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See also:LEIGHTON, See also:FREDERICK LEIGHTON, See also:BARON (183o–1896) , See also:English painter and sculptor, the son of a physician, was See also:born at See also:Scarborough on the 3rd of See also:December 183o. His grandfather, See also:Sir See also:- JAMES
- JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
- JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
- JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
- JAMES, DAVID (1839-1893)
- JAMES, EPISTLE OF
- JAMES, GEORGE PAYNE RAINSFOP
- JAMES, HENRY (1843— )
- JAMES, JOHN ANGELL (1785-1859)
- JAMES, THOMAS (c. 1573–1629)
- JAMES, WILLIAM (1842–1910)
- JAMES, WILLIAM (d. 1827)
James Leighton, also a physician, was See also:long See also:resident at the See also:court of St See also:Petersburg. Frederick Leighton was taken abroad at a very See also:early See also:age. In 184o he learnt See also:drawing at See also:Rome under Signor Meli. The See also:family moved to See also:Dresden and See also:Berlin, where he attended classes at the See also:Academy. In 1843 he was sent to school at See also:Frankfort, and in the See also:winter of 1844 accompanied his family to See also:Florence, where his future career as an artist was decided. There he studied under Bezzuoli and Segnolini at the Accademia delle Belle Arti, and attended See also:anatomy classes under Zanetti; but he soon returned to See also:complete his See also:general See also:education at See also:Frank-fort, receiving no further See also:direct instruction in See also:art for five years. He went to See also:Brussels in 1848, where he met Wiertz and See also:Gallait, and painted some pictures, including " See also:Cimabue finding See also:Giotto," and a portrait of himself. In 1849 he studied for a few months in See also:Paris, where he copied See also:Titian and CorreggiQ in the Louvre, and then returned to Frankfort, where he settled down to serious art See also:work under See also:Edward Steinle, whose See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil he declared he was " in the fullest sense of the See also:term." Though his See also:artistic training was mainly See also:German, and his See also:master belonged to the same school as See also:Cornelius and See also:Overbeck, he loved See also:Italian art and See also:Italy and the first Picture by which he became known to the See also:British public was " C imabue's Madonna carried in Procession through the
Streets of Florence," which appeared at the Royal Academy in 18J5. At this 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 the See also:works of the Pre-Raphaelites almost absorbed public See also:interest in art—it was the See also:year of See also:Holman See also:Hunt's " See also:Light of the See also:World," and the " See also:- RESCUE (in Middle Eng. rescous, from O. Fr. recousse, Low Lat. rescussa, from reexcussa,reexcutere, to shake off again, re, again, ex, off, quatere, to shake)
Rescue," by See also:Millais. Yet Leighton's picture, painted in quite a different See also:style, created a sensation, and was See also:purchased by See also:Queen See also:Victoria. Although, since his See also:infancy, he had only visited See also:England once (in 1851, when he came to see the See also:Great See also:Exhibition), he was not quite unknown in the cultured and artistic world of See also:London, as he had made many See also:friends during a See also:residence in Rome of some two years or more after he See also:left Frankfort in 1852. Amongst these were Giovanni See also:Costa, See also:Robert See also:Browning, James See also:Knowles, See also:George See also:- MASON, FRANCIS (1799—1874)
- MASON, GEORGE (1725—1792)
- MASON, GEORGE HEMMING (1818–1872)
- MASON, JAMES MURRAY (1798-1871)
- MASON, JOHN (1586-1635)
- MASON, JOHN YOUNG (1799-1859)
- MASON, LOWELL (1792—1872)
- MASON, SIR JOHN (1503–1566)
- MASON, SIR JOSIAH (1795-1881)
- MASON, WILLIAM (1725—1797)
Mason and Sir Edward See also:Poynter, then a youth, whom he allowed to work in his studio. He also met See also:Thackeray, who wrote from Rome to the See also:young Millais: " Here is a versatile young See also:dog, who will run you See also:close for the presidentship one of these days." During these years he painted several Florentine subjects—"Tybalt and Romeo," " The See also:Death of See also:Brunelleschi," a See also:cartoon of " The Pest in Florence according to See also:Boccaccio," and " The Reconciliation of the Montagues and the Capulets." He now turned his See also:attention to themes of classic See also:legend, which at first he treated in a " Romantic spirit." His next picture, exhibited in 1856, was " The See also:Triumph of See also:Music: See also:Orpheus by the See also:Power of his Art redeems his Wife from Hades." It was not a success, and he did not again exhibit till 1858, when he sent a little picture of " The Fisherman and the Syren " to the Royal Academy, and " See also:Samson and See also:Delilah " to the Society of British Artists in See also:Suffolk See also:Street. In 1858 he visited London and made the acquaintance of the leading Pre-Raphaelites—See also:Rossetti, Holman Hunt and Millais. In the See also:spring of 1859 he was at See also:Capri, always a favourite resort of his, and made many studies from nature, including a very famous drawing of a See also:lemon See also:- TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
