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See also:- LAWRENCE
- LAWRENCE (LAURENTIUS, LORENZO), ST
- LAWRENCE, AMOS (1786—1852)
- LAWRENCE, AMOS ADAMS (1814–1886)
- LAWRENCE, GEORGE ALFRED (1827–1876)
- LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
- LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
- LAWRENCE, SIR THOMAS (1769–1830)
- LAWRENCE, STRINGER (1697–1775)
LAWRENCE, See also:SIR See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
THOMAS (1769–1830) , See also:English painter, was See also:born at See also:Bristol on the 4th of May 1769. His See also:father was an innkeeper, first at Bristol and afterwards at See also:Devizes, and at the See also:age of six Thomas was already shown off to the guests of the See also:Black See also:Boar as an See also:infant See also:prodigy who could See also:sketch their likenesses and declaim speeches from See also:Milton. In 1779 the See also:elder Lawrence had to leave Devizes, having failed in business, and the precocious See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent of the son, who had gained a sort of reputation along the See also:Bath road, became the support of the See also:family. His debut as a See also:crayon portrait painter was made at See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford, where he was well patronized, and in 1782 the family settled in Bath, where the See also:young artist soon found himself fully employed in taking crayon likenesses of the fashionables of theplace at a See also:guinea or a guinea and a See also:half a See also:head. In 1784 he gained the See also:prize and See also:silver-gilt See also:palette of the Society of Arts for a crayon See also:drawing after See also:Raphael's " Transfiguration," and presently beginning to paint in oil. Throwing aside the See also:idea of going on the See also:stage which he had for a See also:short See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time entertained, he came to See also:London in 1787, was kindly received by See also:Reynolds, and entered as a student at the Royal See also:Academy. He began to exhibit almost immediately, and his reputation increased so rapidly that he became an See also:associate of the Academy in 1791. The See also:death of Sir See also:Joshua in 1792 opened the way to further successes. He was at once appointed painter to the Dilettanti society, and See also:principal painter to the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king in See also:room of Reynolds. In 1794 he was a Royal Academician, and he became the fashionable portrait painter of the age, having as his sitters all the See also:rank, See also:fashion and talent of See also:England, and ultimately most of the crowned heads of See also:Europe. In 1815 he was knighted; in 1818 he went to See also:Aix-la-Chapelle to paint the sovereigns and diplomatists gathered there, and visited See also:Vienna and See also:Rome, everywhere receiving flattering marks of distinction from princes, due as much to his courtly See also:manners as to his merits as an artist. After eighteen months he returned to England, and on the very See also:day of his arrival was chosen See also:president of the Academy in room of See also:West, who had died a few days before. This See also:- OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")
office he held from 1820 to his death on the 7th of See also:January 1830. He was never married.
Sir Thomas Lawrence had all the qualities of See also:personal manner and See also:artistic See also:style necessary to make a fashionable painter, and among English portrait painters he takes a high See also:place, though not as high as that given to him in his lifetime. His more ambitious See also:works, in the classical style, such as his once celebrated " Satan," are practically forgotten.
The best display of Lawrence's See also:work is in the See also:Waterloo See also:Gallery of See also:Windsor, a collection of much See also:historical See also:interest. " See also:Master Lambton," painted for See also:Lord See also:Durham at the See also:price of 600 guineas, is regarded as one of his best portraits, and a See also:fine head in the See also:National Gallery, London, shows his See also:power to See also:advantage. The See also:Life and See also:Correspondence of Sir T. Lawrence, by D. E. See also:Williams, appeared in 1831.
End of Article: LAWRENCE, SIR THOMAS (1769–1830)
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