The most famous works of which 18th century English painter include 'An Experiment On A Bird' and 'The Orrery'?
"Kneller"". Close observation of the adult faces in the picture reveals that each one demonstrates one or other of the main phases of the moon – new moon, half moon, gibbous moon and full moon. A Philosopher Lecturing on the Orrery A Philosopher Lecturing on the Orrery, or the full title, A Philosopher giving a Lecture on the Orrery in which a lamp is put in place of the Sun, is a painting by Joseph Wright of Derby depicting a lecturer giving a demonstration of an orrery to a small audience. The painting preceded his similar ""An Experiment on a"
"(3 September 1734 – 29 August 1797) was an English landscape and portrait painter who is notable for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. Wright is seen at his best in his candlelit subjects. The ""Three Gentlemen observing the 'Gladiator'"" (1765). ""A Philosopher Lecturing on the Orrery"" shows an early mechanism for demonstrating the movement of the planets around the sun. ""An Experiment on a Bird in the Air Pump"" (1768) shows people gathered round observing an early experiment into the nature of air and its"
"also was one of the first artists to depict the Industrial Revolution, as well as developing a cross between the conversation piece and history painting in works like ""An Experiment on a Bird in the Air Pump"" (1768) and ""A Philosopher Lecturing on the Orrery"" (c. 1766), which like many of his works are lit only by candlelight, giving a strong chiaroscuro effect. Paintings recording scenes from the theatre were another subgenre, painted by the German Johann Zoffany among others. Zoffany painted portraits and conversation pieces, who also spent over two years in India, painting the English nabobs and local"
"Earl auctioned it off, and it is now held by Derby Museum and Art Gallery. ""An Experiment on a Bird in the Air Pump"" followed in 1768, the emotionally charged experiment contrasting with the orderly scene from ""The Orrery"". The painting, which measures 72 by 94½ inches (183 by 244 cm), shows a grey cockatiel fluttering in panic as the air is slowly withdrawn from the vessel by the pump. The witnesses display various emotions: one of the girls worriedly watches the fate of the bird, while the other is too upset to observe and is comforted by her father;"
"of the most influential British artists of the century. After a tour of Europe Wilkie was increasingly influenced by Renaissance and Baroque painting and he became most famous for his anecdotal paintings of Scottish and English life. The first indication of this direction in his was his illustration of ""The Gentle Shepherd"" (before 1797). His ""Pitessie Fair"" (1804) was based on Robert Burns poems ""The Vision"" and ""The Holy Fair"". His work on themes of Scottish everyday life included ""Village Politicians"" (1806), ""The Blind Fiddler"" (1806), ""Distraining for Rent"" (1815) and ""The Penny Wedding"" (1818). His most famous work was"
"and best-known pictures were ""Jealous"" (1875), now in National Gallery, Melbourne; ""The Way of the World"" (1876), ""Home""? (1877), now in the Art Gallery of New South Wales; ""The Empty Saddle"" (1879), with an architectural setting taken from Burford Priory, Oxfordshire; ""Success!"" (1881) and ""Sweethearts and Wives"" (1882), both in the Tate Gallery. Later works are ""The Day of Reckoning"" (1883), ""Peril"" (1886), ""The Morning of Agincourt"" (1888), ""In his Father's Footsteps"" (1889), ""Dawn"" (1890), ""One-and-Twenty"" (1891), ""The Ruined Sanctuary"" (1892), ""Alone!"" (1896), ""Safe"" (1898), ""My Hero"" (1902). Old English country life strongly attracted his imagination, and furnished him with"
"and Thomas Phillips (1770-1845). Also of note are Jonathan Richardson (1667-1745) and his pupil (and defiant son-in-law) Thomas Hudson (1701-1779). Joseph Wright of Derby (1734-1797) was well known for his candlelight pictures; George Stubbs (1724-1806) and, later, Edwin Henry Landseer (1802-1873) for their animal paintings. By the end of the century, the English swagger portrait was much admired abroad. London's William Blake (1757-1827) produced a diverse and visionary body of work defying straightforward classification; critic Jonathan Jones regards him as ""far and away the greatest artist Britain has ever produced"". Blake's artist friends included neoclassicist John Flaxman (1755-1826), and Thomas"
