Who, in 1871, painted the picture Nocturne; Blue and Silver - Chelsea now in the Tate?
"Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle is an 1872–73 oil painting by James McNeill Whistler. It depicts the Scottish social critic, philosopher and historian Thomas Carlyle in a composition similar to that of Whistler's ""Arrangement in Grey and Black No. 1: Portrait of the Artist's Mother"", painted in 1871. It is now in the Kelvingrove Art Gallery and Museum in Glasgow, Scotland. By the time he sat for Whistler, Thomas Carlyle had lived in Chelsea, London, for 47 years, and was one of its"
"for libel, the case reaching the courts in 1878. The judge in the case caused laughter in the court when, referring to ""Nocturne: Blue and Gold – Old Battersea Bridge"", he asked Whistler ""Which part of the picture is the bridge?""; the case ended with Whistler awarded token damages of one farthing. In 1905, ""Nocturne: Blue and Gold"" became the first significant acquisition by the newly formed National Art Collections Fund, and is now in Tate Britain. A more modern and convenient competing bridge opened nearby at Chelsea Bridge in 1858, and usage of Battersea Bridge fell sharply. There were"
"which it was highly praised by the art critics of the day. It was then shown at the International Exhibition in Paris in 1876. The painting was acquired by Henry Bolckow of Marton Hall, Middlesbrough for £4,930, from whose estate it was later bought by Henry Tate in 1888, who subsequently donated it to the National Gallery of British Art he had founded, later named after him as the Tate Gallery. When Tate bought the painting for 4,000 guineas there was apparently a ""huge cheer"" because it meant that it would form part of the national collection which Tate was"
"public's face"". Whistler sued for libel, the case reaching the courts in 1878. The judge in the case, one Baron Huddleston, caused laughter in the court when he (apparently sincerely) asked Whistler ""Which part of the picture is the bridge?"" The case ended with Whistler awarded token damages of one farthing. In 1905, ""Nocturne: Blue and Gold"" became the first significant acquisition by the newly formed National Art Collections Fund, and now hangs in Tate Britain. Nocturne: Blue and Gold – Old Battersea Bridge Nocturne: Blue and Gold – Old Battersea Bridge is a painting by the American artist James"
"Adonis"", Raphael's ""St. Catharine"" and the ""Madonna, Infant Christ, and St. John"" (the ""Aldobrandini Madonna""), Leonardo da Vinci's ""Christ disputing with the Doctors"", Domenichino's ""S. Jerome and the Angel"", Annibale Carracci's ""Christ appearing to Simon Peter after his Resurrection"", and Gaspard Poussin's ""Landscape with Abraham and Isaac"", which are now in the National Gallery. His portrait miniatures of ladies are particularly graceful. Day purchased from the Borghese collection Annibale Carracci's ""Temptation of St Anthony"", and, in 1792 Andrea Mantegna's ""Adoration of the Shepherds"", which William Buchanan sold to Richard Payne Knight at Downton Castle. Day died in Chelsea, London on"
"exhibited at the 1864 Royal Academy summer exhibition. Lady Franklin was invited to the exhibition, but avoided the ""offensive"" painting. ""The Art Journal"" described its ""poetry, pathos, and terror "" and ""tragic grandeur"", the ""Athenaeum"" noted an ""epic"" quality, and the ""Saturday Review"" praised its ""sublimity of sentiment"". The painting was sold at auction to Thomas Holloway in 1881. It currently hangs in the picture gallery of Royal Holloway, University of London. A college tradition requires temporarily covering the painting with a Union Flag during student examinations held in the gallery, in keeping with a longstanding superstition (since at least"
"and at the Royal Academy Winter Exhibition, London, 1881, No. 101. Sale. Now in the collection of the Earl of Strafford, Wrotham Park, Enfield. According to Sm. a replica, somewhat lighter in tone and with some trifling variations in the details, was brought from Holland to England by Chaplin in 1839 ; it had formerly been in the possession of S. A. Koopman, Utrecht. It may probably be identified with the picture belonging to Mr. A. de Rothschild (295)."" According to the 1992 Christie's sale record, tracing the provenance back in time from J. F. Wolschot the painting was formerly"
"20th centuries, including ""The Dawn Nocturne (August Blue)"" by Alan Stanley (1894), and the earlier poems ""Sonnet on a Picture by Tuke"" by Charles Kains Jackson (1889) and ""Ballade of Boys Bathing"" (1890) by Frederick Rolfe, the self-proclaimed ""Baron Corvo"". The painting was a critical success when it was exhibited at the Royal Academy summer exhibition in 1894, although some critics complained that its informal Impressionistic style made it closer to a sketch than a finished work. It was bought from the artist by the Tate Gallery the same year for £525, using funds from the Chantrey Bequest Fund, established"
