Edmunds in 1920
Suffolk
Suffolk
–
Gainsborough's
Mr and Mrs Andrews (1748–49), housed at the
National Gallery in London, depicts the Suffolk landscape of his time.
3.
Mr and Mrs Andrews
–
Mr and Mrs Andrews is an oil on canvas portrait of about 1750 by Thomas Gainsborough, now in the National Gallery, London. Soon the painting began to receive hostile scrutiny as a paradigm of the paternalist and capitalist society of 18th-century England, but it remains a firm popular favourite. The work is a combination of two common types of painting of the period, a double portrait, here of a recently married couple. Thomas Gainsborough was about twenty-one when he painted Mr and Mrs Andrews in 1750, there, he also picked up a love of landscapes in the Dutch style. However, landscape painting was far less prestigious and poorly paid compared to portraits, Mr and Mrs Andrews contains the widest landscape of Gainsboroughs portraits, and he would not return to such compositions. Future paintings would be set against neutral or typical rococo settings and it has been speculated that Gainsborough wished to show off his landscape ability to potential clients, to satisfy his personal preference, or his sitters wishes. The relatively small size of the painting, just 2 feet 3 inches high, is typical of both Gainsboroughs portraits and landscapes at this early period. Both his landscape backgrounds to portraits and his pure landscapes tend to show woodland, Robert Andrews, the male sitter, was a member of the landed gentry, and this is very much apparent in Gainsboroughs work. Although it is probable the family came from being a landlord, Roberts father also lent substantial amounts of money, particularly to other gentry. This included the sum of £30,000 to Frederick, Prince of Wales in 1743 and he had a London house in Grosvenor Square in Mayfair, and also owned ships and engaged in trade with the colonies of the British Empire. Robert himself was born in Bulmer, Essex in 1725, and after attending Sudbury Grammar School at the time as Gainsborough did, went on to University College. His father purchased him an estate, and secured a bride, in 1763, after his fathers death, he would take over the family business. By 1750 he owned almost 3,000 acres, including most of the visible in the painting. His wife sitting beside him is Frances Mary Carter, who was brought up in the parish of Bulmer, and was not quite the girl next door. She was betrothed to Andrews at 15 or 16 years old and they were married in Sudbury, on 10 November 1748, he was 22, she 16. Her family had made their money in the business. The Andrews estate, Auberies, in Bulmer Tye, North Essex, is just some four miles from Sudbury and it was probably part of her dowry or bought with it, and had been bought between their marriage and when the painting was done. The church glimpsed in the middle of the work is All Saints, Sudbury, the small tower in the left background is that of Holy Trinity Church in Long Melford
Mr and Mrs Andrews
–
Mr and Mrs Andrews
Mr and Mrs Andrews
–
Gainsborough's self-portrait of 1754
Mr and Mrs Andrews
–
Robert Andrews
Mr and Mrs Andrews
–
Mrs Andrews' parents, also by Gainsborough: Portrait of Mr and Mrs Carter (c. 1747–1748), 91 x 71 cm
4.
The Blue Boy
–
The Blue Boy is a full-length portrait in oil by Thomas Gainsborough, now in the Huntington Library, San Marino, California. Perhaps Gainsboroughs most famous work, it is thought to be a portrait of Jonathan Buttall, Gainsborough had already drawn something on the canvas before beginning The Blue Boy, which he painted over. The painting is about life-size, measuring 48 inches wide by 70 inches tall, the painting was in Jonathan Buttalls possession until he filed for bankruptcy in 1796. It was bought first by the politician John Nesbitt and then, in 1802, in about 1809, The Blue Boy entered the collection of the Earl Grosvenor and remained with his descendants until its sale by the second Duke of Westminster to the dealer Joseph Duveen in 1921. By then it had become a popular favourite in print reproductions, after being exhibited to the public in various exhibitions at the British Institution, Royal Academy. In 1919, the painting inspired German film producer Friedrich Wilhelm Murnau to create his debut film Knabe in Blau. H and it was this painting that moved pop artist Robert Rauschenberg toward painting. It is often paired with a painting by Thomas Lawrence called Pinkie which sits opposite to it at the Huntington Library, the Ones That Got Away, essay from Saved. 100 Years of the National Art Collection Fund, the Nations Mantelpiece, A history of the National Gallery. London, Pallas Athene Philip Thicknesse, Life of Sir Thomas Gainsborough Tyler, Jonathan Buttall in the Oxford Dictionary of National Biography. Oxford, Oxford University Press Media related to The Blue Boy at Wikimedia Commons http, //www. gardenofpraise. com/art39. htm
The Blue Boy
–
The Blue Boy
The Blue Boy
–
The Children of
King Charles I of England (1637) by
Van Dyck. From left:
Mary,
James –
unbreeched at four,
Charles,
Elizabeth and
Anne.
5.
Royal Society of Arts
–
The Royal Society for the Encouragement of Arts, Manufactures and Commerce is a London-based, British organisation committed to finding practical solutions to social challenges. The shorter version, The Royal Society of Arts and the related RSA acronym, are used more frequently than the full name, the RSA award three medals, the Albert Medal, the Benjamin Franklin Medal and the Bicentenary Medal. Medal winners include Nelson Mandela, Sir Frank Whittle, and Professor Stephen Hawking, on the RSA buildings frieze The Royal Society of Arts words are engraved, although its full name is Royal Society for the encouragement of Arts, Manufactures and Commerce. The short name and the related R S of A abbreviation is used more frequently than the full name, on its website, the RSA characterises itself as an enlightenment organisation committed to finding innovative practical solutions to today’s social challenges. The RSAs Patron is currently HM Elizabeth II, the RSAs President is HRH The Princess Royal, its Chairman is Vikki Heywood, life Fellows must have demonstrated exceptionally high achievement. The RSA says, The RSA Fellowship is an international community achievers and influencers from an array of backgrounds and professions. Fellows are social entrepreneurs to scientists, community leaders to commercial innovators, artists and journalists to architects and engineers, edwin Landseer who at the age of 10 was awarded a silver medal for his drawing of a dog. The RSA originally specifically precluded premiums for patented solutions, today the RSA continues to offer premiums. The Faculty currently has 120 Royal Designers and 45 Honorary Royal Designers, the Faculty consists of the world’s leading practitioners from fields as disparate as engineering, furniture, fashion and textiles, graphics, theater and film design. Early members include Eric Gill, Enid Marx, Sir Frank Whittle, the RSA moved to its current home in 1774. The House, situated in John Adam Street, near the Strand in central London, had been purpose-designed by the Adam Brothers as part of their innovative Adelphi scheme. The former private dining room of the Tavern contains a magnificent Adam ceiling with painted roundels by the school of Kauffman and Zucchi. A major refurbishment in 2012 by Matthew Lloyd Architects won a RIBA London Award in 2013, the first of these plaques was, in fact, of red terracotta erected outside a former residence of Lord Byron. The Society erected 36 plaques until, in 1901, responsibility for them was transferred to the London County Council and, later, similar schemes are now operated in all the constituent countries of the United Kingdom. The Society for the encouragement of Arts, Manufactures and Commerce hosted the first exhibition of art in 1760. Thomas Gainsborough and Sir Joshua Reynolds, who had exhibited at this first exhibition were subsequently members of The Royal Academy of Arts in 1768. The Society was a pioneer in examinations, offering the first national public examinations in 1882 that led to the formation of the RSA Examinations Board now included in the. In 1876, a predecessor of the Royal College of Music, in 1929 The Society purchased the entire village of West Wycombe
Royal Society of Arts
–
The Royal Society of Arts building in
London,
England
6.