"creation from blots. Wright is seen at his best in his candlelit subjects of which the ""Three Persons Viewing the Gladiator by Candlelight"" (1765), his ""A Philosopher Lecturing on the Orrery"" (1766), in the Derby Museum and Art Gallery, and ""An Experiment on a Bird in the Air Pump"" (1768), in the National Gallery are excellent examples. His ""Old Man and Death"" (1774) is also a striking and individual production. Joseph Wright of Derby also painted ""Dovedale by Moonlight"", capturing the rural landscape of a narrow valley called Dovedale, 14 miles northeast of Wright's home town of Derby, at night"
"the pigeons (1835) and the parrots (1836), the latter illustrated by Edward Lear. He was for some time one of the editors of the ""Magazine of Zoology and Botany"". His collections were sold in 1885 and became dispersed. The South African birds collected by Andrew Smith went to the Zoology Museum of the University of Cambridge. Bowey, K. and Newsome, M. (Ed) 2012. ""The Birds of Durham"". Durham Bird Club. Prideaux John Selby Prideaux John Selby FRSE FLS (23 July 1788 – 27 March 1867) was an English ornithologist, botanist and natural history artist. Selby was born in Bondgate Street"
"the subjects or suggested they were based on real people. In ""The Orrery"", all the subjects have been identified apart from the philosopher, who has physical similarities to Isaac Newton but differs enough to make positive identification impossible. Nicolson detects the strong influence of Frye throughout the picture. Particularly striking is the similarity between Frye's mezzotint ""Portrait of a Young Man"" of 1760–1761 and the figure of the boy with his head cocked staring intently at the bird. In 1977, Michael Wynne published one of Frye's chalk drawings from around 1760, ""An old man leaning on a staff"", which is"
"Alexander Fussell Alexander Fussell or Fussel (b. circa 1814, Warwickshire; d. 1881) was an English artist and illustrator. He drew the bird illustrations for William Yarrell's 1843 ""History of British Birds"". Fussell painted in various media, including watercolour, gouache, and oil on canvas. His subjects included ""The prize calf"", ""The park sweeper"", ""Uncle Toby and the Widow Wadman"", and ""The letter, after Thomas Faed"". Fussell undertook the large task of illustrating William Yarrell's 1843 ""History of British Birds"". Yarrell states that Fussell drew ""nearly five hundred"" of the 520 engravings mentioned on the book's title page. The work began in"
"use this opportunity to take up an intensive study of birds and he became a regular visitor at the zoo. In 1890 he had a private exhibition on his bird works. As his career progressed, he became increasingly interested in painting birds. Possibly his most famous painting is ""A Select Committee"" (1891) which is now in the Walker Art Gallery. He was elected as a member of the Royal Academy following his painting ""Convocation"", which was exhibited in 1878. Both of these demonstrated his interest in birds, in the former parrots and in the latter adjutant storks and in general"
"author of ""Frankenstein"" (1818). Though John Keats shared Byron and Shelley's radical politics, ""his best poetry is not political"", but is especially noted for its sensuous music and imagery, along with a concern with material beauty and the transience of life. Among his most famous works are ""Ode to a Nightingale"", ""Ode on a Grecian Urn"", ""To Autumn"". Keats has always been regarded as a major Romantic, ""and his stature as a poet has grown steadily through all changes of fashion"". Another important poet in this period was John Clare (1793–1864), the son of a farm labourer, who came to"
"He tended to paint domestic birds and common wild species, rather than the exotic varieties favoured by some other artists. He sometimes introduced elements of drama such as attacks by predatory animals into his bird paintings, a feature shared with the works of Francis Barlow. Buyers of his paintings often incorporated them into schemes of interior decoration, setting them into panelling above doors or fireplaces. His ""Peacock and Other Birds in a Landscape"" is in the collection of the Tate Gallery. It is only one of three known signed works by him. He died in London in 1717, and was"
"the country's birds. In the late 19th century Harriet and Helena Scott were highly respected natural history illustrators Lewin's ""Platypus"" (1808) represents the fine detail and scientific observation displayed by many of these early painters. As well as inspiration in natural history, there were some ethnographic portraiture of Aboriginal Australians, particularly in the 1830s. Artists included Augustus Earle in New South Wales and Benjamin Duterrau, Robert Dowling and the sculptor Benjamin Law, recording images of Tasmanian Aborigines. The most significant landscape artist of this era was John Glover. Heavily influenced by 18th-century European landscape painters, such as Claude Lorraine and"