"by Claude is still honoured in Room 15 of the Gallery, but his bequest has never been adequately displayed in its entirety; today the works are divided between Trafalgar Square and the Clore Gallery, a small purpose-built extension to the Tate completed in 1985. The third director, Sir Frederick William Burton, laid the foundations of the collection of 18th-century art and made several outstanding purchases from English private collections. The acquisition in 1885 of two paintings from Blenheim Palace, Raphael's ""Ansidei Madonna"" and Van Dyck's ""Equestrian Portrait of Charles I"", with a record-setting grant of £87,500 from the Treasury, brought"
"""Shade and Darkness"" was also taken. In 2002, the Tate Gallery covertly purchased ""Light and Colour"" on the black market for $2 million. Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis is an oil painting by the English painter Joseph Mallord William Turner (c.1775–1851), first exhibited in 1843. Displayed during the latter years of J.M.W. Turners career, this painting depicts a deluge scene where the natural effects of light and weather (the"
"Lever, 1st Viscount Leverhulme for the newly-opened Lady Lever Art Gallery in Port Sunlight, where it remains. The Last Muster The Last Muster is an 1875 oil painting by Sir Hubert von Herkomer, based on his wood engraving ""Sunday at the Chelsea Hospital"" published in ""The Graphic"" on 18 February 1871. The painting is in the Lady Lever Art Gallery in Liverpool. The work depicts a group of Chelsea Pensioners at a Sunday morning service in the chapel of the Royal Hospital Chelsea. The aged pensioner at the near end of the second row has died; his neighbour is holding"
"an appreciation shared by Huth. It was first shown publicly at Mr Whistler's Exhibition, Flemish Gallery, Pall Mall, London, 1874. In addition to Whistler’s portrait of Mrs Huth, the Huths owned other works by Whistler, including the paintings ""Symphony in White, No. 3"" (Barber institute of Fine Arts, University of Birmingham); and ""Variations in Pink and Grey: Chelsea"" (Freer Gallery of Art, Washington, United States), for which latter painting Huth paid 250 guineas; and the Venice watercolours ""The Bridge; flesh colour and brown"" (The Burrell Collection, Glasgow Museums); ""The Storm – Sunset"" (Fogg Art Museum, Harvard University); and ""Fishing Boat"""
"contributes to its Gothic tone. The painting is housed at the Detroit Institute of Arts. It was first shown at the Royal Academy of London in 1782, where it ""excited … an uncommon degree of interest"", according to Fuseli's early biographer and friend John Knowles. It remained well-known decades later, and Fuseli painted other versions on the same theme. Fuseli sold the original for twenty guineas, and an inexpensive engraving by Thomas Burke circulated widely beginning in January 1783, earning publisher John Raphael Smith more than 500 pounds. The engraving was underscored by a short poem by Erasmus Darwin, ""Night-Mare"":"
"The Last Muster The Last Muster is an 1875 oil painting by Sir Hubert von Herkomer, based on his wood engraving ""Sunday at the Chelsea Hospital"" published in ""The Graphic"" on 18 February 1871. The painting is in the Lady Lever Art Gallery in Liverpool. The work depicts a group of Chelsea Pensioners at a Sunday morning service in the chapel of the Royal Hospital Chelsea. The aged pensioner at the near end of the second row has died; his neighbour is holding his wrist, checking in vain for a pulse. The painting measures . Several of the figures in"
"to it intermittently until at least 1881, and leaving it unfinished at his death. His assistants Henry Treffry Dunn and Frederic Shields both helped with the painting, and Dunn and Edward Burne-Jones may have worked on it after Rossetti's death. Rossetti published a poem, also titled ""Found"", as a companion to the painting in 1881 in the volume ""Ballads and Sonnets"". A number of studies for ""Found"" have survived. The earliest may be the black and brown ink sketch now in the British Museum, which is signed and dated 1853. The Birmingham Museum and Art Gallery has a compositional sketch"
"Henrietta Rae Henrietta Emma Ratcliffe Rae (30 December 1859 – 26 January 1928) was a prominent English 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. Henrietta Rae was born on 30 December 1859 in Hammersmith, London, to Thomas Burbey Rae, a civil servant, and Ann Eliza Rae (), a musician who had been a student of Felix Mendelssohn. She had three brothers and three sisters. Rae began formally studying art at the age of thirteen, being educated at the"
