William Hogarth was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Familiarity with his work is so widespread that satirical political illustrations in this style are often referred to as "Hogarthian".
The Irish House of Commons was the lower house of the Parliament of Ireland that existed from 1297 until the end of 1800. The upper house was the House of Lords. The membership of the House of Commons was directly elected, but on a highly restrictive franchise, similar to the unreformed House of Commons in contemporary Great Britain. Catholics were disqualified from sitting in the Irish parliament from 1691, even though they comprised the vast majority of the Irish population.
Parliament House in Dublin, Ireland, was home to the Parliament of Ireland, and since 1803 has housed the Bank of Ireland. It was the world's first purpose-built bicameral parliament house. It is located at College Green.
Francis Wheatley RA was an English portrait and landscape painter.
The history of Ireland from 1691–1800 was marked by the dominance of the Protestant Ascendancy. These were Anglo-Irish families of the Anglican Church of Ireland, whose English ancestors had settled Ireland in the wake of its conquest by England and colonisation in the Plantations of Ireland, and had taken control of most of the land. Many were absentee landlords based in England, but others lived full-time in Ireland and increasingly identified as Irish.. During this time, Ireland was nominally an autonomous Kingdom with its own Parliament; in actuality it was a client state controlled by the King of Great Britain and supervised by his cabinet in London. The great majority of its population, Roman Catholics, were excluded from power and land ownership under the penal laws. The second-largest group, the Presbyterians in Ulster, owned land and businesses but could not vote and had no political power. The period begins with the defeat of the Catholic Jacobites in the Williamite War in Ireland in 1691 and ends with the Acts of Union 1800, which formally annexed Ireland in a United Kingdom from 1 January 1801 and dissolved the Irish Parliament.
George Barret Sr. was an Irish landscape artist known for his oil paintings and watercolours. He left Ireland in 1762 to establish himself as an artist in London and quickly gained recognition to become a leading artist of the period. He exhibited at the Society of Artists of Great Britain and was able to gain patronage from many leading art collectors. Barrett with other leading members left the Society in 1768 to found the Royal Academy, where he continued to exhibit until 1782.
Johan / Johann Joseph Zoffany was a German neoclassical painter who was active mainly in England, Italy, and India. His works appear in many prominent British collections, including the National Gallery, the Tate Gallery and the Royal Collection, as well as institutions in continental Europe, India, the United States and Australia. His name is sometimes spelled Zoffani or Zauffelij.
Scottish art is the body of visual art made in what is now Scotland, or about Scottish subjects, since prehistoric times. It forms a distinctive tradition within European art, but the political union with England has led its partial subsumation in British art.
Rita A Donagh is a British artist, known for her realistic paintings and painstaking draughtsmanship.
Henry Boyle, 1st Earl of Shannon, PC (Ire), was an Anglo-Irish politician and peer who served as the speaker of the Irish House of Commons from 1733 to 1756. A prominent parliamentarian who sat for almost fifty years in the Parliament of Ireland, Boyle frequently defended Irish interests against British Crown officials, eventually leading to a legal crisis which saw him step down as speaker in return for a peerage.
Bernard Mulrenin, was an Irish painter best known for his miniatures.
William Ashford was an English painter who worked exclusively in Ireland, where he lived from the age of 18, having initially gone there to take up a post with the Ordnance Office. His earliest paintings were flower pieces and still lifes, but from 1772 he exhibited landscapes. He became president of the Irish Society of Artists in 1813, and was first elected President of the Royal Hibernian Academy. His works include a set of views in and around Mount Merrion, painted for the 4th Earl FitzWilliam.
The Master of the Female Half-Lengths is the notname given to a painter, or more likely a group of painters of a workshop, active in the Low Countries in the early sixteenth century. The name was given in the 19th century to identify the maker or makers of a body of work consisting of 67 paintings to which since 40 more have been added. The Master created female figures in genre scenes, small religious and mythological works, landscapes and portraits.
Maria Spilsbury (1776–1820) was a British artist known for her religious paintings and portraiture.
Scottish art in the eighteenth century is the body of visual art made in Scotland, by Scots, or about Scottish subjects, in the eighteenth century. This period saw development of professionalisation, with art academies were established in Edinburgh and Glasgow. Art was increasingly influenced by Neoclassicism, the Enlightenment and towards the end of the century by Romanticism, with Italy becoming a major centre of Scottish art.
Landscape painting in Scotland includes all forms of painting of landscapes in Scotland since its origins in the sixteenth century to the present day. The earliest examples of Scottish landscape painting are in the tradition of Scottish house decoration that arose in the sixteenth century. Often said to be the earliest surviving painted landscape created in Scotland is a depiction by the Flemish artist Alexander Keirincx undertaken for Charles I.
Preparing for a Fancy Dress Ball, also known as The Misses Williams-Wynn, is a 173 by 150 cm oil on canvas by English artist William Etty, first exhibited in 1835 and currently in the York Art Gallery. Although Etty was then known almost exclusively for history paintings featuring nude figures, he was commissioned in 1833 by Welsh Conservative politician Charles Watkin Williams-Wynn to paint a portrait of two of his daughters. Preparing for a Fancy Dress Ball shows Williams-Wynn's daughters, Charlotte and Mary, in lavish Italian-style costume: Charlotte, the eldest, is shown standing, helping the seated Mary decorate her hair with a ribbon and a rose. Etty put a good deal of effort into the piece and took much longer than usual to finish it.
Portrait of Phillis Wheatley is a lost painting used as the frontispiece for poet Phillis Wheatley's poetry collection Poems on Various Subjects, Religious and Moral, first published in 1773. Wheatley was the United States' first professional African American woman poet and the first African-American woman whose writings were published. She is also the third woman in the United States, regardless of ethnicity, to have her written work published. Copies of the engraving reside in the National Portrait Gallery at the Smithsonian Institution, the Library of Congress, the Beinecke Rare Book & Manuscript Library of the Yale University Library, and the Metropolitan Museum of Art.
Pamela is a series of twelve paintings by the English artist Joseph Highmore, produced between 1741 and 1743 as the basis for a set of prints. They are free adaptations of scenes from the novel Pamela, or Virtue Rewarded by Samuel Richardson. They are now divided equally between the National Gallery of Victoria, the Fitzwilliam Museum and Tate Britain.
Cecilia Margaret Nairnnée Cecilia Margaret Campbell was an Irish wax modeller and painter. She specialised in landscape watercolour paintings and modelling flowers. Nairn's paintings were exhibited at the Royal Hibernian Academy from 1826 to 1851.