"meant the style was never widely imitated. The picture has been owned by the National Gallery, London, since 1863 and is still regarded as a masterpiece of British art. In June 2015 it was on loan to Tate Britain. The painting depicts a natural philosopher, a forerunner of the modern scientist, recreating one of Robert Boyle's air pump experiments, in which a bird is deprived of air, before a varied group of onlookers. The group exhibits a variety of reactions, but for most of the audience scientific curiosity overcomes concern for the bird. The central figure looks out of the"
"the painter John Verelst (c.1675–1734)"". William Verelst William Verelst (1704–1752) was an 18th-century English painter. Verelst was born and died in London. According to the RKD he was the son of Cornelius Verelst, the nephew of Maria Verelst, and the grandson of Herman Verelst. He is known for portraits, still lifes, and paintings of birds. The Oxford Dictionary of National Biography online says ""William Verelst was included in the Dictionary of National Biography in the article on Simon Verelst under the name Willem Verelst and was erroneously described as the son of Cornelius Verelst"", and he was in fact ""the"
"his studies chiefly in the English Channel. He was a fine colourist, and held the foremost rank among English marine painters of his day. Among the most remarkable of his Academy pictures are ""A White Calm"" (1858), ""The Launch of the Lifeboat"" (1876), now in the Walker Art Gallery, Liverpool, ""Cat's-paws off the Land"", which was bought out of the funds of the Chautrey Bequest in 1885, and is now at Tate, ""The Clearness after Rain"" (1887), which won for the painter the grand prix and legion of honour at the Paris Exhibition of 1889, ""A Breezy Day in the"
"William Verelst William Verelst (1704–1752) was an 18th-century English painter. Verelst was born and died in London. According to the RKD he was the son of Cornelius Verelst, the nephew of Maria Verelst, and the grandson of Herman Verelst. He is known for portraits, still lifes, and paintings of birds. The Oxford Dictionary of National Biography online says ""William Verelst was included in the Dictionary of National Biography in the article on Simon Verelst under the name Willem Verelst and was erroneously described as the son of Cornelius Verelst"", and he was in fact ""the fifth of eight children of"
"The Hay Wain The Hay Wain is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as ""Constable's most famous image"" and one of the greatest and most popular English paintings. Painted in oils on canvas, the work depicts as its central feature three horses pulling what in fact appears to be a wood wain or large farm cart across the river. Willy Lott's Cottage, also the subject of an eponymous painting by"
"estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear's first publication, published when he was 19 years old, was ""Illustrations of the Family of Psittacidae, or Parrots"" in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould whilst also contributing to John Gould's works and was compared favourably to the naturalist John James Audubon. His eyesight deteriorated too much to work with such precision on the fine drawings and etchings of plates used in lithography, thus he turned to landscape painting and travel."
"Edward Lear Edward Lear (12 May 1812 – 29 January 1888) was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as a (minor) illustrator of Alfred, Lord Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems,"
"Mt. Vesuvius, Pompeii, Herculaneum, and the Bay of Naples. This likely lead numerous artists, such as Wright himself, to go to England and become inspired by the sublimity of Mt. Vesuvius. Occurring at the same time was the Enlightenment movement, towards which Wright contributed his more popular scientifically and industrially themed works, especially his two most famous pieces: ""A Philosopher Lecturing on the Orrery"" and ""An Experiment on a Bird in the Air Pump"". These typically displayed scientific demonstrations in a dimly lit room, suggesting the idea that society should revolve around education. Even though ""Vesuvius from Posillipo by Moonlight"""
"The Ruling Passion The Ruling Passion, sometimes called The Ornithologist, is a painting by John Everett Millais which was shown at the Royal Academy Exhibition in 1885. The painting shows an old man lying on a chaise-longue. He is showing a stuffed bird, a king bird of paradise, to a group of children and a woman. The older girl on the left of the picture is holding a resplendent quetzal, and other specimens are scattered about. The attitude of the children ranges from the enthralled interest of the youngest two to the comparative indifference, almost boredom, of the oldest girl."