- TREE, SIR HERBERT BEERBOHM (1853- )
tree. It was not till 186o that he settled in London, when he took up his quarters at 2 See also:Orme Square, Bayswater, where he stayed till, in 1866, he moved to his celebrated See also:house in See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland See also:Park Road, with its Arab See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall decorated with See also:Damascus tiles. There he lived till his death. He now began to fulfil the promise of his " Cimabue," and by such pictures as " See also:Paolo e Francesca," " The See also:Star of See also:Bethlehem," " See also:Jezebel and See also:Ahab taking See also:Possession of Naboth's Vineyard," " See also:Michael Angelo musing over his Dying Servant," " A Girl feeding Peacocks," and " The See also:Odalisque," all exhibited in 1861-1863, See also:rose rapidly to the See also:head of his profession. The two latter pictures were marked by the See also:rhythm of See also:line and luxury of See also:colour which are among the most See also:constant attributes of his art, and may be regarded as his first dreams of See also:Oriental beauty, with which he afterwards showed so great a sympathy. In 1864 he exhibited " See also:Dante in See also:- EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)
Exile " (the greatest of his Italian pictures), " Orpheus and See also:Eurydice" and " See also:Golden See also:Hours." In the winter of the same year he was elected an See also:Associate of the Royal Academy. After this the See also:main effort of his See also:life .was to realize visions of beauty suggested by classic myth and See also:history. If we add to pictures of this class a few Scriptural subjects, a few Oriental dreams, one or two of See also:tender sentiment like " Wedded " (one of the most popular of his pictures, and well known by not only an See also:engraving, but a statuette modelled by an Italian sculptor), a number of studies of very various types of See also:female beauty, " Teresina,"
Biondina," " Bianca," " Moretta," &c., and an occasional portrait, we shall nearly exhaust the two classes into which See also:Lord Leighton's work (as a painter) can be divided.
Amongst the finest of his classical pictures were—" Syracusan See also:- BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)
Bride leading See also:Wild Beasts in Procession to the See also:Temple of See also:Diana " ( 1866), " See also:Venus disrobing for the See also:Bath " (1867), " See also:Electra at the See also:Tomb of See also:Agamemnon," and " Helios and Rhodos " (1869), " See also:Hercules See also:wrestling with Death for the See also:Body of See also:Alcestis " (1871), " Clytemnestra " (1874), " The See also:Daphnephoria " (1876), " See also:Nausicaa " (1878), " An Idyll " (1881), two lovers under a spreading See also:oak listening to the piping of a shepherd and gazing on the See also:rich See also:plain below; " See also:Phryne " (1882), a nude figure See also:standing in the See also:sun; " Cymon and Iphigenia " (1884), " See also:Captive See also:Andromache " (1888), now in the See also:Manchester Art See also:Gallery; with the " Last See also:Watch of See also:Hero " (1887), " The Bath of See also:Psyche " (1890), now in the See also:Chantrey See also:Bequest collection; " The Gardenof the See also:Hesperides " (1892), " See also:Perseus and See also:Andromeda " and " The Return of Persephone," now in the See also:Leeds Gallery (1891); and " Clytie," his last work (1896). All these pictures are characterized by See also:nobility of conception, by almost perfect draughtsmanship, by colour which, if not of the highest quality, is always See also:original, choice and effective. They often reach distinction and dignity of attitude and gesture, and occasionally, as in the " Hercules and Death, " the " Electra " and the " Clytemnestra," a See also:noble intensity of feeling. Perhaps, amidst the great variety of qualities which they possess, none is more universal and more characteristic than a rich elegance, combined with an almost fastidious selection of beautiful forms. It is the super-See also:eminence of these qualities, associated with great decorative skill, that make the splendid See also:pageant of the "Daphnephoria " the most perfect expression of his individual See also:genius. Here we have his See also:composition, his colour, his sense of the joy and See also:movement of life, his love of art and nature at their purest and most spontaneous, and the result is a work without a See also:rival of its See also:kind in the British School.