"is one of his most elaborate and painstaking works ; it was painted for Mr. McCulloch, and Moore wrote three stanzas of verse to explain the title. Moore's work is now represented in many important public collections, such as those of Birmingham, Liverpool, Manchester, and elsewhere. An exhibition of his works was held at the Grafton Galleries, London, in 1894. Several of his pictures are now in public collections throughout the United Kingdom and, in addition to those above, include ""Blossoms"" in the Tate, and a watercolor, ""The Open Book"", in the Victoria and Albert Museum, London. The British Museum"
"""Psyche at the Throne of Venus"" (1894) measures and contains 13 figures. Her painting ""Sir Richard Whittington Dispensing His Charities"" (1900) depicts Richard Whittington; a medieval merchant and four-time Lord Mayor of London. She also painted many socially prominent people; including Lord Dufferin in 1901. Her works include: Henrietta Rae Henrietta Emma Ratcliffe Rae (30 December 1859 – 26 January 1928) was a prominent English 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. Henrietta Rae was born on 30"
"again. It later surfaces in the collection of Jacob Pleydell-Bouverie, 2nd Earl of Radnor at Longford Castle, Salisbury. In a catalogue of the Radnor family's collection, published in 1909, stated that the portrait was part of the collection by 1814 and may have been acquired in 1811. It remained in the ownership of the Radnor family for over 150 years until it was sold at Christie's in London for the record sum of £2,310,000 (or 2,200,000 guineas or $5,544,000) on 27 November 1970. It was the first painting to sell for more than a £1,000,000, setting a new record for"
"population viewed it. Due to Hunt's increasing infirmity and glaucoma, he was assisted in the completion of this version by English painter Edward Robert Hughes (who also assisted with Hunt's version of ""The Lady of Shalott""). Hunt was buried in St Paul's. A third, smaller version of the painting, painted by Hunt in pastels between 1851 and 1856, is on display at Manchester City Art Gallery, England, which purchased it in 1964. The painting gave rise to much popular devotion in the late Victorian period and inspired several musical works, including Arthur Sullivan's 1873 oratorio ""The Light of the World""."
"26 January 1928 at Upper Norwood. Rae specialised in classical, allegorical and literary subjects. Her painting ""Elaine Guarding the Shield of Lancelot"" (1885) drew inspiration from the Tennyson poem ""Lancelot and Elaine"". Among her many other paintings in the classical vein, ""Eurydice Sinking Back to Hades"" (1886) won Honorable Mention at the 1889 International Exhibition in Paris and a medal at the 1893 World's Columbian Exposition in Chicago. Her 1891 painting ""Miss Nightingale at Scutari (1854)"", of Florence Nightingale, the founder of modern nursing, has been frequently reproduced, and is generally referred to as ""The Lady with the Lamp"". Rae's"
"for reproduction as a chromolithograph with their ""Yule Tide"" Christmas annual in 1891, entitled ""The Lady with the Lamp"". The location of the original oil painting is not known. Miss Nightingale at Scutari, 1854 Miss Nightingale at Scutari, 1854, also known as The Lady with the Lamp, is an 1891 painting by Henrietta Rae. It depicts Florence Nightingale at Scutari Hospital during the Crimean War. The painting is a romanticised three-quarter-length portrait of Nightingale, depicted as a young woman swathed in a white shawl, carrying an oil lamp as she looks down on a wounded soldier, wearing his redcoat draped"
"The painting was commissioned by Henry Tate in 1890 as a work of ""social realism"" on a topic of Fildes' choosing to be displayed in the National Gallery of British Art, now known as the Tate Gallery London. Fildes was paid £3,000 for the work, a sum he felt was too small for such a painting and less than he expected for painting portraits. Two Victorian doctors, Dr Thomas Buzzard (neurologist) and Dr Gustavus Murray (obstetrician), have been particularly associated with the painting, as has the genre of the period in which it was painted. Fildes had the particular desire"
"Gallery, London for $5 million. There has been some doubt cast over the attribution of the painting to Rubens, led by the artist and scholar of Fayum portraits Euphronsyne Doxiades. She argues that it varies in details from copies of the original made during Rubens' lifetime, that it does not employ the layering technique of ""glazing"" common in oil painting at the time and mastered by Rubens, and that its provenance can not be documented with certainty between 1641 and 1929. A dendrochronological examination of the painting, however, confirms that the painting dates to the correct period, and the attribution"
