Wednesday, December 31, 2008
James Aumonier
[By Richmond Bridge] 1884
Watercolour heightened with bodycolour
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1832 - 1911.
Painter of pastoral landscapes and animals, in oil and watercolour. Born in Camberwell, London and studied drawings at the Birbeck Institution, Marlborough House and the South Kensington Schools. At first worked as a designer of printed calicoes but about 1862 took up landscape painting under the influence of Lionel Smythe and Wyllie. Exhibited at the RA and elsewhere. Awarded medals at many international exhibitions.
[Study of dockleaves]
Pencil and Watercolour
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http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=15&page=1
Myles Birket Foster
[Children Angling in a Punt on the Thames]
Watercolour heightened with bodycolour
[Feeding Hens]
Watercolour heightened with bodycolour and scratching out
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(including works currently for sale)
Tuesday, December 30, 2008
Walter Howell Deverell
[The Grey Parrot] 1853
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1827 – 1854.
Walter Howell Deverell (1827 – 1854) was a British artist, born in the United States of America, who was associated with the Pre-Raphaelite Brotherhood.
Tom Lloyd
[Feeding the Calves] 1885
Watercolour heightened with bodycolour
[Milking Time] 1903
Watercolour heightened with bodycolour
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1849 - 1910.
Landcape, genre and marine painter. Lived in London, Walmer Beach and Yapton, Sussex. Exhibited at the RA and elsewhere.
Robert Atkinson
Helen Allingham
[Lucy] Sept. 1887
Watercolour heightened with bodycolour
circular
inscribed to Miss Hodgson
[Harebells]
Watercolour heightened with bodycolour
Monday, December 29, 2008
How Turner came to see the light (article)
[Slaver Throwing Overboard the Dead and Dying, Typhoon Coming On.
Photograph: Bridgeman Art Library]
Photograph: Bridgeman Art Library]
article by Jonathan Jones
Guardian Art blog
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Albert Ludovici Jnr
[In the Rain] 1885
Watercolour over traces of pencil heightened with bodycolour and scratching out
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1852 - 1932.
Genre painter, son of Albert Ludovici (1820 - 1894). Exhibited at the RA and elsewhere. His pictures show the influence of Whistler, particularly his London scenes, which have an Impressionistic style. He lived, like his Father, mainly in Paris.
Ludovici Jr wrote a book describing his love for coaching pictures and his painting of the Dickens coaching series.
His work was the basis of jigsaw puzzles and prints produced around 1910-11 by Raphael Tuck & Sons, Ltd., London, England , the puzzles listed as “Tuck’s Famous 16 Dickens Coaching ‘Zag-Zag’ Puzzles” after the originals by Albert Ludovici, Jr. and supplied in two sizes, 400 pieces (20″ x 12″) and 150 pieces (12″ x 7″).
His work was the basis of jigsaw puzzles and prints produced around 1910-11 by Raphael Tuck & Sons, Ltd., London, England , the puzzles listed as “Tuck’s Famous 16 Dickens Coaching ‘Zag-Zag’ Puzzles” after the originals by Albert Ludovici, Jr. and supplied in two sizes, 400 pieces (20″ x 12″) and 150 pieces (12″ x 7″).
Charles Green
[The Fruits of Careless Driving] 1866
Watercolour and bodycolour
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1840 - 1898.
Watercolour painter of genre and historical subjects, and illustrator of note. He worked for Once A Week and other periodicals and became very successful, particularly for his illustrations for Dickens. Some of these b&w illustrations he turned into watercolours.
[News from the War] 1867
Pencil and Watercolor with bodycolor
John Simmons
Watercolour heightened with bodycolour
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1823 - 1876.
John Simmons was a Bristol-based painter whose main output was portraiture, but who painted a series of beautiful and deliciously erotic watercolours of female fairies. The majority of these watercolours were painted in the 1860s and depict scenes from Shakespeare's A Midsummer Night's Dream. His Titania is in the collection of Bristol Museum and Art Gallery and was included in the exhibition Victorian Fairy Painting at the Royal Academy in 1997-1998.
[Morning Star]
[Morning Star]
Watercolour with bodycolour
Appears to depict Eosphorus, the incarnation of Venus at dawn, wreathed in a gauze of transparent fabric, like the mists that veil the world in the morning and bearing a wand of starlight. Over the crest of a hill, rises the orb of the dawning sun casting a pale light over her flowing golden tresses.
