Victorian British Painting

Monday, March 24, 2014

W is for William

William John Hennessy: A Spring Fantasy (1880)

William Joy: Bringing in the Catch

William Kay Blacklock: Bringing Home the Hay

William Lindsay Windus: Too Late

William Linnell: A Chance Meeting in the Highlands (1887)

William Linton: Roefield House with Low Moor Mill on the River Ribble

with Clitheroe Castle and Pendle Hill in the Distance

William Mainwaring Palin: Mother and Child (1899)

William Marlow: View on the Thames

William Maw Egley: Tracing the Ship's Course (1898)

Sunday, March 23, 2014

Pot-pourri

Leonard Raven-Hill: The Art Critic (1867)

Lewis Henry Shepheard: Figures sheltering beneath an oak tree in Windsor Great Park

Lowes Cato Dickinson: Gladstone's Cabinet of 1868

Maria Gastineau: Folkestone (1861)

Matthew White Ridley: The Pool of London (1862)

Saturday, March 22, 2014

H is for Henry

Henry Perronet Briggs: Romeo and Juliet, Act II Scene 5 ('Juliet and her Nurse') (1827)

Henry Perronet Briggs: The First Interview between the Spaniards and the Peruvians (1827)

Henry Redmore: Luggers and other commercial traffic in a calm off Whitby (1871)

Henry Thomas Dawson: Dartmouth Castle (1884)

Henry Tonks: Rosamund and the Purple Jar (ca. 1900)

Henry Turner Munns: Turkish Beauty (1892)

Henry William Banks Davis: The Approach of Bealloch-na-ba, Applecross

Friday, March 21, 2014

Linnie Watt (1875-1908) was best known for her delicate paintings on china. Here is a take on her work from a contemporary: "The last English artist I can mention here is Miss Linnie Watt, whose dainty pictures of English country, enlivened with not less charming English figures of girls or children, remind one (with a difference) of the delicate water-colours of Mrs. Allingham. Much that is characteristic of the tender beauty of woodland and meadow she has learnt how to suggest with a simple expressive touch specially suited to her materials and the decorative character of her work. I would have named her amongst the artists of landscape but for her figures, and amongst the figure-painters but for her landscapes. But it is impossible to divorce one from the other, for the figures are not "introduced," but seem to form an organic part of her conceptions." (Cosmo Monkhouse, "The Royal Academy of China-Painting," The Magazine of Art, 1884, p. 249)

A Student of Nature (1877)
[either this date is wrong or her birth date is wrong; no matter how talented,
she couldn't have painted this when she was two!]

A Woodland Walk

Children in a Farmyard

[my title; original is unknown]

Dutch Street Scene (ca. 1886)

Painted Faience Plaque (ca. 1890)

St Margaret's Bay, Kent

Thursday, March 20, 2014

Pot-pourri

Nicholas Joseph Crowley: The Caution

Norman Garstin: The Morning Lesson (1882)

Ormsby Wood: The Croquet Game (1876)

[interesting perspective - working-class people

watching the "quality" playing through the fence]

Penry Williams: Pilgrims Reposing at a Cross (ca. 1835)

Peter Graham: A Highland Croft

Phoebus Levin: The Dancing Platform at Cremorne Gardens (1864)

[about Cremorne Gardens]

Reginald Arthur: Joseph Interprets Pharaoh’s Dream (1894)

Wednesday, March 19, 2014

Charles Spencelayh

Charles Spencelayh (1865-1958) was a painter of genre scenes and portraits. In later years he focused largely on domestic scenes depicting old men. Although he painted well into the 20th century, his roots were in Victorian times.