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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, See also:GEORGE HEMMING (1818–1872) , See also:English painter, was See also:born at Wetley See also:Abbey, the eldest son of a See also:Staffordshire See also:county See also:gentleman. He was educated at 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 See also:Edward's School, See also:Birmingham, and studied for the medical profession for five years under Dr See also:Watt of that See also:city. But all his thoughts being given to See also:art, he abandoned See also:medicine in 1844 and travelled for a 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 on the See also:Continent; finally settling in See also:Rome, where he remained for some years and sought to make a living as an artist. During this See also:period he underwent many privations which permanently affected his See also:health; but he continued to labour assiduously, making studies of the picturesque scenery that surrounded him, and with hardly any instruction except that received from Nature and from the See also:Italian pictures he gradually acquired the painter's skill. At least two important See also:works are referable to this period: " Ploughing in the Campagna," shown in the Royal See also:Academy of 1857, and " In the See also:Salt Marshes, Campagna," exhibited in the following See also:year. After Mason's return from the continent, in 1858, when he settled at Wetley Abbey, he continued for a while to paint Italian subjects from studies made during his stay abroad, and then., his art began to See also:touch in a wonderfully See also:tender and poetic way the See also:peasant See also:life of See also:England, especially of his native Staffordshire, and the homely landscape in the midst of which that life was set. The first picture of this class was " See also:Wind on the Wold," and it was followed—along with much else of admirable quality —by the painter's three greatest works: The " Evening Hymn " (1868), a See also:band of Staffordshire See also:- MILL
- MILL (O. Eng. mylen, later myln, or miln, adapted from the late Lat. molina, cf. Fr. moulin, from Lat. mola, a mill, molere, to grind; from the same root, mol, is derived " meal;" the word appears in other Teutonic languages, cf. Du. molen, Ger. muhle)
- MILL, JAMES (1773-1836)
- MILL, JOHN (c. 1645–1707)
- MILL, JOHN STUART (1806-1873)
mill-girls returning from their See also:work; " Girls dancing by the See also:Sea " (1869); and the " See also:Harvest 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 " (1872). He See also:left Staffordshire in 1865 and went to live at See also:Hammersmith; and he was elected an See also:associate of the Royal Academy in 1869. By that time he had fully established his position as an artist of unusual See also:power and individuality. Mason died on the 22nd of See also:October 1872. In his work he laboured under the See also:double disadvantage of feeble and uncertain health, and a want of thorough art-training, so that his pictures were never produced easily, or without strenuous and See also:long-continued effort. His art is See also:great in virtue of the 'See also:solemn pathos which pervades it, of the dignity and beauty in rustic life which it reveals, of its keen See also:perception of See also:noble See also:form and graceful See also:motion, and of- See also:rich effects of See also:colour and subdued See also:light. In motif and treatment it has something in See also:common with the art of See also:Millet and Jules See also:Breton, as with that of See also:Frederick See also:- WALKER, FRANCIS AMASA (1840-1897)
- WALKER, FREDERICK (184o--1875)
- WALKER, GEORGE (c. 1618-169o)
- WALKER, HENRY OLIVER (1843— )
- WALKER, HORATIO (1858– )
- WALKER, JOHN (1732—1807)
- WALKER, OBADIAH (1616-1699)
- WALKER, ROBERT (d. c. 1658)
- WALKER, ROBERT JAMES (1801-1869)
- WALKER, SEARS COOK (1805—1853)
- WALKER, THOMAS (1784—1836)
- WALKER, WILLIAM (1824-1860)
Walker among Englishmen; though he had neither the occasional uncouth robustness of Millet nor the See also:firm actuality of Jules Breton. His pictures " Wind on the Wold " and " The See also:Cast See also:Shoe " are in the See also:National See also:Gallery of See also:British Art.
End of Article: MASON, GEORGE HEMMING (1818–1872)
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