Sir Joshua Reynolds
–
Sir Joshua Reynolds RA FRS FRSA was an influential eighteenth-century English painter, specialising in portraits. He promoted the Grand Style in painting which depended on idealization of the imperfect and he was a founder and first president of the Royal Academy of Arts, and was knighted by George III in 1769. Reynolds was born in Plympton, Devon, on 16 July 1723 the third son of the Rev. Samuel Reynolds and his father had been a fellow of Balliol College, Oxford, but did not send any of his sons to the university. One of his sisters was Mary Palmer, seven years his senior, author of Devonshire Dialogue, in 1740 she provided £60, half of the premium paid to Thomas Hudson the portrait-painter, for Joshuas pupilage, and nine years later advanced money for his expenses in Italy. His other siblings included Frances Reynolds and Elizabeth Johnson, as a boy, he came under the influence of Zachariah Mudge, whose Platonistic philosophy stayed with him all his life. The work that came to have the most influential impact on Reynolds was Jonathan Richardsons An Essay on the Theory of Painting, having shown an early interest in art, Reynolds was apprenticed in 1740 to the fashionable London portrait painter Thomas Hudson, who had been born in Devon. Hudson had a collection of old master drawings, including some by Guercino, although apprenticed to Hudson for four years, Reynolds only remained with him until summer 1743. Having left Hudson, Reynolds worked for some time as a portrait-painter in Plymouth Dock and he returned to London before the end of 1744, but following his fathers death in late 1745 he shared a house in Plymouth Dock with his sisters. In 1749, Reynolds met Commodore Augustus Keppel, who invited him to join HMS Centurion, of which he had command, while with the ship he visited Lisbon, Cadiz, Algiers, and Minorca. From Minorca he travelled to Livorno in Italy, and then to Rome, while in Rome he suffered a severe cold, which left him partially deaf, and, as a result, he began to carry a small ear trumpet with which he is often pictured. Reynolds travelled homeward overland via Florence, Bologna, Venice, and he was accompanied by Giuseppe Marchi, then aged about 17. Apart from a brief interlude in 1770, Marchi remained in Reynolds employment as an assistant for the rest of the artists career. Following his arrival in England in October 1752, Reynolds spent three months in Devon, before establishing himself in London, where he remained for the rest of his life. He took rooms in St Martins Lane, before moving to Great Newport Street and he achieved success rapidly, and was extremely prolific. In 1760 Reynolds moved into a house, with space to show his works and accommodate his assistants. Alongside ambitious full-length portraits, Reynolds painted large numbers of smaller works, in the late 1750s, at the height of the social season, he received five or six sitters a day, each for an hour. By 1761 Reynolds could command a fee of 80 guineas for a full-length portrait, the clothing of Reynolds sitters was usually painted either by one of his pupils, his studio assistant Giuseppe Marchi, or the specialist drapery painter Peter Toms. Lay figures were used to model the clothes and he had an excellent vantage from his house, Wick House, on Richmond Hill, and painted the view in about 1780
Sir Joshua Reynolds
–
Self-portrait
Sir Joshua Reynolds
–
Joshua Reynolds, self-portrait, aged around 24
Sir Joshua Reynolds
–
Self-portrait, aged 17, entitled, Uffizi Self-portrait
Sir Joshua Reynolds
–
Self-portrait
7.
Portrait
–
A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person, for this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c.2144 -2124 BC, show a consistent appearance with some individuality. Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypts Fayum district. These are almost the only paintings from the world that have survived, apart from frescos, though many sculptures. Although the appearance of the figures differs considerably, they are considerably idealized, the art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of a symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are mostly generalized, true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings. Moche culture of Peru was one of the few ancient civilizations which produced portraits and these works accurately represent anatomical features in great detail. The individuals portrayed would have been recognizable without the need for other symbols or a reference to their names. The individuals portrayed were members of the elite, priests, warriors. They were represented during several stages of their lives, the faces of gods were also depicted. To date, no portraits of women have been found, there is particular emphasis on the representation of the details of headdresses, hairstyles, body adornment and face painting. One of the portraits in the Western world is Leonardo da Vincis painting titled Mona Lisa. What has been claimed as the worlds oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old. Profile view, full view, and three-quarter view, are three common designations for portraits, each referring to a particular orientation of the head of the individual depicted. Such terms would tend to have greater applicability to two-dimensional artwork such as photography, in the case of three-dimensional artwork, the viewer can usually alter their orientation to the artwork by moving around it
Portrait
–
Rembrandt Peale, Portrait of
Thomas Jefferson, 1805.
New-York Historical Society.
Portrait
–
Roman-Egyptian
funeral portrait of a young boy
Portrait
–
Moche Ceramic Portrait.
Larco Museum Collection. Lima-Peru
Portrait
–
Portrait illustrating three-quarter view.
8.
Richard Wilson (painter)
–
Richard Wilson RA was an influential Welsh landscape painter, who worked in Britain and Italy. In December 1768 Wilson became one of the founder-members of the Royal Academy, a catalogue raisonné of the artists work is published by the Paul Mellon Centre for Studies in British Art. The son of a clergyman, Richard Wilson was born on 1 August 1714, the family was an established one, and Wilson was first cousin to Charles Pratt, 1st Earl Camden. In 1729 he went to London, where he began as a painter, under the apprenticeship of an obscure artist. Wilson could often be found walking around Marylebone Gardens with his acquaintance Baretti heading toward the Farthing Pie House, from 1750 to 1757 Wilson was in Italy, and became a landscape painter on the advice of Francesco Zuccarelli. Painting in Italy and afterwards in Britain, he was the first major British painter to concentrate on landscape and he composed well, but saw and rendered only the general effects of nature, thereby creating a personal, ideal style influenced by Claude Lorrain and the Dutch landscape tradition. John Ruskin wrote that Wilson paints in a way. Among Wilsons pupils was the painter Thomas Jones and his landscapes were acknowledged as an influence by Constable, John Crome and Turner. Wilson died in Colomendy, Denbighshire on 15 May 1782, and is buried in the grounds of St Marys Church, Mold, in 1948, Mary Woodall, keeper of art at Birmingham Museum and Art Gallery, organized a pioneer exhibition of his work. London, Smith, Elder & Co. pp. 120–23, edwards, R. Richard Wilson and his pupil, in Country Life Ford, B. The Drawings of Richard Wilson Constable, W. G. Richard Wilson Spencer-Longhurst, an Italian sketchbook, drawings made by the artist in Rome and its environs. Solkin, David H. Richard Wilson, The Landscape of Reaction, davies, John, Nigel Jenkins, Menna Baines and Peredur Lynch. The Welsh Academy Encyclopaedia of Wales
Richard Wilson (painter)
–
Portrait of Richard Wilson by
Anton Raphael Mengs (1752)
Richard Wilson (painter)
–
Lake Avernus I (c. 1765)
Richard Wilson (painter)
–
Llyn-y-Cau,
Cader Idris
Richard Wilson (painter)
–
St Peters and the Vatican from the Janiculum, Rome
9.
Royal Academy of Arts
–
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
Royal Academy of Arts
–
Royal Academy of Arts
Royal Academy of Arts
–
Satiric drawing of Sir William Chambers, one of the founders, trying to slay the 8-headed hydra of the Incorporated Society of Artists
Royal Academy of Arts
–
Study for
Henry Singleton 's painting The Royal Academicians assembled in their council chamber to adjudge the Medals to the successful students in Painting, Sculpture, Architecture and Drawing, which hangs in the Royal Academy. Ca. 1793.
Royal Academy of Arts
–
An early
RA Summer Exhibition at the Academy's original home in
Somerset House
10.
