Thomas Shotter Boys (1803–1874) was an English watercolour painter and lithographer.
Boys was born at Pentonville, London, on 2 January 1803. He was articled to the engraver George Cooke.When his apprenticeship came to an end he went to Paris where he met and came under the influence of Richard Parkes Bonington, who persuaded him to abandon engraving for painting. Some sources describe him as a pupil of Bonington, although William Callow, who later shared a studio with him in Paris, disputed this.
Pentonville is an area on the northern fringe of Central London, in the London Borough of Islington. It is located 1.75 miles (2.82 km) north-northeast of Charing Cross on the Inner Ring Road. Pentonville developed in the northwestern edge of the ancient parish of Clerkenwell on the New Road. It is named from Henry Penton, the developer of the area.
George Cooke, was an English line engraver.
Richard Parkes Bonington was an English Romantic landscape painter, who moved to France at the age of 14 and can also be considered as a French artist, and an intermediary bringing aspects of English style to France. Becoming, after his very early death, one of the most influential British artists of his time, the facility of his style was inspired by the old masters, yet was entirely modern in its application. His landscapes were mostly of coastal scenes, with a low horizon and large sky, showing a brilliant handling of light and atmosphere. He also painted small historical cabinet paintings in a freely-handled version of the troubadour style.
He exhibited at the Royal Academy for the first time in 1824, and in Paris in 1827. In 1830 he went to Brussels, but returned to England on the outbreak of the revolution there. Paying another visit to Paris, he remained there until 1837, and then returned to England in order to lithograph the works of David Roberts and Clarkson Stanfield.
David Roberts RA was a Scottish painter. He is especially known for a prolific series of detailed lithograph prints of Egypt and the Near East that he produced from sketches he made during long tours of the region (1838–1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter. He was elected as a Royal Academician in 1841.
His most important work, Picturesque Architecture in Paris, Ghent, Antwerp, Rouen, etc., a collection of colour lithographs, [ sic ] hitherto brought to perfection". King Louis-Philippe sent the artist a ring in recognition of its merits. He also published Original Views of London as it is, drawn and lithographed by himself, (London, 1843). He drew the illustrations to Blackie's History of England, and etched some plates for John Ruskin's Stones of Venice.appeared in 1839, attracting a great deal of admiration. Drawn on the stone by Boys and printed by Charles Joseph Hullmandel, it was described in a review in the Polytechnic Journal as "the first successful effort in chroma-lithography
Chromolithography is a unique method for making multi-colour prints. This type of colour printing stemmed from the process of lithography, and includes all types of lithography that are printed in colour. When chromolithography is used to reproduce photographs, the term photochrome is frequently used. Lithographers sought to find a way to print on flat surfaces with the use of chemicals instead of raised relief or recessed intaglio techniques.
Charles Joseph Hullmandel was born in London, where he maintained a lithographic establishment on Great Marlborough Street from about 1819 until his death.
The Latin adverb sic inserted after a quoted word or passage indicates that the quoted matter has been transcribed or translated exactly as found in the source text, complete with any erroneous, archaic, or otherwise nonstandard spelling. It also applies to any surprising assertion, faulty reasoning, or other matter that might be likely interpreted as an error of transcription.
Boys was a member of the Institute of Painters in Water Colours, and of several foreign artistic societies. He died in 1874.
Samuel Prout was one of the masters of British watercolour architectural painting. Prout secured the position of Painter in Water-Colours in Ordinary to King George IV in 1829 and afterwards to Queen Victoria. John Ruskin, whose work often emulated Prout's, wrote in 1844, "Sometimes I tire of Turner, but never of Prout". Prout is often compared to his contemporaries; Turner, Gainsborough, Constable and Ruskin, whom he taught. He was the uncle of the artist John Skinner Prout.
James Duffield Harding was an English landscape painter, lithographer and author of drawing manuals. His use of tinted papers and opaque paints in watercolour proved influential.
Emile Claus was a Belgian painter.
Eugène Louis Lami was a French painter, watercolorist, lithographer, illustrator and designer. He was a painter of fashionable Paris during the period of the July Monarchy and the Second French Empire and also made history paintings and illustrations for books such as Gil Blas and Manon Lescaut.
William Simpson was a Scottish artist, war artist and war correspondent.
Thomas Malton, "the younger", was an English painter of topographical and architectural views, and an engraver. J. M. W. Turner and Thomas Girtin were amongst his pupils. He is designated "the younger" to differentiate him from his father Thomas Malton, the elder.
John Burley Waring was an English architect.
Henri van der Haert, Hendrik van der Haert or Henri Anne Victoria van der Haert (1790–1846) was a Belgian portrait painter, sculptor, illustrator and engraver.
William Wyld was an English painter.
Joseph Nash was an English watercolour painter and lithographer, specialising in historical buildings. His major work was the 4-volume Mansions of England in the Olden Time, published from 1839–49.
Paul Huet was a French painter and printmaker born in Paris. He studied under Gros and Guerin. He met the English painter Richard Parkes Bonington in the studio of Gros, where he studied irregularly from 1819 to 1822. Bonington's example influenced Huet to reject neoclassicism and instead paint landscapes based on close observation of nature. The British landscape paintings exhibited in the Salon of 1824 were a revelation to Huet, who said of Constable's work: "It was the first time perhaps that one felt the freshness, that one saw a luxuriant, verdant nature, without blackness, crudity or mannerism." Huet's subsequent work combined emulation of the English style with inspiration derived from Dutch and Flemish old masters such as Rubens, Jacob van Ruisdael, and Meindert Hobbema.
August von Bayer (1803-1875) was a German painter of architectural subjects
Philippe-Jacques van Bree, was a Belgian painter and scholar of his brother Mattheus, was born at Antwerp in 1786. He studied at Antwerp, in Paris, and at Rome; and also visited Germany and England.
John Preston Neale (1780–1847) was an English architectural and landscape draughtsman. Much of his work was drawn, although he produced the occasional watercolour or oil painting. His drawings were used on a regular basis by engravers. A major work, the Views of the seats, Mansions, Castles, etc. of Noblemen and Gentlemen in England, Wales, Scotland and Ireland was published in 6 volumes between 1819-23.
François Stroobant was a Belgian painter and lithographer, and brother of the lithographer Louis-Constantin Stroobant (1814–1872) noted for his part in Flore des Serres et des Jardins de l'Europe.
Jan Baptiste de Jonghe or Jean-Baptiste de Jonghe was a Belgian painter, draughtsman, etcher and lithographer. He is known for his Romantic landscapes with people, herds and ruins. In his graphic work he also made views of cities in the area of what is now Belgium and the Netherlands. He was an art professor at the Academy of Kortrijk and the Antwerp Academy of Fine Arts.
Jacobus Josephus Eeckhout or Jacques Joseph Eeckhout was a Flemish painter, sculptor, pastellist, water-colourist and lithographer and a Director of the Royal Academy of Art in The Hague.
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