Sir David Wilkie was a Scottish painter, especially known for his genre scenes. He painted successfully in a wide variety of genres, including historical scenes, portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter".
Cults is a small parish and hamlet close to the centre of the Kingdom of Fife, Scotland. It lies mainly in the Howe of Fife, and about 4+1⁄2 miles (7.2 km) south-west of the nearest town - Cupar. The parish is about 2+1⁄3 miles (3.8 km) long and 1+1⁄3 miles (2.1 km) wide.
Scottish art in the nineteenth century is the body of visual art made in Scotland, by Scots, or about Scottish subjects. This period saw the increasing professionalisation and organisation of art in Scotland. Major institutions founded in this period included the Institution for the Encouragement of the Fine Arts in Scotland, the Royal Scottish Academy of Art, the National Gallery of Scotland, the Scottish National Portrait Gallery and the Glasgow Institute. Art education in Edinburgh focused on the Trustees Drawing Academy of Edinburgh. Glasgow School of Art was founded in 1845 and Grays School of Art in Aberdeen in 1885.
Pitlessie is a small village in Cults, Fife, Scotland. It is roughly 4+1⁄2 miles (7 km) southwest of the nearest large town, Cupar, and 23 miles north of Edinburgh. It had an estimated population of 325 in 2010.
Scottish genre art is the depiction of everyday life in Scotland, or by Scottish artists, emulating the genre art of Netherlands painters of the sixteenth and seventeenth centuries. Common themes included markets, domestic settings, interiors, parties, inn scenes, and street scenes.
The First Council of Queen Victoria is an 1838 history painting by the Scottish artist David Wilkie. It depicts the first meeting of the Privy Council following the succession of Queen Victoria to the throne following the death of her uncle William IV. It represents the actual meeting that took place in the Red Saloon at Kensington Palace on 20 June 1837, when the eighteen year-old queen met with senior politicians from both the governing Whig Party and the opposition Tories.
The Defence of Saragossa is an 1828 history painting by the British artist David Wilkie. It depicts a scene during the 1808 Siege of Zaragoza at the time of the Peninsular War.
Sir David Baird Discovering the Body of Sultan Tipoo Sahib is an 1839 history painting by the Scottish artist David Wilkie. It is held at the Scottish National Gallery, in Edinburgh.
Newsmongers is an 1821 genre painting by the Scottish artist David Wilkie. It portrays a group gathered around a man and woman holding up a newspaper. The group includes a baker carrying a pie and roast joint. The news being read is not specified, but its been speculated that might be news of the Napoleonic Wars or the more recent Trial of Queen Caroline.
The Parish Beadle is an 1823 genre painting by the Scottish artist David Wilkie. It is held in the Tate Britain, in London.
The Village of Waterloo is an 1821 history painting by the English artist George Jones. It has the longer subtitle With Travellers Purchasing the Relics That Were Found in the Field of Battle, 1815
Washington Irving in the Archives of Seville is a painting of 1828 by the British artist David Wilkie. It depicts a visit by the American writer Washington Irving to a library in Seville.
Blind-Man's Buff is an 1812 genre painting by the Scottish artist David Wilkie. It shows a game of Blind man's buff. While depictions of the game had appeared in art before, Willkie chose to portray a humbler settling than earlier versions generally set in drawing rooms.
Portrait of William IV is an 1832 portrait painting by the Scottish artist David Wilkie. It is a depiction of the reigning British monarch William IV, who had come to the throne two years earlier. Wilkie was Principal Painter in Ordinary to the king and produced this full-length work showing William in his garter robes with St Edward's Crown beside him. Wilkie was a great admirer of Old Masters and the presentation of the king echoes that of Hans Holbein's Portrait of Henry VIII.
Napoleon and Pius VII at Fontainebleau is an 1836 history painting by the Scottish artist David Wilkie. It is held at the National Gallery of Ireland, in Dublin.
Christopher Columbus Explaining His Intended Voyage is an 1834 history painting by the British artist David Wilkie. It is held in the collection of the North Carolina Museum of Art in Raleigh.
Josephine and the Fortune-Teller is an 1837 history painting by the British artist David Wilkie. It depicts a story about the young Joséphine de Beauharnais visiting a fortune teller on her native island of Martinique, who predicts her future in France as the wife of Emperor Napoleon.
The Village Recruit is an 1805 genre painting by the Scottish artist David Wilkie. Painted at the time of the Napoleonic Wars it shows a recruiting party of the British Army in a country tavern where one young man has just enlisted and prepares to spend his King's shilling on further alcohol. It was painted when Wilkie was around twenty, the year he moved to London to study at the Royal Academy. It was one of three paintings that were spin-offs from his 1804 work Pitlessie Fair, which had featured a recruiting party. Influenced like much of Wilkie's work by the old masters of the seventeenth century, it has strong similarities to his better-known work The Village Politicians. It was initially known by the alternative title Bounty Money.
The Guerilla's Return is an 1830 history painting by the British artist David Wilkie. It is part of the Royal Collection of the United Kingdom.
The Murder of David Rizzio is an 1833 history painting by the Scottish artist William Allan. It portrays the 1566 assassination of the Italian courtier David Rizzio at Holyrood Palace during the reign of Mary, Queen of Scots. On the left side of the canvas Mary is shown being restrained by her husband Lord Darnley. The artist took great care to be historically accurate in his depictions of the various figures portrayed in the scene. It was exhibited at the Royal Academy's Summer Exhibition at Somerset House in London where it was major success. Today it is in the collection of the Scottish National Gallery, having been acquired in 1927.