Humphrey Gainsborough
–
Humphrey Gainsborough was a non-conformist minister, engineer and inventor. Humphrey Gainsborough was pastor to the Independent Church in Henley-on-Thames, England and he was the brother of the artist Thomas Gainsborough. He invented the plough, winning a prize of £60 from the Royal Society for his efforts. He also invented the tide mill, which allowed a mill wheel to rotate in either direction, in addition, he designed a self-ventilating fish wagon. In 1768, he improved the slope on the road up the steep White Hill to the east of Henley, in the 1760s, Gainsborough showed a model of a condensing steam engine to James Watt. Watt had been working independently on improvements to the Newcomen atmospheric engine and he perhaps included some of — and at least built on — Gainsboroughs ideas. Gainsborough is thus probably less well-known than he might have been, the lock, weir and footbridge at Marsh Lock, just upstream from Henley on the River Thames, were designed by Gainsborough, together with other early locks from Sonning to Maidenhead. A blue plaque in Gainsboroughs honour can be found in the town of Henley itself on the gates of the Manse, inside he designed an early security chain and plate on one of the outside doors, allowing the door to be partially opened, that is still there now. Similar designs are used on many peoples front doors today, boston, Philippa, Opening Pandoras box, Oxfordshire Limited Edition. Kendal, Roger, Bowen, Jane and Wortley, Laura, Genius & Gentility, see The Reverend Humphrey Gainsborough, pages 20–31
Humphrey Gainsborough
–
The Rev. Humphrey Gainsborough by
Thomas Gainsborough (his brother), painted 1770–4.
11.
James Watt
–
While working as an instrument maker at the University of Glasgow, Watt became interested in the technology of steam engines. He realised that contemporary engine designs wasted a great deal of energy by repeatedly cooling and reheating the cylinder, Watt introduced a design enhancement, the separate condenser, which avoided this waste of energy and radically improved the power, efficiency, and cost-effectiveness of steam engines. Eventually he adapted his engine to produce rotary motion, greatly broadening its use beyond pumping water, Watt attempted to commercialise his invention, but experienced great financial difficulties until he entered a partnership with Matthew Boulton in 1775. The new firm of Boulton and Watt was eventually highly successful, in his retirement, Watt continued to develop new inventions though none was as significant as his steam engine work. He developed the concept of horsepower, and the SI unit of power, James Watt was born on 19 January 1736 in Greenock, Renfrewshire, a seaport on the Firth of Clyde. His father was a shipwright, ship owner and contractor, and served as the towns chief baillie, while his mother, Agnes Muirhead, both were Presbyterians and strong Covenanters. Watts grandfather, Thomas Watt, was a teacher and baillie to the Baron of Cartsburn. Despite being raised by parents, he later on became a deist. Watt did not attend regularly, initially he was mostly schooled at home by his mother but later he attended Greenock Grammar School. He exhibited great manual dexterity, engineering skills and an aptitude for mathematics, while Latin, when he was eighteen, his mother died and his fathers health began to fail. Watt travelled to London to study instrument-making for a year, then returned to Scotland and he made and repaired brass reflecting quadrants, parallel rulers, scales, parts for telescopes, and barometers, among other things. Because he had not served at least seven years as an apprentice, Watt was saved from this impasse by the arrival from Jamaica of astronomical instruments bequeathed by Alexander Macfarlane to the University of Glasgow, instruments that required expert attention. Watt restored them to working order and was remunerated and these instruments were eventually installed in the Macfarlane Observatory. Subsequently three professors offered him the opportunity to set up a workshop within the university. It was initiated in 1757 and two of the professors, the physicist and chemist Joseph Black as well as the famed Adam Smith, at first he worked on maintaining and repairing scientific instruments used in the university, helping with demonstrations, and expanding the production of quadrants. In 1759 he formed a partnership with John Craig, an architect and businessman, to manufacture and sell a line of products including musical instruments and this partnership lasted for the next six years, and employed up to sixteen workers. One employee, Alex Gardner, eventually took over the business, in 1764, Watt married his cousin Margaret Miller, with whom he had five children, two of whom lived to adulthood, James Jr. and Margaret. His wife died in childbirth in 1772, in 1777 he was married again, to Ann MacGregor, daughter of a Glasgow dye-maker, with whom he had two children, Gregory, who became a geologist and mineralogist, and Janet
James Watt
–
Portrait of James Watt (1736–1819) by
Carl Frederik von Breda
James Watt
–
Bust of Watt in the
Scottish National Portrait Gallery
James Watt
–
James Eckford Lauder: James Watt and the Steam Engine: the Dawn of the Nineteenth Century, 1855
James Watt
–
Original condenser by Watt (
Science Museum)
12.
London
–
London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
London
–
Palace of Westminster,
Buckingham Palace and
Central London skyline
London
London
London
–
The name London may derive from the
River Thames
13.
William Hogarth
–
William Hogarth FRSA was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist who has been credited with pioneering western sequential art. His work ranged from realistic portraiture to comic series of pictures called modern moral subjects. Knowledge of his work is so pervasive that satirical political illustrations in this style are referred to as Hogarthian. William Hogarth was born at Bartholomew Close in London to Richard Hogarth, a poor Latin school teacher and textbook writer, in his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and similar products. Young Hogarth also took a lively interest in the life of the metropolis and the London fairs. Around the same time, his father, who had opened an unsuccessful Latin-speaking coffee house at St Johns Gate, was imprisoned for debt in Fleet Prison for five years, Hogarth never spoke of his fathers imprisonment. Hogarth became a member of the Rose and Crown Club, with Peter Tillemans, George Vertue, Michael Dahl, by April 1720, Hogarth was an engraver in his own right, at first engraving coats of arms, shop bills, and designing plates for booksellers. In 1727, he was hired by Joshua Morris, a tapestry worker, Morris heard that he was an engraver, and no painter, and consequently declined the work when completed. Hogarth accordingly sued him for the money in the Westminster Court, in 1757 he was appointed Serjeant Painter to the King. In the bottom corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round. At the top is a goat, written below which is Whol Ride, Other early works include The Lottery, The Mystery of Masonry brought to Light by the Gormogons, A Just View of the British Stage, some book illustrations, and the small print Masquerades and Operas. He continued that theme in 1727, with the Large Masquerade Ticket, in 1726 Hogarth prepared twelve large engravings for Samuel Butlers Hudibras. These he himself valued highly, and they are among his best book illustrations, in the following years he turned his attention to the production of small conversation pieces. One of his real low-life and real-life subjects was Sarah Malcolm who he sketched two days before her execution and he might also have printed Burlington Gate, evoked by Alexander Popes Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed, however, modern authorities such as Ronald Paulson no longer attribute it to Hogarth. In 1731 Hogarth completed the earliest of his series of moral works, the collection of six scenes was entitled A Harlots Progress and appeared first as paintings before being published as engravings. The inaugural series was a success and was followed in 1735 by the sequel A Rakes Progress. The original paintings of A Harlots Progress were destroyed in the fire at Fonthill House in 1755, while A Rakes Progress is displayed in the room at Sir John Soanes Museum, London
William Hogarth
–
William Hogarth,
Painter and his Pug, 1745
William Hogarth
–
William Hogarth by
Roubiliac, 1741, National Portrait Gallery, London
William Hogarth
–
The Assembly at
Wanstead House.
Earl Tylney and family in foreground
William Hogarth
–
Self-Portrait by Hogarth, ca. 1735,
Yale Center for British Art.
14.
