|
See also:ORCHARDSON, See also:SIR 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 QUILLER (1835-1910) , See also:British painter, was See also:born in See also:Edinburgh, where his See also:father was engaged in business, in 1835. " Orchardson " is a variation of " Urquhartson," the name of a Highland See also:sept settled on See also:Loch Ness, from which the painter is descended. At the See also:age of fifteen he was sent to the Trustees' See also:Academy, then under the mastership of See also:Robert See also:Scott See also:Lauder, where he had as See also:fellow-students most of those who afterwards See also:shed lustre on the Scottish school of the second See also:half of the 19th See also:century. As a student he was not especially precocious or industrious, but his See also:work was distinguished by a See also:peculiar reserve, by an unusual determination that his See also:hand should be subdued to his See also:eye, with the result that his See also:early things reach their own ideal as surely as those of his maturity. By the 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 was twenty, Orchardson had mastered the essentials of his See also:art, and had produced at least one picture which might be accepted as representative, a portrait of Mr See also:John Hutchison, the sculptor. For seven years after this he worked in Edinburgh, some of his See also:attention being given to " 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," his practice in which had been partly acquired at a See also:sketch See also:club, which included among its members Mr See also:Hugh See also:Cameron, Mr 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:Graham, Mr See also:George See also:Hay, Mr M'Taggart, Mr John Hutchison and others. In 1862 he came to See also:London, and established himself in 37 See also:Fitzroy Square, where he was joined twelve months later by his friend John See also:Pettie. The same See also:house was afterwards inhabited by See also:Ford Madox See also:- BROWN
- BROWN, CHARLES BROCKDEN (1771-181o)
- BROWN, FORD MADOX (1821-1893)
- BROWN, FRANCIS (1849- )
- BROWN, GEORGE (1818-188o)
- BROWN, HENRY KIRKE (1814-1886)
- BROWN, JACOB (1775–1828)
- BROWN, JOHN (1715–1766)
- BROWN, JOHN (1722-1787)
- BROWN, JOHN (1735–1788)
- BROWN, JOHN (1784–1858)
- BROWN, JOHN (1800-1859)
- BROWN, JOHN (1810—1882)
- BROWN, JOHN GEORGE (1831— )
- BROWN, ROBERT (1773-1858)
- BROWN, SAMUEL MORISON (1817—1856)
- BROWN, SIR GEORGE (1790-1865)
- BROWN, SIR JOHN (1816-1896)
- BROWN, SIR WILLIAM, BART
- BROWN, THOMAS (1663-1704)
- BROWN, THOMAS (1778-1820)
- BROWN, THOMAS EDWARD (1830-1897)
- BROWN, WILLIAM LAURENCE (1755–1830)
Brown. '
The See also:English public was not immediately attracted by See also:Orchard-son's work. It was too quiet to compel attention at the Royal Academy, and Pettie, Orchardson's junior by four years, stepped before him for a time, and became the most readily accepted member of the school. Orchardson confined himself to the simplest themes and designs, to the most reticent schemes of See also:colour. Among his best pictures during the first eighteen years after his See also:migration to London were " The See also:Challenge," " See also:Christopher Sly," " See also:Queen of the Swords," " Conditional See also:Neutrality," " Hard See also:Hit "—perhaps the best of all—and protraits of Mr See also:Charles See also:Moxon, his father-in-See also:law, and of his own wife. In all these See also:good See also:judgment and a refined See also:imagination were See also:united to a restrained but consummate technical dexterity. During these same years he made a few drawings on See also:wood, turning to See also:account his early facility in this mode. The See also:period between 1862 and 188o was one of quiet ambitions, of a See also:character istic insouciance, of See also:life accepted as a thing of many-balanced interests rather than as a See also:matter of See also:sturm and drang. In 1865 Pettie married, and the Fitzroy Square See also:menage was broken up. In 1868 Orchardson was elected A.R.A. In 1870 he spent the summer in See also:Venice, travelling See also:home in the early autumn through a See also:France overrun by the See also:German armies. In 1873 he married See also:Miss See also:Helen Moxon; and in 1877 he was elected to the full member-See also:ship of the Royal Academy. In this same See also:year he finished See also:building a house at Westgate-on-See also:Sea, with an open See also:tennis-See also:court and a studio in the See also:garden. He was knighted in See also:June 1907, and died in London on the 13th of See also:April 1910.