"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"
"Jones wrote about the painting in the November 24, 1845 issue of the New York Evening Gazette. In 1870, art collector and bibliophile James Lenox bought the painting. It was displayed in his Lenox Library, and was included in the 1879 edition of the Gallery's Catalogue. Likely a favorite in his collection, the painting was likely displayed through 1892, as it appeared in the 1885 and 1893 catalogues. After Lenox's death, in 1895, the painting, along with the rest of the Lenox Library's art and book collection, was given to help form the New York Public Library. The painting was"
"painter Richard Evans. It was purchased by the Musée du Louvre from the Duke of Westminster's daughter Lady Theodora Guest, in 1913. At the time, it was considered the most important acquisition by the public gallery since 1878 when they were bequeathed a major work by Hans Memling. At the time it was a record price paid for a van der Weyden; J. P. Morgan had earlier spent $100,000 on the Annunciation now in the New York Metropolitan Museum of Art. Today it is on permanent display in the Louvre, in its original oak frame. Because of its fragility, it"
"was sold at auction for £100,000 by Sotheby's London on 24 March 1971, and bought by the National Gallery of Scotland. The sale was the subject of an adjournment debate in the House of Commons on May 13, 1971, where both the trustees and the minister whose consent had been necessary for the sale to occur were criticised by George Strauss M.P., especially for only publicising the sale three weeks before the auction. For a month over Christmas and New Year 2011/12 the painting returned to Dulwich as part of the celebrations for the gallery's bicentenary. The picture is in"
"the collection of the Duke of Buckingham and Chandos at Stowe House until at least 1838 and it was inherited by the 2nd Duke of Buckingham and Chandos in 1839. It may have been displayed at Buckingham House in London before the 2nd Duke was declared bankrupt in 1847. Martin's painting was auctioned at Christie's in 1848 and bought by art dealer Charles Buttery for only £100, and he sold it to the National Gallery in 1869 for £200. It was sent on long-term loan to the Manchester City Art Gallery until 1918, when it was transferred to the Tate"
"contact with Ruskin. Ruskin himself temporarily moved the portrait so that his father would not see it, since he was concerned that he would damage or destroy it. The painting was given by Ruskin to his friend Henry Wentworth Acland in 1871. It was passed down through his family until it was sold at Christie's in 1965. The purchaser retained the painting until their death in 2012. It was accepted by the British Government in lieu of inheritance tax in 2013 and permanently allocated to the Ashmolean Museum, Oxford to which it had been on loan since 2012. The painting"
"Laura Tennant, later known as Laura Lyttelton, and Mary Stuart-Wortley, later Lady Lovelace. The painting was purchased by Cyril Flower (1843–1907), later Lord Battersea, a politician and art patron, and was bequeathed by him to the Tate Gallery, where it remains. The Golden Stairs The Golden Stairs is one of the best-known paintings by the Pre-Raphaelite artist Edward Burne-Jones. It was begun in 1876 and exhibited at the Grosvenor Gallery in 1880. Unlike many of Burne-Jones's works, ""The Golden Stairs"" is not based on a literary source. It has been called Symbolist, as it has no recognisable narrative, but rather"
"Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis is an oil painting by the English painter Joseph Mallord William Turner (c.1775–1851), first exhibited in 1843. Displayed during the latter years of J.M.W. Turners career, this painting depicts a deluge scene where the natural effects of light and weather (the atmosphere) play a crucial role on Turner's concept of vision. The deluge being referred to in the title is the representation of the"
"The Death of Chatterton The Death of Chatterton is an oil painting on canvas, by the English Pre-Raphaelite painter Henry Wallis, now in Tate Britain, London. Two smaller versions, sketches or replicas, are held by the Birmingham Museum and Art Gallery and the Yale Center for British Art. The Tate painting measures by , and was completed in 1856. The subject of the painting was the 17-year-old English early Romantic poet Thomas Chatterton, shown dead after he poisoned himself with arsenic in 1770. Chatterton was considered a Romantic hero for many young and struggling artists in Wallis's day. His method"