Francis Hayman
–
Francis Hayman RA was an English painter and illustrator who became one of the founding members of the Royal Academy in 1768, and later its first librarian. Born in Exeter, Devon, Hayman begun his career as a scene painter in Londons Drury Lane theatre before establishing a studio in St Martins Lane. A versatile artist influenced by the French Rococo style, he achieved some note during the 1740s through decorative paintings executed for the boxes at Vauxhall Pleasure Gardens in London. Hayman was also a successful portraitist and history painter and he also illustrated Pamela, a novel by Samuel Richardson, Miltons Paradise Lost and Paradise Regained, Smollets translation of Don Quixote, and other well-known works. His pupils included Mason Chamberlin, Nathaniel Dance-Holland, Thomas Seton and Lemuel Francis Abbott, with Joshua Reynolds, Hayman was actively involved in the formation of the Society of Artists, a forerunner of the Royal Academy, during the early 1760s. London, Smith, Elder & Co. pp. 296–7, the Surrender of Montreal to General Amherst de Francis Hayman et l’identité impériale britannique Mens, revue dhistoire intellectuelle et culturelle, Volume 12, numéro 1, automne 2011, p. 91-135. Francis Hayman online Portrait of Hayman by Joshua Reynolds
Francis Hayman
–
Portrait of Francis Hayman, by
Sir Joshua Reynolds. Royal Albert Memorial Museum, Exeter.
Francis Hayman
–
The play scene from
Hamlet, c. 1745
Francis Hayman
–
Sir Edward Vernon by Francis Hayman c.1755 (detail)
15.
Vauxhall Gardens
–
Vauxhall Gardens /ˈvɒksɔːl/ was a pleasure garden in Kennington on the south bank of the River Thames and accessed by boat from London until the erection of Vauxhall Bridge in the 1810s. The wider area was absorbed into the metropolis as the city expanded in the early to mid-19th century and it was one of the leading venues for public entertainment in London, from the mid-17th century to the mid-19th century. Originally known as New Spring Gardens, the site is believed to have opened before the Restoration of 1660, the Gardens consisted of several acres of trees and shrubs with attractive walks. Initially entrance was free, with food and drink being sold to support the venture, the site became Vauxhall Gardens in 1785 and admission was charged for its many attractions. The Gardens drew all manner of people and supported enormous crowds, tightrope walkers, hot-air balloon ascents, concerts and fireworks provided entertainment. A statue depicting George Frederic Handel, erected in the Gardens, in 1817 the Battle of Waterloo was re-enacted, with 1,000 soldiers participating. It closed in 1840 after its owners suffered bankruptcy, but re-opened in 1841 and it changed hands in 1842, and was permanently closed in 1859. The land was redeveloped in the decades, but slum clearance in the late 20th century saw part of the original site opened up as a public park. This was initially called Spring Gardens and renamed in 2012 as Vauxhall Pleasure Gardens and it is managed as a public park by the London Borough of Lambeth. Vauxhall Gardens is depicted in a tile motif at Vauxhall tube station, eminent 18th-century scholar John Barrell, writing in the Times Literary Supplement, brings out Vauxhalls significance. Vauxhall pleasure gardens, on the bank of the Thames. References to Vauxhall are, for 150 years, as ubiquitous as references to Broadway later would be, the Gardens are believed to have opened just before the Restoration of 1660, on property formerly owned by Jane Fauxe, or Vaux, widow, in 1615. Jane is stated to be the widow of John, a vintner, perhaps the earliest record is Samuel Pepys description of a visit he made to the New Spring Gardens on 29 May 1662. The Gardens consisted of several acres laid out with walks, initially admission was free, the proprietors making money by selling food and drink. John Evelyn described the New Spring Garden at Lambeth as a very pretty contrived plantation in 1661, a plan of 1681 shows the circular central feature planted with trees and shrubs, and the formal allées that were to remain a feature as long as the Gardens lasted. Sir John Hawkins, in his General History of Music, says, about the year 1730, Mr. Mr. Tyers opened it with an advertisement of a Ridotto al Fresco, a term which the people of this country had till that time been strangers to. These entertainments were repeated in the course of the summer, and this encouraged the proprietor to make his garden a place of musical entertainment, for every evening during the summer season. The supposed last night of the gardens was on 5 September 1839 when it attracted 1089 people, the Spring Gardens were the most prominent vehicle in England for the public display of the new Rococo style
Vauxhall Gardens
–
A prospect of Vauxhall Gardens in 1751
Vauxhall Gardens
–
Entrance to Vauxhall Gardens by
Thomas Rowlandson
Vauxhall Gardens
–
Plan of Vauxhall Gardens, 1826
Vauxhall Gardens
–
An entertainment in Vauxhall Gardens in about 1779, by
Thomas Rowlandson. The two women in the centre are
Georgiana, Duchess of Devonshire and her sister Lady Duncannon. The man seated at the table on the left is
Samuel Johnson, with
James Boswell to his left and
Oliver Goldsmith to his right. To the right the actress and author
Mary Darby Robinson stands next to the Prince of Wales, later
George IV
16.
Thomas Coram Foundation for Children
–
The Thomas Coram Foundation for Children is a large childrens charity in London which uses the working name Coram. It is one of Englands oldest childrens charities, established by charter in 1739 as the Foundling Hospital. Coram is structured as a group of charities working with vulnerable children in different areas. Corams headquarters are at Brunswick Square in London, but they work with children and young people across the UK, Coram Adoption is an independent adoption service working in London, the East Midlands and Cambridgeshire. They also work in partnership with local authorities and their partnership with the London Borough of Harrow was the first use of the model. Coram were also one of the pioneers of concurrent planning, in 2015 the British Association for Adoption and Fostering went into administration. Coram took over many of the services in England, offering a total of £40,000, the membership, training and research organisation became CoramBAAF. The Independent Review Mechanism was taken over by Coram Childrens Legal Centre, the National Adoption Register for England is now run by First4Adoption. Coram also provides sheltered housing and support for care leavers, Coram provides creative therapies for children, either in the new centre in London or in school and community settings in London, Kent, Cambridgeshire and the East Midlands. Coram Life Education runs programmes in schools to children about health, wellbeing. It was formed in 2009 as an amalgamation between Coram and Life Education, Coram offers support for separating parents, parents of adolescents, young parents, and parents of particular faith or ethnic groups. They offer particular support in Camden through their Parents Centre and Camden Futures and they also run the Family Drug and Alcohol Court in collaboration with the Tavistock and Portman NHS Foundation Trust. This team supports families going through care proceedings at the Central Family Court, in 2011 the Childrens Legal Centre and Coram were amalgamated into Coram Childrens Legal Centre. The organisation offers free advice to children and people involved in their care, advice and training on the rights of young refugees and migrants. In 2013 the charity Voice merged with Coram to form Coram Voice and it continues to campaign on behalf of children, and offer an advocacy service. The service visits children in care, secure children’s homes and psychiatric units. It also provides people to assist in investigations for complaints made under the Children Act 1989, dr Carol Homden CBE has been Corams Chief Executive since 2007. Its Chair of Board of Trustees is Paul Curran, and its President is Sir David Bell, the Foundling Hospital was begun by the philanthropic sea captain Thomas Coram, who was appalled to see abandoned babies and children starving and dying in the streets of London
Thomas Coram Foundation for Children
–
This is the entrance to the Coram Campus, the UK's first children's charity
17.
