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Work (painting)
''Work'' (1852–1865) is a painting by Ford Madox Brown that is generally considered to be his most important achievement. It exists in two versions. The painting attempts to portray, both literally and analytically, the totality of the Victorian social system and the transition from a rural to an urban economy. Brown began the painting in 1852 and completed it in 1865, when he set up a special exhibition to show it along with several of his other works. He wrote a detailed catalogue explaining the significance of the picture. The painting was commissioned by Thomas Plint, a well-known collector of Pre-Raphaelite art, who died before its completion.Dianne Sachko Macleod, "Plint, Thomas Edward (1823–1861)", ''Oxford Dictionary of National Biography'', Oxford University Press, Sept 2004 A second version, smaller at 684 × 990 mm, was commissioned in 1859 and completed in 1863. This is now in the Birmingham Museum and Art Gallery. It is closely similar, though for the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ford Madox Brown
Ford Madox Brown (16 April 1821 – 6 October 1893) was a British painter of moral and historical subjects, notable for his distinctively graphic and often William Hogarth, Hogarthian version of the Pre-Raphaelite style. Arguably, his most notable painting was ''Work (painting), Work'' (1852–1865). Brown spent the latter years of his life painting the twelve works known as ''The Manchester Murals'', depicting History of Manchester, Mancunian history, for Manchester Town Hall. Early life Brown was the grandson of the medical theorist John Brown (physician, born 1735), John Brown, founder of the Brunonian system of medicine. His great-grandfather was a Scottish labourer. His father Ford Brown served as a purser in the Royal Navy, including a period serving under Sir Isaac Coffin, 1st Baronet, Sir Isaac Coffin and a period on HMS Arethusa (1781), HMS ''Arethusa''. He left the Navy after the end of the Napoleonic Wars. In 1818, Ford Brown married Caroline Madox, of an ol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lazzaroni (Naples)
In the Age of Revolution, the Lazzaroni (or Lazzari) of Naples were the poorest of the lower class (Italian ''lazzaroni'' or ''lazzari'', singular: ''lazzarone'') in the city and Kingdom of Naples (in present-day Italy). Described as "street people under a chief", they were often depicted as "beggars"—which some actually were, while others subsisted partly by service as messengers, porters, etc. No precise census of them was ever conducted, but contemporaries estimated their total number at around 50,000, and they had a significant role in the social and political life of the city (and of the kingdom of which Naples was the capital). They were prone to act collectively as crowds and mobs and follow the lead of demagogues, often proving formidable in periods of civil unrest and revolution. Revolutionary period At the time of the French Revolution, the Lazzaroni were staunchly monarchist in their political inclination—the diametrical opposite of the contemporary Parisian sans ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Navvy
Navvy, a clipping of navigator ( UK) or navigational engineer ( US), is particularly applied to describe the manual labourers working on major civil engineering projects and occasionally (in North America) to refer to mechanical shovels and earth moving machinery. The term was coined in the late 18th century in Great Britain when numerous canals were being built, which were also sometimes known as "navigations", or "eternal navigations", intended to last forever. Nationalities A study of 19th-century British railway contracts by David Brooke, coinciding with census returns, conclusively demonstrates that the great majority of navvies in Britain were English. He also states that "only the ubiquitous Irish can be regarded as a truly international force in railway construction,"Brooke (1983). Page 167. but the Irish were only about 30% of the navvies. By 1818, high wages in North America attracted many Irish workers to become a major part of the workforce on the construction of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pre-Raphaelitism
The Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" modelled in part on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse. The group sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. They rejected what they regarded as the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. The Brotherhood believed the Classical pos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Collins (painter)
William Collins (8 September 1788 in London – 17 February 1847 in London) was an English landscape and genre painter. His sentimental paintings of poor people enjoying nature became a posthumous high fashion, notably in the 1870s when his market price rose higher than Constable (Cromer Sands, £3780, 1872) and stayed so until 1894. Turner, his model, far exceeded him in value (''The Grand Canal, Venice'', sold to Vanderbilt in 1885 for £20,000). Life and work Collins was born in Great Titchfield Street, London, son of William Collins Sr., an Irish-born picture-dealer and writer. He showed a great aptitude for art from an early age, and was for a while an informal pupil of George Morland. In 1807, he entered the schools of the Royal Academy (at the same time as William Etty), and exhibited at the Academy for the first time in the same year. In 1809 he was awarded a medal in the life school, and exhibited three pictures\: ''Boy at Breakfast'', ''Boys with a Bird's-nest'' a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Constable