The Greeks believed that the planet Venus that appeared in the morning was a different celestial object than the Venus that was visible in the morning. Thus they had two names for the planet, Eosphorus (meaning 'bearer of light') being the name of the Venus of morning and Hesperus being the name of the planet in the evening. Each had its own diety and it was not until the adoption of the Babylonian idea of the two planets being one, that the two goddesses began to be identified as one deity, Venus. It was then that she became identified by the Wandering Star, that appeared at dawn and again during the gloaming.
Sunday, December 28, 2008
GF Watts: Victorian Visionary
[Orpheus and Euridice]
Oil on canvas
Oil on canvas
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Waldemar Januszczak
Times Online
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Edward Duncan
[Sheep Feeding on the Downs] 1850
Watercolour over pencil heightened with white and scrastching out
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1803 - 1882.
London marine painter and watercolourist. Began as a copyist and engraver and then set up his own engraving studio but later became a marine painter mostly of coastal and harbour subjects. He also painted landscapes and animals. Exhibited at the RA and elsewhere. Generally considered competent, if rather uninspired.
Myles Birket Foster
[On the Thames, near Richmond]
Watercolour
[Preparing Sheep for Washing]
Watercolour heightened with white
Saturday, December 27, 2008
Paintings from the Reign of Victoria: The Royal Holloway Collection, London
The Delaware Art Museum will present Paintings from the Reign of Victoria: The Royal Holloway Collection, London, an exhibition of superb Victorian paintings drawn from the collection at Royal Holloway, University of London. The majority of the 60 canvases – amassed in the late 1800s in a remarkably short time by self-made English millionaire Thomas Holloway – have never before been exhibited outside of England. They will be on view at the Delaware Art Museum beginning February 1 through April 12, 2009.
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slideshow
Elizabeth Siddal
.jpg)
[self-portrait]
[by Rossetti, 1854]
Elizabeth Eleanor Siddal (1829 – February 11, 1862) was a British artists' model, poet and artist who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood.
Siddal was perhaps the most important model to sit for the Pre-Raphaelite Brotherhood. Their ideas about feminine beauty were profoundly influenced by her, or rather she personified those ideals. She was Dante Gabriel Rossetti's model par excellence; almost all of his early paintings of women are portraits of her. She was also painted by Walter Deverell, William Holman Hunt and John Everett Millais, and was the model for Millais' well known Ophelia (1852).
Siddal was perhaps the most important model to sit for the Pre-Raphaelite Brotherhood. Their ideas about feminine beauty were profoundly influenced by her, or rather she personified those ideals. She was Dante Gabriel Rossetti's model par excellence; almost all of his early paintings of women are portraits of her. She was also painted by Walter Deverell, William Holman Hunt and John Everett Millais, and was the model for Millais' well known Ophelia (1852).
First seen by Walter Deverell when she was working in a bonnet shop she was first asked to sit fot Viola in his Twelfth Night (1850).
She is the British girl in Holman Hunt's
Converted British Family Sheltering a Christian Priest from the Persecution of the Druids.
1850
before sitting for Rossetti.
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Alfred Augustus Glendening
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[Capel Curig, North Wales]
[Near Amberley Sussex with Arundel Castle in the distance]
pair
oil on canvas
Friday, December 26, 2008
The Romantic Spirit: The Pre-Raphaelites
An excerpt from the 1982 British/French co-production, "The Romantic Spirit". A documentary hosted by Anthony Andrews from Keats House in Hampstead, the series explores the themes of Romanticism, as expressed in literature, music, art, and architecture.
Charles Branwhite
[Fishing by a Windmill] 1858
oil on canvas
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1817 - 1880.
Bristol landscape painter and watercolourist. Pupil of William Muller and exhibited at the RA, but mainly at the Old Watercolour Society. He was particularly known for his treatment od frost scenes.
John Atkinson Grimshaw
[November Afternoon, Stapleton Park] 1877
oil on board
[Roundhay Lake, from Castle] 1893
oil on canvas
[Greenock] 1893
oil on canvas
[The Turn of the Road] 1883
oil on canvas
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