Leighton was one of the most thorough draughtsmen of his See also:day. His sketches and studies for his pictures are numerous and very highly esteemed. They contain the essence of his conceptions, and much of their spiritual beauty and subtlety of expression was often lost in the elaboration of the finished picture. He seldom succeeded in retaining the freshness of his first See also:idea more completely than in his last picture—" Clytie
—which was left unfinished on his easel. He rarely painted sacred subjects. The most beautiful of his few pictures of this kind was the " See also:David musing on the Housetop" (1865). Others were " See also:Elijah in the See also:Wilderness " (1879), " See also:Elisha raising the Son of the Shunammite " (1881) and a See also:design intended for the decoration of the See also:dome of St See also:Paul's See also:Cathedral, " And the See also:Sea gave up the Dead which were in it " (1892), now in the See also:Tate Gallery, and the terrible " Rizpah " of 1893.
His diploma picture was " St See also:Jerome," exhibited in 1869. Besides these pictures of sacred subjects, he made some designs for Dalziel's See also:Bible, which for force of See also:imagination excel the paintings. The finest of these are " See also:Cain and See also:Abel," and " Samson with the See also:Gates of See also:Gaza."
Not so easily to be classed, but among the most individual and beautiful of his pictures, are a few of which the See also:motive was purely aesthetic. Amongst these may specially be noted " The Summer See also:- MOON (a common Teutonic word, cf. Ger. Mond, Du. maan, Dan. maane, &c., and cognate with such Indo-Germanic forms as Gr. µlip, Sans. ma's, Irish mi, &c.; Lat. uses luna, i.e. lucna, the shining one, lucere, to shine, for the moon, but preserves the word i
- MOON, SIR RICHARD, 1ST BARONET (1814-1899)
Moon," two See also:Greek girls sleeping on a See also:marble See also:bench, and "The Music See also:Lesson," in which a lovely little girl is seated on her lovely young See also:mother's See also:lap learning to See also:play the See also:lute. With these, as a work produced without any See also:literary See also:suggestion, though very different in feeling, may be associated the "Eastern Slinger scaring Birds in the See also:Harvest-time: Moon-rise " (1875), a nude figure standing on a raised See also:platform in a See also:- FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
- FIELD, CYRUS WEST (1819-1892)
- FIELD, DAVID DUDLEY (18o5-1894)
- FIELD, EUGENE (1850-1895)
- FIELD, FREDERICK (18o1—1885)
- FIELD, HENRY MARTYN (1822-1907)
- FIELD, JOHN (1782—1837)
- FIELD, MARSHALL (183 1906)
- FIELD, NATHAN (1587—1633)
- FIELD, STEPHEN JOHNSON (1816-1899)
- FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)
field of See also:wheat.
Leighton also painted a few portraits, including ,those of Signor Costa, the Italian landscape painter, Mr F. P. See also:Cockerell, Mrs See also:Sutherland Orr (his See also:sister), Amy, See also:Lady See also:Coleridge, Mrs See also:Stephen Ralli and (the finest of all) Sir See also:Richard See also:Burton, the traveller and Eastern See also:scholar, which was exhibited in 1876 and is now in the See also:National Portrait Gallery.
Like other painters of the day, notably G. F. See also:Watts, Lord Leighton executed a few pieces of See also:sculpture. His " See also:Athlete struggling with a See also:Python " was exhibited at the Royal Academy in 1877, and was purchased for the Chantrey Bequest collection. Another statue, " The Sluggard," of equal merit, was exhibited in 1886; and a charming statuette of a nude figure of a girl looking over her See also:shoulder at a See also:frog, called "Needless Alarms," was completed in the same year, and presented by the artist to Sir See also:John Millais in See also:acknowledgment of the See also:gift by the latter of his picture, " Shelling Peas." He made the beautiful design for the See also:reverse of the See also:Jubilee See also:Medal of 1887. It was also his See also:habit to make See also:sketch See also:models in See also:wax for the figures in his pictures, many of which are in the possession of the Royal Academy. As an illustrator in See also:black and See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white he also deserves to be remembered, especially for the cuts to Dalziel's Bible, already mentioned, and his illustrations to George See also:Eliot's Rorola, which appeared in the Cornhill See also:Magazine. The latter are full of the spirit of
Florence and the Florentines, and show a keen sense of See also:humour, elsewhere excluded from his work. Of his decorative paintings, the best known are the elegant compositions (in spirit See also:fresco) on the walls of the Victoria and See also:Albert Museum, representing " The See also:Industrial Arts of See also:War and See also:Peace." There, also, is the refined and spirited figure of " Cimabue " in See also:mosaic. In See also:Lyndhurst See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church are mural decorations to the memory of Mr See also:Pepys Cockerell, illustrating " The See also:Parable of the See also:Wise and Foolish Virgins."
