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Romantic England
Title: Trees by a Weir
Artist: Robert Hills (English 1769 - 1844)
Medium: Watercolor over Graphite on Wove Paper
Permanent Collection: National Gallery of Art, Washington,
Gift of Alexander M. and Judith W. Laughlin, 2005.58.1
Image Courtesy: National Gallery of Art, Washington, DC
The Artist's Vision
Romantic Traditions in Britain
National Gallery of Art
Washington, DC
through March 19, 2007
Dante Gabriel Rossetti, William Blake, John Varley, John Martin and Sir Edward Coley Burne-Jones evoke
dreamy imagery through their artistic endeavors. Currently there is an exhibit at Washington DC's National Gallery exploring these artists' vision of romantic
traditions.
Dante Gabriel Rossetti
Title: Jane Morris, 1870
Artist: Dante Gabriel Rossetti (English 1828 - 1882)
Medium: Pen and Iron Gall Ink with Brown Wash on Laid Paper; Laid Down on Paperboard
Permanent Collection: National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1988.29.1
Image Courtesy: National Gallery of Art, Washington, DC
Dante Gabriel Rosetti founded the Pre-Raphaelite Brotherhood of 1848
with his fellow Royal Academy students William Holman Hunt and John Everett Millais
and four others. The subject matter was often religious or had a positive moral theme.
A realistic depiction of nature was mandatory for the Pre-Raphaelites.
Their reception was mixed. Charles Dickens wrote a treatise against the movement,
however noted art critic John Ruskin strongly supported them.
John Varley
Title: Looking under the Bridge
Artist: John Varley (English 1778 - 1842)
Medium: Watercolor over Graphite on Wove Paper
Permanent Collection: National Gallery of Art, Washington, Paul Mellon Collection, 1986.72.21
Image Courtesy: National Gallery of Art, Washington, DC
John Varley was one of the first watercolor artists to adhere to the richer use of tints in his painting, typical of the later 19th Century works.
Samuel Palmer, David Cox, Peter De Wint and John Linnell were his students. Given the spending habits of his wife and the large family he supported he often found himself lacking funds and on numerous
occasions
was imprisoned for debt.
Dr. Thomas Monro, an art collector, supported several of England's watercolorists including John Varley, allowing artists he favored to work
in one of his homes. J M W Turner, another recipient of Monro's largesse, recalled being paid half a crown and supper for each drawing
he created for the doctor.
John Martin
Title: Joshua Commanding the Sun to Stand Still, 1827
Artist: John Martin (English 1789 - 1854)
Medium: Mezzotint and Etching on Chine Collé
Permanent Collection: National Gallery of Art, Washington, Gaillard F. Ravenel and Frances P. Smyth-Ravenel Fund, 2002.65.3
Image Courtesy: National Gallery of Art, Washington, DC
John Martin's reputation was built on the 1816 version of Joshua Commanding the Sun to Stand Still.
Martin often made mezzotint prints of his popular works as a means of financial
support. He was noted for the melodramatic manner in which he brought powerful
imagery to life. Unfortunately the critics, particularly Ruskin, for the most
part loathed his work. The public made this artist despite the critic's disdain.
He was unfairly nicknamed "Mad Martin". Some believe he earned the nickname through the antics of his similarly named brother, Jonathan Martin, who was insane and
earned notoriety after confessing to and being convicted as the York Minster arsonist.
Samuel Palmer
Title: Harvesters, 1830
Artist: Samuel Palmer (English 1805 - 1881)
Medium: Pen and Ink with Watercolor and Gouache
Permanent Collection: National Gallery of Art, Washington, Paul Mellon Collection, 1986.72.12
Image Courtesy: National Gallery of Art, Washington, DC
At the age of fourteen Samuel Palmer was exhibiting paintings at the Royal Academy, an unheard of achievement for someone barely a teenager. Palmer
was the leader of a group of artists, collectively known as the Ancients, who
preferred the spiritual creations of prior times. Palmer's paintings that were produced during his time with this group are considered to
be his best works, dating from 1826 through 1832.
William Blake
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Title: The Accusers of Theft, Adultery, and Murder, 1794/1796
Artist: William Blake (English 1757 - 1827)
Medium: Etching, Printed in Color
Permanent Collection: National Gallery of Art, Washington, Rosenwald Collection, 1943.3.8973
Image Courtesy: National Gallery of Art, Washington, DC
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William Blake's art is synonymous with the Romantic movement in England. His patron was fellow artist John Linnell and through him Blake
met the Ancients. A deeply religious man his work often had biblical themes though for him imaginary objects and religious themes could be intertwined.
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Sir Edward Coley Burne-Jones
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Largely self-taught Sir Edward Coley Burne-Jones' artistic style featured classical elements; he was known to loath the work of the
French Impressionists. Featured in the opening exhibit of the Grosvenor Gallery in 1877 brought virtual overnight success to the artist.
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Title: Ariadne, 1863/1864
Artist: Sir Edward Coley Burne-Jones (English 1833 - 1898)
Medium: Watercolor and Gouache over Graphite on Smooth Wove Paper
Permanent Collection: National Gallery of Art, Washington, The Armand Hammer Collection, 1989.2.1
Image Courtesy: National Gallery of Art, Washington, DC
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The Artist’s Vision: Romantic Traditions in Britain, organized by the National
Gallery of Art, Washington features items from the National Gallery’s collection of prints and drawings,
combined with major loans from private collections. It surveys the varied art
of British romanticism. The Artist’s Vision: Romantic Traditions in Britain, on
features approximately 70 works from the late 18th century through the early 20th century. The exhibition
features British artists Samuel Palmer, J.M.W. Turner, William Blake, and more.
The Artist's Vision
Romantic Traditions in Britain
National Gallery of Art, Washington, DC:
through March 19, 2007
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