Henry Scudamore, 3rd Duke of Beaufort
–
Henry Somerset-Scudamore, 3rd Duke of Beaufort was born Henry Somerset, the elder son of Henry Somerset, 2nd Duke of Beaufort and his second wife, Rachel Noel. As his fathers eldest son and heir to his fathers title he was known as Marquess of Worcester, on his fathers death on 24 April 1714 he succeeded him and became 3rd Duke of Beaufort. At the age of 19 he commissioned the construction of what would become known as the Badminton Chest or Badminton Cabinet. The chest was sold in 2004 to Hans-Adam II, Prince of Liechtenstein for £19 million and it is on display in the Palais Liechtenstein in Vienna, Austria. On 28 June 1729 he married Frances Scudamore, the daughter and heir of James Scudamore, 3rd Viscount Scudamore. In 1742 he filed for divorce due to Frances adulterous relationship with William Talbot, Frances countersued, saying the Duke was impotent, in March 1743, he demonstrated before court-appointed examiners that he was physically able to have an erection. The divorce was granted, and he sued Talbot for damages, Frances later remarried to Charles FitzRoy-Scudamore. After his death, the 3rd Duke of Beaufort was buried at St Michael and All Angels Church, because he had no legitimate children, his titles and estates were inherited by his younger brother, Charles Noel Somerset. The Duke had one daughter, Margaret Burr, who married the painter Thomas Gainsborough and had issue. The Badminton Cabinet in the Liechtenstein Museum, Vienna
Henry Scudamore, 3rd Duke of Beaufort
–
The Duke of Beaufort
18.
Ipswich
–
Ipswich is the county town of Suffolk, England, located on the estuary of the River Orwell, about 60 miles north east of London. The town has been occupied since the Saxon period. It has also known as Gyppewicus and Yppswyche. Ipswich is one of Englands oldest towns, if not the oldest, the claim has also been made of the Essex town of Colchester, but that town was abandoned for some time, leaving Ipswich to claim to be the oldest continuously inhabited town in England. Under the Roman empire, the area around Ipswich formed an important route inland to towns and settlements via the rivers Orwell. A large Roman fort, part of the defences of Britain, stood at Walton near Felixstowe. The modern town took shape in Anglo-Saxon times around Ipswich dock, gipeswic ) arose as the equivalent to these, serving the Kingdom of East Anglia, its early imported wares dating to the time of King Rædwald, supreme ruler of the English. The famous ship-burial and treasure at Sutton Hoo nearby is probably his grave, the Ipswich Museum houses replicas of the Roman Mildenhall and Sutton Hoo treasures. A gallery devoted to the towns origins includes Anglo-Saxon weapons, jewellery, the 7th-century town was centred near the quay. Towards 700 AD, Frisian potters from the Netherlands area settled in Ipswich and their wares were traded far across England, and the industry was unique to Ipswich for 200 years. With growing prosperity, in about 720 AD a large new part of the town was out in the Buttermarket area. Ipswich was becoming a place of national and international importance, parts of the ancient road plan still survive in its modern streets. After the invasion of 869 Ipswich fell under Viking rule, the earth ramparts circling the town centre were probably raised by Vikings in Ipswich around 900 to prevent its recapture by the English. The town operated a mint under royal licence from King Edgar in the 970s, the abbreviation Gipes appears on the coins. King John granted the town its first charter in 1200, laying the foundations of its modern civil government. In the next four centuries it made the most of its wealth, Five large religious houses, including two Augustinian Priories, and those of the Greyfriars, Ipswich Whitefriars and Ipswich Blackfriars, stood in medieval Ipswich. The last Carmelite Prior of Ipswich was the celebrated John Bale, there were also several hospitals, including the leper hospital of St Mary Magdalene, founded before 1199. During the Middle Ages the Marian Shrine of Our Lady of Grace was a pilgrimage destination
Ipswich
–
Top down:
Christchurch Mansion,
Willis Building,water tower,
Ipswich Waterfront, Ipswich Town Centre,
Sir Bobby Robson Bridge
Ipswich
–
Ancient House is decorated with a particularly fine example of
pargeting.
Ipswich
–
Timber-frame buildings in St Nicholas Street
Ipswich
–
Neptune Marina Quay, Ipswich
19.
Bath, Somerset
–
Bath is a city in the ceremonial county of Somerset, England, known for its Roman-built baths. In 2011, the population was 88,859, Bath is in the valley of the River Avon,97 miles west of London and 11 miles south-east of Bristol. The city became a World Heritage Site in 1987, the city became a spa with the Latin name Aquæ Sulis c. AD60 when the Romans built baths and a temple in the valley of the River Avon, Bath Abbey was founded in the 7th century and became a religious centre, the building was rebuilt in the 12th and 16th centuries. In the 17th century, claims were made for the properties of water from the springs. Many of the streets and squares were laid out by John Wood, the Elder, and in the 18th century the city became fashionable, Jane Austen lived in Bath in the early 19th century. Further building was undertaken in the 19th century and following the Bath Blitz in World War II, the city has software, publishing and service-oriented industries. Theatres, museums, and other cultural and sporting venues have helped make it a centre for tourism with more than one million staying visitors and 3.8 million day visitors to the city each year. There are several museums including the Museum of Bath Architecture, Victoria Art Gallery, Museum of East Asian Art, the city has two universities, the University of Bath and Bath Spa University, with Bath College providing further education. Sporting clubs include Bath Rugby and Bath City F. C. while TeamBath is the name for all of the University of Bath sports teams. Bath became part of the county of Avon in 1974, and, the hills in the locality such as Bathampton Down saw human activity from the Mesolithic period. Several Bronze Age round barrows were opened by John Skinner in the 18th century, solsbury Hill overlooking the current city was an Iron Age hill fort, and the adjacent Bathampton Camp may also have been one. A long barrow site believed to be from the Beaker people was flattened to make way for RAF Charmy Down, messages to her scratched onto metal, known as curse tablets, have been recovered from the sacred spring by archaeologists. The tablets were written in Latin, and cursed people whom the writers felt had wronged them, for example, if a citizen had his clothes stolen at the baths, he might write a curse, naming the suspects, on a tablet to be read by the goddess. A temple was constructed in AD 60–70, and a complex was built up over the next 300 years. Engineers drove oak piles into the mud to provide a stable foundation, in the 2nd century, the spring was enclosed within a wooden barrel-vaulted structure that housed the caldarium, tepidarium, and frigidarium. The town was given defensive walls, probably in the 3rd century. After the failure of Roman authority in the first decade of the 5th century, in March 2012 a hoard of 30,000 silver Roman coins, one of the largest discovered in Britain, was unearthed in an archaeological dig
Bath, Somerset
–
The
Royal Crescent in Bath
Bath, Somerset
–
A nineteenth century
Photochrom of the Great Bath at the
Roman Baths. The entire structure above the level of the pillar bases is a later construction and was not a feature of the building in Roman days.
Bath, Somerset
–
Bath Abbey
Bath, Somerset
–
Map of Bath by
John Speed published in 1610
20.
