Richard Dadd was an English painter of the Victorian era, noted for his depictions of fairies and other supernatural subjects, Orientalist scenes, and enigmatic genre scenes, rendered with obsessively minuscule detail. Most of the works for which he is best known were created while he was a patient in Bethlem and Broadmoor hospitals.
Paddington is an area in the City of Westminster, in central London, England. A medieval parish then a metropolitan borough, it was integrated with Westminster and Greater London in 1965. Paddington station, designed by the engineer Isambard Kingdom Brunel opened in 1847. It is also the site of St Mary's Hospital and the former Paddington Green Police Station.
Paddington, also known as London Paddington, is a Central London railway terminus and London Underground station complex, located on Praed Street in the Paddington area. The site has been the London terminus of services provided by the Great Western Railway and its successors since 1838. Much of the main line station dates from 1854 and was designed by Isambard Kingdom Brunel.
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 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.
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.
Henry Nelson O'Neil was a historical genre painter and minor Victorian writer. He worked primarily with historical and literary subjects, but his best-known paintings dealt with the Indian Mutiny. Eastward, Ho!, dated August 1857 but exhibited the following year, depicts the British troops embarking for India. A second painting, Home Again (1859), shows the troops returning to England. He also had popular successes with romantic scenes portraying the deaths of Mozart and Raphael, depicted as though mentally transported to heaven by their own religious art. In The Last Moments of Mozart the dying composer listens to singers performing part of his Requiem. The Last Moments of Raphael shows the painter contemplating the unseen figure of Christ in his Transfiguration.
John Phillip was a Victorian era Scottish painter best known for his portrayals of Spanish life. He started painting these studies after a trip to Spain in 1851. He was nicknamed John 'Spanish' Phillip.
Frank Stone was an English painter. He was born in Manchester, and was entirely self-taught.
Lisson Grove is a street and district in the City of Westminster, West London. The West End neighbourhood contains a few important cultural landmarks, including Lisson Gallery, Alfies Antique Market, Red Bus Recording Studios, the former Christ Church, now the Greenhouse Centre, and the Seashell of Lisson Grove.
George Elgar Hicks was an English painter during the Victorian era. He is best known for his large genre paintings, which emulate William Powell Frith in style, but was also a society portraitist.
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.
William Maw Egley was an English artist of the Victorian era. The son of the miniaturist William Egley, he studied under his father. His early works were illustrations of literary subjects typical of the period, such as Prospero and Miranda from The Tempest. These were similar to the work of The Clique. William Powell Frith, one of The Clique, hired Egley to add backgrounds to his own work. Egley soon developed a style influenced by Frith, including domestic and childhood subjects. Most of his paintings were humorous or "feelgood" genre scenes of urban and rural life, depicting such subjects as harvest festivals and contemporary fashions. His best-known painting, Omnibus Life in London, is a comic scene of people squashed together in the busy, cramped public transport of the era.
Augustus Edwin Mulready was an English genre painter whose work often depicted London street scenes with urchins and flower-sellers.
The Derby Day is a large oil painting showing a panoramic view of The Derby, painted by 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.
Ramsgate Sands, also known as Life at the Seaside, is an oil-on-canvas painting by William Powell Frith, made from 1851 to 1854, which depicts a beach scene in Ramsgate. The painting was Frith's first great commercial success: it was exhibited at the Royal Academy summer exhibition in 1854, and bought by Queen Victoria. Frith made a series of similar pictures, showing groups of people in contemporary scenes, including The Derby Day of 1858, The Railway Station of 1862, and Private View at the Royal Academy of 1883.
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.
Charles Dickens in His Study is an oil on canvas painting by English artist William Powell Frith, created in 1859. The painting is signed and dated at the lower left, 'W P Frith fecit 1859'. It is held at the Victoria and Albert Museum, in London.
