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See also:MOORE, See also:ALBERT See also:JOSEPH (1841–1893) , See also:English decorative painter, was See also:born at See also:York on the 4th of See also:September 1841. He was the youngest of the fourteen See also:children of the artist, See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William Moore, of York who in the first See also:half of the I9th See also:century enjoyed a considerable reputation in the See also:North of See also:England as a painter of portraits and landscape. In his childhood Albert Moore showed
From Strasburger's Lelnbuch der Botanik, by permission of Gustav See also:Fischer.
Botrychium Lunaria.
an extraordinary love of See also:art, and as he was encouraged in his tastes by his See also:father and See also:brothers, two of whom after-wards became famous as artists—See also:John Collingham Moore, and See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry Moore, R.A.—he was able to begin the active exercise of his profession at an unusually See also:early See also:age. His first exhibited See also:works were two drawings which he sent to the Royal See also:Academy in 1857. A See also:year later he became a student in the Royal Academy See also:schools; but after working in them for a few months only he decided that he would be more profitably occupied in See also:independent practice. During the See also:period that extended from 1858 to 187o, though he produced and exhibited many pictures and drawings, he gave up much of his 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 to decorative See also:work of various kinds, and painted, in 1863, a See also:series of See also:wall decorations at Coombe See also:Abbey, the seat of the See also:earl of See also:Craven; in 1865 and 1866 some elaborate compositions: " The Last Supper " and " The Feeding of the Five Thousand " on the See also:chancel walls of the 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 of St See also:Alban's, See also:Rochdale; and in 1868 " A See also:Greek See also:Play," an important See also:panel in See also:tempera for the See also:proscenium of the See also:Queen's See also:Theatre in See also:Long See also:Acre. His first large See also:canvas, " See also:Elijah's See also:Sacrifice," was completed during a stay of some five months in See also:Rome at the beginning of 1863, and appeared at the Academy in 1865. A still larger picture, " The Shunamite See also:relating the Glories of 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:Solomon to her Maidens," was exhibited in 1866, and with it two smaller works, " Apricots " and " Pomegranates." In these Albert Moore asserted plainly the particular technical conviction which for the See also:rest of his See also:life governed the whole of his practice, and with them he first took his See also:place definitely among the most See also:original of See also:British painters. Of his subsequent works the most notable are "The Quartette " (1869), " See also:Sea Gulls " (1871), " Follow-my-See also:Leader " (1873), " Shells " (1874), " See also:Topaz " (1879), " See also:Rose Leaves " (1880), " Yellow Marguerites " (1881), " Blossoms " (1881), " Dreamers " (1882), " See also:Reading Aloud " (1884), " See also:Silver " (1886), " Midsummer " (1887), " A See also:River See also:Side " (1888), " A Summer See also:Night " (189o), " See also:Lightning and See also:Light " (1892), " An Idyll " (1893), and " The Loves of the Winds and the Seasons," a large picture which was finished only a few days before his See also:death. He died on the 25th of September 1893, at his studio in See also:Spenser See also:Street, See also:Westminster. Several of his pictures are now in public collections; among the See also:chief are " Blossoms," in the See also:National See also:Gallery of British Art; " A Summer Night " in the See also:Liverpool See also:Corporation Gallery; " Dreamers " in the See also:Birmingham Corporation Gallery; and a See also:water-See also:colour, " The Open See also:Book," in the See also:Victoria and Albert Museum, See also:South See also:Kensington. In all his pictures, See also:save two or three produced in his later boyhood, he avoided any approach to See also:story-telling, and occupied himself exclusively with decorative arrangements of lines and colour masses. The spirit of his art is essentially classic, and his work shows plainly that he was deeply influenced by study of See also:antique See also:sculpture; but he was not in any sense an archaeological painter, nor did he See also:attempt reconstructions of the life of past centuries. Artistically he lived in a See also:world of his own creation, a place peopled with robust types of humanity of Greek See also:mould, and See also:gay with See also:bright-coloured draperies and brilliant-hued See also:flowers. As an executant he was careful and certain; he See also:drew finely, and his colour-sense was remarkable for its refinement and subtle appreciation. Few men have equalled him as a painter of draperies, and still fewer have approached his ability in the application of decorative principles to pictorial art.
End of Article: MOORE, ALBERT JOSEPH (1841–1893)
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