The Circus, Bath
–
The Circus is an example of Georgian architecture in the city of Bath, Somerset, England, begun in 1754 and completed in 1768. The name comes from the Latin circus, which means a ring and it has been designated as a Grade I listed building. Divided into three segments of length, the Circus is a circular space surrounded by large townhouses. Each of the curved segments faces one of the three entrances, ensuring that whichever way a visitor there is a classical facade straight ahead. Wood, convinced that Bath had been the centre of Druid activity in Britain, surveyed Stonehenge. It was left to his son, John Wood, the Younger to complete the scheme to his fathers design, the initial leases for the south west segment were granted in 1755-67, those for the south east segment in 1762–66, and those for the north segment in 1764–66. The Circus was part of John Wood the Elders grand vision to recreate a classical Palladian architectural landscape for the city, other projects included nearby Queen Square and the Forum. The Circus is the culmination of Woods career, and is considered his masterpiece, three classical Orders are used, one above the other, in the elegant curved facades. The parapet is adorned with stone acorn finials, when viewed from the air, the Circus, along with Queens Square and the adjoining Gay Street, form a key shape, which is a masonic symbol similar to those that adorn many of Woods buildings. The central area was paved with setts, covering a reservoir in the centre that supplied water to the houses. In 1800 the Circus residents enclosed the central part of the space as a garden. Now, the area is grassed over and is home to a group of old plane trees. Between 1758 and 1774 number 17 The Circus was home to Thomas Gainsborough, during the Bath Blitz of 25/26 April 1942, one of the Baedeker Blitz retaliatory raids on England following the RAFs raid on Lübeck, a bomb fell into the Circus, demolishing several of the houses. These have since been reconstructed in the original style, Architectural historian Dan Cruickshank selected the Circus as one of his five choices for the 2006 BBC television documentary series Britains Best Buildings. Michael Forsyth, Bath, Pevsner Architectural Guides, Yale University Press,2003, Jean Manco, The Hub of the Circus, A history of the streetscape of the Circus, Bath. Media related to Bath Circus at Wikimedia Commons Bath Past, The Circus — an article by Jean Manco
The Circus, Bath
–
A view of The Circus
The Circus, Bath
–
The Circus
The Circus, Bath
–
Detail of The Circus
The Circus, Bath
–
Part of the
frieze showing the alternating
triglyphs and decorative emblems
21.
Anthony van Dyck
–
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
Anthony van Dyck
–
Self-Portrait With a Sunflower (after 1633),
Trinity College, Cambridge
Anthony van Dyck
–
Self-portrait, 1613–14
Anthony van Dyck
–
Anthony van Dyck, by
Peter Paul Rubens (1627–28) in
the Louvre
Anthony van Dyck
–
The more intimate, but still elegant style he developed in England, ca 1638
22.
Waddesdon Manor
–
Waddesdon Manor is a country house in the village of Waddesdon, in Buckinghamshire, England. It is located in the Aylesbury Vale,6.6 miles west of Aylesbury, the house was built in the Neo-Renaissance style of a French château between 1874 and 1889 for Baron Ferdinand de Rothschild as a weekend residence for grand entertaining. The last member of the Rothschild family to own Waddesdon was James de Rothschild and he bequeathed the house and its contents to the National Trust. It is now administered by a Rothschild charitable trust that is overseen by Jacob Rothschild and it is one of the National Trusts most visited properties, with around 335,000 visitors annually. Prior to the construction of Waddesdon Manor, no house existed on the site, Ferdinand de Rothschild wanted a house in the style of the great Renaissance châteaux of the Loire Valley. The Baron, a member of the Viennese branch of the Rothschild banking dynasty, Destailleur was already experienced in working in this style, having overseen the restoration of many châteaux in that region, in particular that of the Château de Mouchy. Through Destailleurs vision, Waddesdon embodied an eclectic style based on the châteaux so admired by his patron, Baron Ferdinand. The towers at Waddesdon were based on those of the Château de Maintenon, however, following the theme of unparalleled luxury at Waddesdon, the windows of the towers at Waddesdon were glazed, unlike those of the staircase at Chambord. They are also far more ornate, the structural design of Waddesdon, however, was not all retrospective. The house also had hot and cold running water in its bathrooms, central heating, the building contractor was Edward Conder & Son. Works were acquired for their quality and fine provenance. One of the highlights of the collection is the extraordinary musical automaton elephant, dating from 1774, in the 1890s, Baron Ferdinand focused on the Renaissance collection for his small museum in the New Smoking Room. This collection was bequeathed to the British Museum and is now known as the Waddesdon Bequest, the interior of Waddesdon Manor was photographed in 1897 for Baron Ferdinands privately published The Red Book. Subsequent owners added noted collections of Limoges enamel, arms and armour, maiolica, medieval manuscripts, prints, extensive landscaping of the hill was carried out, including leveling the top. The gardens and landscape park were laid out by the French landscape architect Elie Lainé, an attempt was made to transplant full-grown trees by chloroforming their roots, to limit the shock. While this novel idea was unsuccessful, many large trees were successfully transplanted. The gardens were enhanced with statuary, pavilions and an aviary that is still in use, the Proserpina fountain was brought to the Manor at the end of the 19th century from the Palace of the Dukes of Parma in northern Italy, the Ducal Palace of Colorno. The gardens are listed Grade I on the Register of Historic Parks, Baron Ferdinand played host to many important guests including the future Edward VII
Waddesdon Manor
–
Waddesdon Manor. The north entrance
facade.
Waddesdon Manor
–
The towers were modelled on the towers of
Château de Maintenon.
Waddesdon Manor
–
One of the twin staircase-towers inspired by those at the Château de Chambord.
Waddesdon Manor
–
Plan of Waddesdon's ground floor. 1:Vestibule; 2:Entrance Hall, 3 Red Drawing room; 4:Grey Drawing Room; 5:Library; 6:Baron's Sitting room; 7:Morning Room; 8:West Hall; 9:West Gallery; 10:East Gallery; 11:Dining Room; 12:Conservatory; 13:Breakfast Room; 14:Kitchen; 15:Servant's Hall; 16:Housekeeper's Rooms; 17:Site of further servants quarters (not illustrated); 18:Terrace and parterre; 19 North Drive; St:staircases.
23.
Schomberg House
–
Schomberg House is a mansion on the south side of Pall Mall in central London which has a colourful history. Only the street facade survives today and it was built for The 3rd Duke of Schomberg, a Huguenot general in the service of the British Crown. It was adapted from Portland House, which in turn has created by the Countess of Portland by converting two houses into a single residence. Work began in 1694, the year after the duke inherited his title, the street facade of Schomberg House is striking and rather unusual for a London mansion. It is of red brick, with four storeys above the basement. The facades street-level awning and decorative work is made of Lithodipyra manufactured by Eleanor Coade and it is nine windows wide, with the central three bays projecting slightly and topped by a pediment, and the two end bays projecting boldly so that they form projections somewhat like small towers. The windows are narrow and six bands of quoins frame the three projections, giving the facade an energetic verticality. Meinhardt Schombergs dukedom became extinct on his death in 1719 and the house was subsequently let, in 1769 it was divided into three by the artist John Astley. Astley lived at no.81 himself, and constructed a studio on the roof, in 1781 Astley was succeeded by a Scottish quack doctor called James Graham, who turned the establishment into a Temple of Health and Hymen. The Temple featured a huge celestial bed fitted with electrical devices, which was alleged to cure infertility. The Temple also served as a brothel and gambling den. Meanwhile, Thomas Gainsborough, who was at the height of his career as one of the two most fashionable portrait painters in England, lived next door at no.80 from 1774 until his death in 1788. The artist Richard Cosway also lived at no.81 for a time, during this period number 82 was a fashionable textile store. In the first half of the 19th century Schomberg House was neither aristocratic nor artistic, the central house was a bookshop from 1804 to 1850, and other tenants of the three houses included a picture dealer, an auctioneer and a haberdasher. In 1850 no.80 was demolished and replaced as part of a redevelopment of the whole site. Then in 1859 nos. 80-82 were all acquired by the government for use by the War Office, in 1956 the building was largely demolished to make way for offices. However, not only were the surviving facades of nos.81 and 82 retained, there have been further alterations since, and the interiors are now modern open plan offices, but the striking frontage remains. The name Schomberg House has also used for another property on Pall Mall that used to be the residence of Princess Christian of Schleswig-Holstein
Schomberg House
–
Schomberg House circa 1850
Schomberg House
–
Schomberg House in 2005
24.
