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See also:OPIE, See also:JOHN (1761-1807) , See also:English See also:historical and portrait painter, was See also:born at St See also:Agnes near See also:Truro in May 1761. He See also:early showed a See also:taste for See also:drawing, besides having at the See also:age of twelve mastered See also:Euclid and opened an evening school for See also:arithmetic and See also:writing. Before See also:long he won some See also:local reputation by portrait-See also:painting; and in 178o he started for See also:London, under the patronage of Dr See also:Wolcot (See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter See also:Pindar). Opie was introduced to the See also:town as " The Cornish Wonder," a self-taught See also:genius. The See also:world of See also:fashion, ever eager for a new sensation, was attracted; the carriages of the wealthy blocked the See also:street in which the painter resided, and 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 he reaped a See also:rich See also:harvest by his portraits. But soon the fickle See also:tide of popularity flowed past him, and the painter was See also:left neglected. He now applied himself with redoubled See also:diligence to correcting the defects which marred his See also:art, meriting the praise of his See also:rival See also:Northcote—" Other artists paint to live; Opie lives to paint." At the same time he sought to supplement his early See also:education by the study of Latin and See also:French and of the best English See also:classics, and to See also:polish the rudeness of his provincial See also:manners by mixing in cultivated and learned circles. In 1786 he exhibited his first important historical subject, the " Assassination of 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 I., " and in the following See also:year the See also:Murder of See also:Rizzio," a See also:work whose merit was recognized by the artist's immediate See also:election as See also:associate of the See also:Academy, of which he became a full member in 1788. He was employed on five subjects for See also:Boydell's " See also:Shakespeare See also:Gallery "; and until his See also:death, on the 9th of See also:April 18o7, his practice alternated between See also:portraiture and historical work. His productions are distinguished by breadth of handling and a certain See also:rude vigour, individuality and freshness. They are wanting in See also:- GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
grace, elegance and poetic feeling. Opie is also favourably known as a writer on art by his See also:Life of See also:Reynolds in Wolcot's edition of Pilkington, his See also:Letter on the Cultivation of the See also:Fine Arts in See also:England, in which he advocated the formation of a See also:national gallery, and his Lectures as See also:professor of painting to the Royal Academy, which were published in 1809, with a memoir of the artist by his widow (see above).
End of Article: OPIE, JOHN (1761-1807)
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