Leighton's life was throughout marked by distinction, artistic and social. Though not tall, he had a See also:fine presence and See also:manners, at once genial and courtly. He was welcomed in all See also:societies, from the See also:palace to the studio. He spoke German, Italian and See also:French, as well as English. He had much See also:taste and love for music, and considerable gifts as an orator of a florid type. His Presidential Discourses (published, London, 1896) were full of elegance and culture. For seven years (1876—1883) he commanded the loth See also:Middlesex (Artists) See also:Rifle See also:Volunteers, retiring with the See also:rank of honorary See also:colonel, and subsequently receiving the Volunteer Decoration. Yet no socialattractionsorsuccesses diverted him from his devotion to his profession, the welfare of his brethren in art or of the Royal Academy. As See also:president he was punctilious in the See also:discharge of his duties, ready to give help and encouragement to artists young and old, and his See also:tenure of the 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 was marked by some wise and liberal reforms. He frequently went abroad, generally to Italy, where he was well known and appreciated. He visited See also:Spain in 1866, See also:Egypt in 1868, when he went up the See also:Nile with See also:Ferdinand de See also:Lesseps in a steamer See also:- LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")
lent by the See also:Khedive. He was at Damascus for a See also:short time in 1873. It was his See also:custom on all these trips to make little lively sketches of landscape and buildings. These fresh little See also:flowers of his leisure used to decorate the walls of his studio, and at the See also:sale of its contents after his death realized considerable prices. It was when he was in the full See also:tide of his popularity and success, and apparently in the full tide of his See also:personal vigour also, that he was struck with angina pectoris. For a long time he struggled bravely with this cruel disease, never omitting except from See also:absolute See also:necessity any of his See also:official duties except during a brief See also:period of See also:rest abroad, which failed to produce the desired effect. His death occurred on the 25th of See also:January 1896.
Leighton was elected an Academician in 1868, and succeeded Sir See also:Francis See also:- GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
- GRANT, ANNE (1755-1838)
- GRANT, CHARLES (1746-1823)
- GRANT, GEORGE MONRO (1835–1902)
- GRANT, JAMES (1822–1887)
- GRANT, JAMES AUGUSTUS (1827–1892)
- GRANT, ROBERT (1814-1892)
- GRANT, SIR ALEXANDER
- GRANT, SIR FRANCIS (1803-1878)
- GRANT, SIR JAMES HOPE (1808–1895)
- GRANT, SIR PATRICK (1804-1895)
- GRANT, U
- GRANT, ULYSSES SIMPSON (1822-1885)
Grant as President in 1878, when he was knighted. He was created a See also:baronet in 1886, and was raised to the See also:peerage in 1896, a few days before his death. He held honorary degrees at the See also:universities of 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, See also:Cambridge, See also:Dublin, See also:Edinburgh and See also:Durham, was an Associate of the See also:Institute of See also:France; a See also:Commander of the See also:Legion of See also:Honour, and of the See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
Order of See also:Leopold. He was a See also:Knight of the See also:Coburg Order, " Dem Verdienste,". and of the Prussian Order, " Pour le Write," and a member of at least ten See also:foreign See also:Academies. In 1859 he won a medal of the second class at the Paris See also:Salon, and at the Exposition Universelle of 1889 a See also:gold medal. As a sculptor he was awarded a medal of the first class in 1878 and the See also:Grand Prix in 1889.
See Art See also:Annual (Mrs A. See also:Lang), 1884; Royal Academy See also:Catalogue, Winter Exhibition, 1897; National Gallery of British Art Catalogue; C. See also:Monkhouse, British Contemporary Artists (London, 1899) ; Ernest Rhys, Frederick, Lord Leighton (London, 1898, 1900). (C.
End of Article: LEIGHTON, FREDERICK LEIGHTON, BARON (183o–1896)
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