Pall Mall, London
–
Pall Mall /ˌpæl ˈmæl/ is a street in the St Jamess area of the City of Westminster, Central London. It connects St Jamess Street to Trafalgar Square and is a section of the regional A4 road, the streets name is derived from pall-mall, a ball game played there during the 17th century. The area was built up during the reign of Charles II with fashionable London residences and it became known for high-class shopping in the 18th century, and gentlemens clubs in the 19th. The Reform, Athenaeum and Travellers Clubs have survived to the 21st century, the War Office was based on Pall Mall during the second half of the 19th century, and the Royal Automobile Clubs headquarters have been on the street since 1908. The street is around 0.4 miles long and runs east in the St Jamess area, from St Jamess Street across Waterloo Place, to the Haymarket, the street numbers run consecutively from north-side east to west and then continue on the south-side west to east. It is part of the A4, a road running west from Central London. London Bus Route 9 runs westwards along Pall Mall, connecting Trafalgar Square to Piccadilly, Pall Mall was constructed in 1661, replacing an earlier highway slightly to the south that ran from the Haymarket to the royal residence, St Jamess Palace. When St. Jamess Park was laid out by order of Henry VIII in the 16th century, in 1620, the Privy Council ordered the High Sheriff of Middlesex to clear a number of temporary buildings next to the wall that were of poor quality. Pall-mall, a game similar to croquet, was introduced to England in the early-17th century by James I. The game, already popular in France and Scotland, was enjoyed by James sons Henry, in 1630, St Jamess Field, Londons first pall-mall court, was laid out to the north of the Haymarket – St James road. After the Restoration and King Charles IIs return to London on 29 May 1660, Samuel Pepyss diary entry for 2 April 1661 records that he. Went into St. Jamess Park, where I saw the Duke of York playing at Pelemele and this new court suffered from dust blown over the wall from coaches travelling along the highway. In July 1661 posts and rails were erected, stopping up the old road, the court for pall-mall was very long and narrow, and often known as an alley, so the old court provided a suitable route for relocating the eastern approach to St Jamess Palace. A grant was made to Dan ONeale, Groom of the Bedchamber, the grant was endorsed Our warrant for the building of the new street to St Jamess. A new road was built on the site of the old pall-mall court and it was named Catherine Street, after Catherine of Braganza, wife of Charles II, but was better known as Pall Mall Street or the Old Pall Mall. The pall-mall field was a place for recreation and Pepys records several other visits. By July 1665 Pepys used Pell Mell to refer to the street as well as the game, in 1662, Pall Mall was one of several streets thought fitt immediately to be repaired, new paved or otherwise amended under the Streets, London and Westminster Act 1662. The paving commissioners appointed to oversee the work included the Earl of St Albans, the terms of the act allowed commissioners to remove any building encroaching on the highway, with compensation for those at least 30 years old
Pall Mall, London
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Pall Mall in 2009
Pall Mall, London
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A View of St James's Palace, Pall Mall etc by
Thomas Bowles, published 1763. This view looks east. The gatehouse of
St James's Palace is on the right.
Pall Mall, London
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Pall Mall and St James's Square shown in
Richard Horwood 's map of 1799.
Pall Mall, London
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100 Pall Mall, location of the
National Gallery between 1824 and 1834
25.
Blue plaque
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The brainchild of British politician William Ewart in 1863, it is the oldest such scheme in the world. The worlds first blue plaques were erected in London in the 19th century to mark the homes and workplaces of famous people. This scheme continues to the present day, having been administered successively by the Society of Arts, the London County Council, the Greater London Council, many other plaque schemes have since been initiated in the United Kingdom. Some are restricted to a geographical area, others to a particular theme of historical commemoration. The plaques erected by these schemes are manufactured in a variety of designs, shapes, materials, the term blue plaque may be used narrowly to refer to the official English Heritage scheme, but is often used informally to encompass all similar schemes. There are also commemorative plaque schemes throughout the world such as those in Paris, Rome, Oslo, Dublin, and in cities in Australia, Canada, Russia. The forms these take vary, and they tend to be known as historical markers, the original blue plaque scheme was established by the Society of Arts in 1867, and since 1986 has been run by English Heritage. It is the oldest such scheme in the world, since 1984 English Heritage have commissioned Frank Ashworth to make the plaques which have then been inscribed by his wife, Sue, at their home in Cornwall. English Heritage plans to erect an average of twelve new blue plaques each year in London. After being conceived by politician William Ewart in 1863, the scheme was initiated in 1866 by Ewart, Henry Cole and the Society of Arts, the first plaque was unveiled in 1867 to commemorate Lord Byron at his birthplace,24 Holles Street, Cavendish Square. This house was demolished in 1889, the earliest blue plaque to survive, also put up in 1867, commemorates Napoleon III in King Street, St Jamess. Byron’s plaque was blue, but the colour was changed by the manufacturer Minton, in total the Society of Arts put up 35 plaques, fewer than half of which survive today. The Society only erected one plaque within the square-mile of the City of London, in 1879, it was agreed that the City of London Corporation would be responsible for erecting plaques within the City to recognise its jurisdictional independence. This demarcation has remained ever since, in 1901, the Society of Arts scheme was taken over by the London County Council, which gave much thought to the future design of the plaques. It was eventually decided to keep the shape and design of the Societys plaques, but to make them uniformly blue, with a laurel wreath. Though this design was used consistently from 1903 to 1938, some experimentation occurred in the 1920s, in 1921, the most common plaque design was revised, as it was discovered that glazed ceramic Doulton ware was cheaper than the encaustic formerly used. In 1938, a new design was prepared by an unnamed student at the LCCs Central School of Arts and Crafts and was approved by the committee. It omitted the decorative elements of earlier designs, and allowed for lettering to be better spaced and enlarged
Blue plaque
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English Heritage blue plaque commemorating
Ian Fleming at 22b
Ebury Street,
Belgravia, London (erected 1996)
Blue plaque
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Society of Arts plaque on
Samuel Johnson 's
house in Gough Square, London (erected 1876). Many of the early Society of Arts and LCC plaques were brown in colour.
Blue plaque
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London County Council plaque at 48 Doughty Street,
Holborn, commemorating
Charles Dickens
Blue plaque
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London County Council plaque at 100
Lambeth Road,
Lambeth, commemorating
William Bligh (erected 1952)
26.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaking
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Rembrandt,
Self-portrait,
etching, c.1630.
Printmaking
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Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaking
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Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaking
–
External video
27.