Orchardson's wider popularity See also:dates from 1881. To that year's Academy he sent the large " On See also:Board the See also:Bellerophon," which now hangs in the See also:Tate See also:Gallery. Its success with the public was See also:great and instantaneous, and for ten or twelve years Orchard-son's work was more eagerly looked for at the Academy than that of any one else. He followed up the " Bellerophon " with the still finer " See also:Voltaire," now in the Kunsthalle at See also:Hamburg. Technically, the " Voltaire " is, perhaps, his high-See also:water See also:mark. See also:Fine both in See also:design and colour, it is carried out with a supple dexterity of hand which has scarcely been equalled in the British school since the See also:death of See also:Gainsborough. The subject is not entirely happy, for it does not explain itself, but requires a previous knowledge on the See also:part of the spectator of how Voltaire
was beaten by the servants of the See also:Chevalier de See also:Rohan-See also:Cabot, and how the duc de See also:Sully failed to avenge his See also:guest. The painter was attracted by the opportunity it gave for effective opposition of character, See also:line, colour and See also:movement. The " Voltaire " was at the Academy of 1883; it was followed, in 1884, by the " Mariage de convenance," perhaps the most popular of all Orchardson's pictures; in 1885, by " The See also:Salon of Madame See also:Recamier "; in 1886, by " After," the sequel to the " Mariage de convenance," and " A See also:Tender Chord," one of his most exquisite productions; in 1887, by " The First See also:Cloud "; in 1888, by " Her See also:Mother's See also:Voice "; and in 1889, by " The See also:Young See also:Duke," a See also:canvas on which he returned to much the same pictorial See also:- SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)
scheme as that of the " Voltaire." Subsequently he exhibited, a See also:series of pictures in which fine pictorial use was made of the See also:furniture and costumes of the early years of the 19th century, the subjects, as a See also:rule, being only just enough to suggest a See also:title: " An See also:Enigma," " A Social Eddy," " Reflections," " If See also:music be the See also:food of love, See also:play on!" " Music, when sweet voices See also:die, vibrates on the memory," " Her First See also:Dance,"—in these, opportunities are made to introduce old harpsichords, spinets, early pianofortes, See also:Empire chairs, sofas and tables, See also:Aubusson carpets, See also:short-waisted gowns, delicate in material and See also:primitive in See also:ornament. Between such things and Orchardson's methods as .a painter the sympathy is See also:close, so that the best among them, " A Tender Chord," for instance, or " Music, when sweet voices die," have a rare distinction.
As a portrait-painter Orchardson must be placed in the first class. His portraits are not numerous, but among them are a few which rise to the highest level reached by See also:modern art. " See also:Master Baby," a picture, connecting subject-See also:painting with See also:portraiture, is a masterpiece of design, colour and broad See also:execution. " Mrs See also:Joseph," " Mrs Ralli," " Sir See also:Andrew 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, See also:Bart.," " Charles Moxon, Esq.," " Mrs Orchardson," " Conditional Neutrality " (a portrait of Orchardson's eldest son as a boy of six), " See also:Lord Rookwood," " The See also:Provost of See also:Aberdeen," and, above all, " Sir See also:Walter See also:Gilbey, Bart.," would all deserve a See also:place in any See also:list of the best portraits of the 19th century. In this See also:branch of art the " Sir Walter Gilbey " may fairly be called the painter's masterpiece, although the sumptuous full-length of the Scottish provost, in his See also:robes, runs it closely. The scheme of colour is reticent; had the picture been exhibited at the time of the See also:Boer See also:War of 'goo the colour would have been called See also:khaki; the design is See also:simple, uniting nature to art with a rare felicity; and the likeness has been found satisfactory by the sitter's See also:friends. The most important See also:commission ever received by Orchardson as a portrait-painter was that for a See also:group of Queen See also:Victoria, with her son (afterwards 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 VII.), See also:grandson, and great-grandson, to be painted on one canvas for the Royal Agricultural Society. The painter hit upon a happy notion for the bringing of the four figures together, and as time goes on and the picture slowly turns into See also:history, its merit is likely to be better appreciated. He continued painting to the end of his life, and had three portraits ready for the Royal Academy in 191o.
Orchardson's method was that of one who worked under a creative, decorative and subjective impulse, rather than under one derived from a wish to observe and See also:record. His See also:affiliation is with See also:Watteau and Gainsborough, rather than with those who would See also:base all pictorial art on a keen eye for actuality and " value." Among See also:French painters his pictures have excited particular admiration. (W.
End of Article: ORCHARDSON, SIR WILLIAM QUILLER (1835-1910)
Additional information and Comments
There are no comments yet for this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML.
Site content, images, and layout Copyright © 2006 - Net Industries, worldwide.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are always encouraged.
|
del.icio.us it!