Sir James Thornhill was an English painter of historical subjects working in the Italian baroque tradition. He was responsible for some large-scale schemes of murals, including the "Painted Hall" at the Royal Hospital, Greenwich, the paintings on the inside of the dome of St Paul's Cathedral, and works at Chatsworth House and Wimpole Hall.
Sir Godfrey Kneller, 1st Baronet was a German-born British painter. The leading portraitist in England during the late Stuart and early Georgian eras, he served as court painter to successive English and British monarchs, including Charles II of England and George I of Great Britain. Kneller also painted scientists such as Isaac Newton, foreign monarchs such as Louis XIV of France and visitors to England such as Michael Shen Fu-Tsung. A pioneer of the kit-cat portrait, he was also commissioned by William III of England to paint eight "Hampton Court Beauties" to match a similar series of paintings of Charles II's "Windsor Beauties" that had been painted by Kneller's predecessor as court painter, Peter Lely.
George Vertue was an English engraver and antiquary, whose notebooks on British art of the first half of the 18th century are a valuable source for the period.
The Department for Culture, Media and Sport (DCMS) is a ministerial department of the Government of the United Kingdom. It holds the responsibility for culture and sport in England, and some aspects of the media throughout the UK, such as broadcasting. Its main offices are at 100 Parliament Street, occupying part of the building known as Government Offices Great George Street.
William Powell Frith was an English painter specialising in genre subjects and panoramic narrative works of life in the Victorian era. He was elected to the Royal Academy in 1853, presenting The Sleeping Model as his Diploma work. He has been described as the "greatest British painter of the social scene since Hogarth".
English art is the body of visual arts made in England. England has Europe's earliest and northernmost ice-age cave art. Prehistoric art in England largely corresponds with art made elsewhere in contemporary Britain, but early medieval Anglo-Saxon art saw the development of a distinctly English style, and English art continued thereafter to have a distinct character. English art made after the formation in 1707 of the Kingdom of Great Britain may be regarded in most respects simultaneously as art of the United Kingdom.
The Art of the United Kingdom refers to all forms of visual art in or associated with the United Kingdom since the formation of the Kingdom of Great Britain in 1707 and encompasses English art, Scottish art, Welsh art and Irish art, and forms part of Western art history. During the 18th century, Britain began to reclaim the leading place England had previously played in European art during the Middle Ages, being especially strong in portraiture and landscape art.
Charles Jervas was an Irish portrait painter, translator, and art collector of the early 18th century.
John Vanderbank was an English painter who enjoyed a high reputation during the last decade of King George I's reign and remained in high fashion in the first decade of King George II's reign. George Vertue's opinion was that only intemperance and extravagance prevented Vanderbank from being the greatest portraitist of his generation, his lifestyle bringing him into repeated financial difficulties and leading to an early death at the age of only 45.
Enoch Seeman the Younger was an English painter who was active during the first half of the Georgian era. He was born into a family of painters in Danzig.
John Michael Wright was an English painter, mainly of portraits in the Baroque style. Born and raised in London, Wright trained in Edinburgh under the Scots painter George Jamesone, and sometimes described himself as Scottish in documents. He acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca and was associated with some of the leading artists of his generation. He was engaged by Archduke Leopold Wilhelm of Austria, the governor of the Spanish Netherlands, to acquire artworks in Oliver Cromwell's England in 1655.
Thomas Oldham Barlow was an English mezzotint engraver. His prints helped to popularise the works of painters like John Phillip and Sir John Everett Millais.
Peter Tillemans was a Flemish painter, best known for his works on sporting and topographical subjects. Alongside John Wootton and James Seymour, Tillemans was one of the founders of the English school of sporting painting.
John Riley, or Ryley, was an English portrait painter. He painted portraits of Charles II and James II, and was court painter to William III and Mary II. One of his pupils was Jonathan Richardson.
British official war artists were a select group of artists who were employed on contract, or commissioned to produce specific works during the First World War, the Second World War and select military actions in the post-war period. Official war artists have been appointed by governments for information or propaganda purposes and to record events on the battlefield; but there are many other types of war artist.
Benedetto Gennari II was an Italian painter active during the Baroque period.
Thomas Gibson was an English portrait painter and copyist, notable as the teacher of George Vertue. He was born and died in London.
Hamlet Winstanley (1698–1756) was an English painter, engraver and art agent. As a painter, he was mainly active as a portraitist and copyist.
Christopher Cock was an eminent English auctioneer and picture restorer who lived and worked in London. His earliest known auction was in 1717. He operated from various premises in Soho until 1731, when he moved to the Great Piazza, Covent Garden. Cock was auctioneer of the properties and possessions of many well-known men of the time. He was married to Ann, but nothing more is known of his wife or any children; Cock died in 1748 and is buried at St Paul's, Covent Garden.
The Parliamentary Art Collection is a collection of around 8,500 artworks held by the United Kingdom Parliament. The works are jointly owned by the House of Commons and the House of Lords. Approximately 80% of the collection is displayed at the Palace of Westminster and associated buildings of the Parliamentary Estate nearby, but not government buildings in Whitehall, or Downing Street.