Aquatint
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Aquatint is an intaglio printmaking technique, a variant of etching. In intaglio printmaking, the artist makes marks on the plate that are capable of holding ink, the inked plate is passed through a printing press together with a sheet of paper, resulting in a transfer of the ink to the paper. This can be repeated a number of times, depending on the particular technique, like etching, aquatint uses the application of a mordant to etch into the metal plate. Where the engraving uses a needle to make lines that print in black. The rosin is acid resistant and typically adhered to the plate by controlled heating, the tonal variation is controlled by the level of mordant exposure over large areas, and thus the image is shaped by large sections at a time. Another tonal technique, mezzotint, begins with a surface that is evenly indented so that it will carry a fairly dark tone of ink. The mezzotint plate is then smoothed and polished to make areas carry less ink, alternatively, beginning with a smooth plate, areas are roughened to make them darker. Occasionally these two techniques are combined, the painter and printmaker Jan van de Velde IV invented the aquatint technique in Amsterdam, around 1650. The cartographer Peter Perez Burdett later introduced his secret aquatint technique to England in the 1770s, an aquatint requires a metal plate, an acid, and something to resist the acid. Traditionally copper or zinc plates were used, the artist applies a ground that will resist acid. Ground is applied by either dissolving powdered resin in spirits, applying the powder directly to the surface of the plate, in all forms of etching the acid resist is commonly referred to as the ground. An aquatint box is used to apply resin powder, the powder is at the bottom of the box, a crank or a bellows is used to blow the powder up into the air of the box. A window allows the engraver to see the density of flowing powder, when the powder covers the plate, it can be extracted from the box for the next operations. The plate is then heated, if the plate is covered with powder, the resin melts forming a fine and even coat, if it is in spirits, the spirits evaporate and the result is essentially the same. Now the plate is dipped in acid, producing an even, at this point, the plate is said to carry about a 50% halftone. This means that, were the plate printed with no further biting, at some point the artist will then etch an outline of any aspects of the drawing s/he wishes to establish with line, this provides the basis and guide for the later tone work. S/he may also have applied an acid-resistant stop out if s/he intends to keep any areas totally white and free of ink, the artist then begins immersing the plate in the acid bath, progressively stopping out any areas that have achieved the designed tonality. These tones, combined with the limited line elements, give aquatints a distinctive, also, aquatints, like mezzotints, provide ease in creating large areas of tone without laborious cross-hatching, but aquatint plates, it is noted, are generally more durable than mezzotint plates
Aquatint
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The Sleep of Reason Produces Monsters,
Francisco Goya (1799)
Aquatint
–
aquatint box, used to apply resin powder on the plate.
Aquatint
–
Zinc plate with powder resin.
28.
Soft-ground etching
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Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
Soft-ground etching
–
The Soldier and his Wife. Etching by
Daniel Hopfer, who is believed to have been the first to apply the technique to printmaking
Soft-ground etching
–
Portrait of
Luca Giordano, 18th century
Soft-ground etching
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Rembrandt,
The Virgin and Child with a Cat, 1654. Original copper etching plate above, example of the print below, with composition reversed.
Soft-ground etching
–
Christ Preaching, known as The
Hundred Guilder Print; etching c1648 by
Rembrandt.
29.
George III of the United Kingdom
–
He was concurrently Duke and prince-elector of Brunswick-Lüneburg in the Holy Roman Empire until his promotion to King of Hanover on 12 October 1814. He was the third British monarch of the House of Hanover, early in his reign, Great Britain defeated France in the Seven Years War, becoming the dominant European power in North America and India. However, many of Britains American colonies were soon lost in the American War of Independence, further wars against revolutionary and Napoleonic France from 1793 concluded in the defeat of Napoleon at the Battle of Waterloo in 1815. In the later part of his life, George III had recurrent, although it has since been suggested that he had the blood disease porphyria, the cause of his illness remains unknown. After a final relapse in 1810, a regency was established, on George IIIs death, the Prince Regent succeeded his father as George IV. Historical analysis of George IIIs life has gone through a kaleidoscope of changing views that have depended heavily on the prejudices of his biographers and the sources available to them. Until it was reassessed in the half of the 20th century, his reputation in the United States was one of a tyrant. George was born in London at Norfolk House and he was the grandson of King George II, and the eldest son of Frederick, Prince of Wales, and Augusta of Saxe-Gotha. As Prince George was born two months prematurely and he was unlikely to survive, he was baptised the same day by Thomas Secker. One month later, he was baptised at Norfolk House. His godparents were the King of Sweden, his uncle the Duke of Saxe-Gotha, George grew into a healthy but reserved and shy child. The family moved to Leicester Square, where George and his younger brother Prince Edward, Duke of York, Family letters show that he could read and write in both English and German, as well as comment on political events of the time, by the age of eight. He was the first British monarch to study science systematically and his religious education was wholly Anglican. At age 10 George took part in a production of Joseph Addisons play Cato and said in the new prologue, What. It may with truth be said, A boy in England born, historian Romney Sedgwick argued that these lines appear to be the source of the only historical phrase with which he is associated. Georges grandfather, King George II, disliked the Prince of Wales, however, in 1751 the Prince of Wales died unexpectedly from a lung injury, and George became heir apparent to the throne. He inherited one of his fathers titles and became the Duke of Edinburgh, now more interested in his grandson, three weeks later the King created George Prince of Wales. Georges mother, now the Dowager Princess of Wales, preferred to keep George at home where she could imbue him with her moral values
George III of the United Kingdom
–
Coronation portrait by
Allan Ramsay, 1762
George III of the United Kingdom
–
George (right) with his brother
Prince Edward, Duke of York and Albany, and their tutor,
Francis Ayscough, later
Dean of
Bristol, c. 1749
George III of the United Kingdom
–
Pastel portrait of George as
Prince of Wales by
Jean-Étienne Liotard, 1754
George III of the United Kingdom
–
George III by
Allan Ramsay, 1762
30.
Allan Ramsay (artist)
–
Allan Ramsay was a prominent Scottish portrait-painter. Allan Ramsay was born in Edinburgh, Scotland, the eldest son of Allan Ramsay, poet and he later moved to London, where he was employed by the Duke of Bridgewater. His pleasant manners and varied culture, not less than his artistic skill and his only serious competitor was Thomas Hudson, with whom he shared a drapery painter, Joseph van Aken. In 1739 he married his first wife, Anne Bayne, the daughter of Alexander Bayne of Rires, Anne died on 4 February 1743, giving birth to their 3rd child, none of their children reached adulthood. One of his pupils was Margaret Lindsay, eldest daughter of Sir Alexander Lindsay of Evelick. He later eloped with her and on 1 March 1752 they married in the Canongate Kirk, Edinburgh, Ramsay already had to maintain a daughter from his previous marriage and his two surviving sisters, but told Sir Alexander that he could provide Margaret with an annual income of £100. Three children survived from their long and happy marriage, Amelia, Charlotte, Ramsay and his new wife spent 1754 to 1757 together in Italy, going to Rome, Florence, Naples and Tivoli, researching, painting and drawing old masters, antiquities and archaeological sites. He earned income painting Grand Tourists portraits and this and other trips to Italy involved more literary and antiquarian research than art. After their return, Ramsay in 1761 was appointed to succeed John Shackelton as Principal Painter in Ordinary to George III and he gave up painting in about 1770 to concentrate on literary pursuits. His health was shattered by a dislocation of the right arm. With unflinching pertinacity, he struggled until he had completed a likeness of the king upon which he was engaged at the time and he left a series of 50 royal portraits to be completed by his assistant Reinagle. For several years he lingered in the south, his constitution finally broken and he died at Dover on 10 August 1784. The portrait of his wife shows the influence of French art. The large collection of his sketches in the possession of the Royal Scottish Academy, Ramsay has paintings in the collection of a few British institutions including the National Gallery in London, Sheffield, Derby Art Gallery, Glasgow Museum and Newstead Abbey. Valdes suggests that copies of paintings were sent to the colonies to be used by abolitionists as a de facto support for their cause. Most historians question whether the 13th-century ancestor, referred to in various places as a Moor and Berber, was black African. In any event, they contend that the connection, nine and 15 generations removed, was too distant to consider Charlotte black in any cultural way, as her other ancestors were all European
Allan Ramsay (artist)
–
Allan Ramsay, self-portrait, c.1737–9 (
National Portrait Gallery)
Allan Ramsay (artist)
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Ramsay's first wife, Anne Bayne, by Ramsay
Allan Ramsay (artist)
–
Ramsay's second wife
Margaret Lindsay, by Ramsay
Allan Ramsay (artist)
–
Portrait of
George III, circa 1762
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Rossetti, William Michael (1911). "Gainsborough, Thomas". In Chisholm, Hugh. Encyclopædia Britannica. 11 (11th ed.). Cambridge University Press.
Rossetti, William Michael (1911). "