"as dubious circumstances. The Welsh sculptor Barry Flanagan (1944-2009) was best known for his energetic bronzes of hares, which he produced throughout his career. Many have a comic element, and the length and thinness of the hare's body is often exaggerated. Probably one of the most famous depictions of an animal in the history of European art is the painting ""Young Hare"" by Albrecht Dürer, completed in 1502 and now preserved in the Albertina in Vienna. Dürer's watercolor is seen in the context of his other nature studies, such as his almost equally famous ""Meadow"" or his ""Bird Wings"". He"
"most famous being the miniature portrait in the National Gallery (1819), the pen-and-ink sketch, ""Keats on his Deathbed"" (1821), and the oil painting of the poet reading, ""John Keats at Wentworth Place"" (1821–23). A later painting, ""Keats, at Hampstead, when he first imagined his Ode to a Nightingale"" (1851), is also notable. In the 1860s Severn produced a number of copies and memory portraits as Keats's reputation continued to grow. The most influential of Severn's early Italian genre paintings are ""The Vintage"", commissioned by the Duke of Bedford in 1825, and ""The Fountain"" (Royal Palace, Brussels) commissioned by Leopold I"
"Stothard (1755-1834) with whom Blake quarrelled. In the popular imagination English landscape painting from the 18th century onwards typifies English art, inspired largely from the love of the pastoral and mirroring as it does the development of larger country houses set in a pastoral rural landscape. Two English Romantics are largely responsible for raising the status of landscape painting worldwide: John Constable (1776-1837) and J. M. W. Turner (1775-1851), who is credited with elevating landscape painting to an eminence rivalling history painting. Other notable 18th and 19th century landscape painters include: George Arnald (1763-1841); John Linnell (1792-1882), a rival to"
"""against the Horn Tavern in Fleet Street,"" London, ""Where any gentleman or lady,"" could see his collection of insects. Henry Baker, writing in August 1749, stated that Wilkes had, ""died of a fever in about a week after he had finished his laborious and elegant work,"" and paid tribute to Wilkes as, ""indefatigable in his observations and faithful in minuting down every particular but for want of learning quite incapable of writing a book."" Benjamin Wilkes Benjamin Wilkes (died c. 1749) was an 18th-century artist and naturalist in London. Wilkes' profession was 'painting of History Pieces and Portraits in Oyl'."
"boys and girls, and a copy of verses"" (1833). and Charles Hindley's ""A History of the Cries of London: Ancient and Modern"", (1881). The ""Cries of London"" was also a recurring theme in European painting. In the mid 1700s, the English water-colourist, Paul Sandby created a series entitled ""London Cries"" depicting English shopkeepers, stall-holders and itinerant street vendors. The Dutch engraver, Marcellus Laroon began working in London in the mid-1700s where he produced his most famous work, the series, ""The Cryes of London"". William Hogarth's ""The Enraged Musician"" depicts a musician driven to despair by the cries of street vendors."
"Salisbury Cathedral from the Bishop's Grounds Salisbury Cathedral from the Bishop's Grounds is an 1823 painting by the nineteenth-century landscape painter John Constable (1776–1837). This image of Salisbury Cathedral, one of England's most famous medieval churches, is one of his most celebrated works, and was commissioned by one of his closest friends, John Fisher, The Bishop of Salisbury. Constable visited Salisbury in 1820 and made a series of oil sketches of the cathedral, which served as the model for this composition. The artist selected a viewpoint from the bishop's garden and included figures of Dr. Fisher and his wife at"
"Youth on the Prow, and Pleasure at the Helm Youth on the Prow, and Pleasure at the Helm (also known as Fair Laughs the Morn and Youth and Pleasure) is an oil painting on canvas by English artist William Etty, first exhibited in 1832 and currently in Tate Britain. Etty had been planning the painting since 1818–19, and an early version was exhibited in 1822. The piece was inspired by a metaphor in Thomas Gray's poem ""The Bard"" in which the apparently bright start to the notorious misrule of Richard II of England was compared to a gilded ship whose"
"Candlelight"". The first of his candlelit masterpieces, ""Three Persons Viewing the Gladiator by Candlelight"", was painted in 1765, and showed three men studying a small copy of the ""Borghese Gladiator"". ""Viewing the Gladiator"" was greatly admired; but his next painting, ""A Philosopher giving that Lecture on the Orrery, in which a Lamp is put in place of the Sun"" (normally known by the shortened form ""A Philosopher Giving a Lecture on the Orrery"" or just ""The Orrery""), caused a greater stir, as it replaced the Classical subject at the centre of the scene with one of a scientific nature. Wright's"
"The Ghost of a Flea The Ghost of a Flea is a miniature painting by the English poet, painter and printmaker William Blake, held in the Tate Gallery, London. Measuring only , it is executed in a tempera mixture with gold, on a mahogany-type tropical hardwood panel. Completed between 1819 and 1820, it is part of a series of works depicting ""Visionary Heads"" commissioned by the watercolourist and astrologist John Varley (1788–1842). Fantastic, spiritual art was popular in Britain from around 1770 to 1830, and during this time Blake often worked on unearthly, supernatural panels to amuse and amaze his"