John Constable (; 11 June 1776 – 31 March 1837) was an English landscape painter in the Romanticism, Romantic tradition. Born in Suffolk, he is known principally for revolutionising the genre of landscape painting with his pictures of Dedham Vale, the area surrounding his home – now known as "Constable Country" – which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling". Constable's most famous paintings include ''Wivenhoe Park (painting), Wivenhoe Park'' (1816), ''The Vale of Dedham (painting), Dedham Vale'' (1821) and ''The Hay Wain'' (1821). Although his paintings are now among the most popular and valuable in Art of the United Kingdom, British art, he was never financially successful. He became a member of the establishment after he was elected to the Royal Academy of Arts at the age of 52. His work was embraced in France, where he sold more than in his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Picturesque
Picturesque is an aesthetic ideal introduced into English cultural debate in 1782 by William Gilpin in ''Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770'', a practical book which instructed England's leisured travellers to examine "the face of a country by the rules of picturesque beauty". Picturesque, along with the aesthetic and cultural strands of Gothic and Celticism, was a part of the emerging Romantic sensibility of the 18th century. The term "picturesque" needs to be understood in relationship to two other aesthetic ideals: the ''beautiful'' and the '' sublime''. By the last third of the 18th century, Enlightenment and rationalist ideas about aesthetics were being challenged by looking at the experiences of beauty and sublimity as non-rational. Aesthetic experience was not just a rational decision – one did not look at a pleasing curved form and decide it was beauti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rustic Civility , a formal Roman script
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Rustic may refer to: *Rural area *Pastoral Architecture * Rustication (architecture), a masonry technique mainly employed in Renaissance architecture * Rustic architecture, an informal architectural style in the United States and Canada with several variations Zoology * Rustic moths, various noctuid moths of subfamilies Hadeninae and Noctuinae, including ** The rustic, (''Hoplodrina blanda'', Hadeninae) * The rustic (''Cupha erymanthis''), a brush-footed butterfly * Rustic sphinx (''Manduca rustica''), a hawkmoth Other uses * Rustic, Toronto, a neighbourhood in Toronto, Ontario, Canada * Rustic capitals Rustic capitals ( la, littera capitalis rustica) is an ancient Roman calligraphic script. Because the term is negatively connoted supposing an opposition to the more 'civilized' form of the Roman square capitals, Bernhard Bischoff prefers to call ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hogarth Club
The Hogarth Club was an exhibition society of artists, based at 84 Charlotte Street, Fitzrovia, London, UK, which existed between 1858 and 1861. It was founded by former members of the Pre-Raphaelite Brotherhood after the original PRB had been dissolved. It was envisaged that the club would provide an alternative meeting space and exhibition venue to overcome prejudice against the Pre-Raphaelites at the Royal Academy. Unlike the PRB, the Hogarth Club was established on a professional basis, with two classes of members, artistic and non-artistic, and a distinction between London-based "resident" and provincial "non-resident" members. Ford Madox Brown suggested that the club be named after William Hogarth since Hogarth was "a painter whom he deeply reverenced as the originator of moral invention and drama in modern art". Brown and Dante Gabriel Rossetti had worked on some previous independent exhibitions, but became determined to form a permanent exhibition space after the rejecti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gin Lane
''Beer Street'' and ''Gin Lane'' are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published ''An Inquiry into the Late Increase in Robbers''. Issued together with ''The Four Stages of Cruelty'', the prints continued a movement started in ''Industry and Idleness'', away from depicting the laughable foibles of fashionable society (as he had done with '' Marriage A-la-Mode'') and towards a more cutting satire on the problems of poverty and crime. On the simplest level, Hogarth portrays the inhabitants of Beer Street as happy and healthy, nourished by the native English ale, and those who live in Gin Lane as destroyed by their addiction to the foreign spirit of gin; but, as with so many of Hogarth's works, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beer Street
''Beer Street'' and ''Gin Lane'' are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published ''An Inquiry into the Late Increase in Robbers''. Issued together with ''The Four Stages of Cruelty'', the prints continued a movement started in ''Industry and Idleness'', away from depicting the laughable foibles of fashionable society (as he had done with '' Marriage A-la-Mode'') and towards a more cutting satire on the problems of poverty and crime. On the simplest level, Hogarth portrays the inhabitants of Beer Street as happy and healthy, nourished by the native English ale, and those who live in Gin Lane as destroyed by their addiction to the foreign spirit of gin; but, as with so many of Hogarth's works, cl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Humours Of An Election
''The Humours of an Election'' is a series of four oil paintings and later engravings by William Hogarth that illustrate the election of a member of parliament in Oxfordshire in 1754. The oil paintings were created in 1755. The first three paintings, ''An Election Entertainment'', ''Canvassing for Votes'' and ''The Polling'', demonstrate the corruption endemic in parliamentary elections in the 18th century, before the Great Reform Act. The last painting, ''Chairing the Member'', shows the celebrations of the victorious Tory candidates and their supporters. At this time each constituency elected two MPs, and there was a property qualification for voters, so only a minority of the male population was enfranchised. There was no secret ballot, so bribery and intimidation were rife. However, this traditional view has been questioned by recent historians who observed lively local political participation in this time. The originals are held by Sir John Soane's Museum, London. The work ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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