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".
The art of the United Kingdom refers to all forms of visual art in or associated with the country 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.
The Clique was a group of English artists formed by Richard Dadd in the late 1830s. Other members were Augustus Egg, Alfred Elmore, William Powell Frith, Henry Nelson O'Neil, John Phillip and Edward Matthew Ward.
Frank Stone was an English painter. He was born in Manchester, and was entirely self-taught.
John Roddam Spencer Stanhope was an English artist associated with Edward Burne-Jones and George Frederic Watts and often regarded as a second-wave pre-Raphaelite. His work is also studied within the context of Aestheticism and British Symbolism. As a painter, Stanhope worked in oil, watercolor, fresco, tempera, and mixed media. His subject matter was mythological, allegorical, biblical, and contemporary. Stanhope was born in Cawthorne, near Barnsley, Yorkshire, England, and died in Florence, Italy. He was the uncle and teacher of the painter Evelyn De Morgan and encouraged then unknown local artist Abel Hold to exhibit at the Royal Academy, which he did 16 times.
A Private View at the Royal Academy, 1881 is a painting by the English artist William Powell Frith exhibited at the Royal Academy of Arts in London in 1883. It depicts a group of distinguished Victorians visiting the Royal Academy Summer Exhibition in 1881, just after the death of the Prime Minister Benjamin Disraeli, whose portrait by John Everett Millais was included on a screen at the special request of Queen Victoria. The room is Gallery III, the largest and most imposing room at Burlington House.
Henrietta Emma Ratcliffe Rae was a British painter of the late Victorian era, who specialised in classical, allegorical and literary subjects. Her best-known painting is The Lady with the Lamp (1891); depicting Florence Nightingale at Scutari.
Harriet Ludlow Clarke was an English wood engraver and stained glass artist.
The Derby Day is a large oil painting showing a panoramic view of The Derby, painted by the English artist William Powell Frith over 15 months from 1856 to 1858. It has been described by Christie's as Frith's "undisputed masterpiece" and also "arguably the definitive example of Victorian modern-life genre."
Fanny McIan was an English artist who specialized in Scottish historical scenes. As the first superintendent of London's Female School of Design, she promoted British women's art education in the mid-nineteenth century.
Emma Brownlow (1832–1905) was a Victorian era artist who is best known for her paintings depicting scenes from life at the Foundling Hospital in London.
Victorian painting refers to the distinctive styles of painting in the United Kingdom during the reign of Queen Victoria (1837–1901). Victoria's early reign was characterised by rapid industrial development and social and political change, which made the United Kingdom one of the most powerful and advanced nations in the world. Painting in the early years of her reign was dominated by the Royal Academy of Arts and by the theories of its first president, Joshua Reynolds. Reynolds and the academy were strongly influenced by the Italian Renaissance painter Raphael, and believed that it was the role of an artist to make the subject of their work appear as noble and idealised as possible. This had proved a successful approach for artists in the pre-industrial period, where the main subjects of artistic commissions were portraits of the nobility and military and historical scenes. By the time of Victoria's accession to the throne, this approach was coming to be seen as stale and outdated. The rise of the wealthy middle class had changed the art market, and a generation who had grown up in an industrial age believed in the importance of accuracy and attention to detail, and that the role of art was to reflect the world, not to idealise it.
The Travelling Companions is an 1862 oil-on-canvas painting by British artist Augustus Leopold Egg.
Adelaide Sophia Claxton was a British painter, illustrator, and inventor. She was one of the first women artists to make a major part of her living through the commercial press, selling satirical and comic illustrations to more than half a dozen periodicals.
Jeremy Stephen Maas was an English art dealer and art historian, best known for his expertise in Victorian painting.
Applicants for Admission to a Casual Ward is an 1874 oil painting by British painter Luke Fildes, a key work in nineteenth-century British social realism. The painting shows a street scene of impoverished and weary men, women and children waiting by the side of the road outside a police station, huddled against the cold evening, waiting to be given a ticket for temporary admission to a workhouse for the night. Many resisted taking up permanent residence at the workhouse, where men and women would be separated, and would be required to work to pay for their board and lodging; once they entered, many only left when they died. Instead, from 1864, if the police in London certified that a person was genuinely in need, they could stay for one night on a "casual" basis, and leave the next morning, but they would have to queue up again for temporary admission the next evening. Poverty and vagrancy were pressing issues in Victorian London, and the issuance of "casual" tickets doubled from around 200,000 in 1864 to over 400,000 in 1869.
The Railway Station is an 1862 genre painting by the British artist William Powell Frith. The painting is held at Royal Holloway College, with a smaller version in the Royal Collection.
An English Merrymaking a Hundred Years Ago is an 1847 genre painting by the British artist William Powell Frith. During the early stages of his career Frith was a member of The Clique artistic group. He later became known for his panoramic crowd scenes The Derby Day and The Railway Station.
The Landing of Princess Alexandra at Gravesend is an 1864 oil painting by the British artist Henry Nelson O'Neil. It depicts the arrival of Alexandra of Denmark at Gravesend in Kent on 7 March 1863 accompanied by her family. Alexandra had arrived in Britain for her wedding with the Prince of Wales, the son and heir of Queen Victoria. The wedding took place three days later in St George's Chapel, Windsor Castle and was notably painted as The Marriage of the Prince of Wales by William Powell Frith, who like O'Neil, had been a member of the artistic group The Clique.
Dolly Varden is an 1842 oil painting by the English artist William Powell Frith featuring the fictional character of Dolly Varden from the 1841 novel Barnaby Rudge by Charles Dickens.
