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See also:POYNTER, See also:SIR See also:EDWARD See also:JOHN, See also:BART . (1836- ), See also:English painter, son of See also:Ambrose Poynter, architect, was See also:horn in See also:Paris on the loth of See also:March 1836. He pursued his See also:art studies in See also:England and in Paris (under See also:Gleyre, 1856-1859), and exhibited his first picture at the Royal See also:Academy in 1861. In 1869, after the See also:exhibition of " See also:Israel in See also:Egypt " and " The See also:Catapult," he was elected an See also:Associate of the Royal Academy, and in 1876, the See also:year of " See also:Atalanta's See also:Race," full Academician.
In the decorative arts he practised freely as a designer in See also:fresco, See also:mosaic, stained See also:glass, pottery, See also:tile-See also:work and the like. While still quite a See also:young See also:man, he was encouraged by the architect 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 See also:Burges, A.R.A., to See also:design panels for his See also:quaint See also:Gothic cabinets; Messrs See also:Powell obtained from him cartoons of designs for stained glass; for the decoration of See also:Waltham See also:Abbey 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 he was employed on a See also:series of See also:thirty important designs. Attracted by these, Dalziel See also:Brothers commissioned a number of full-See also:page drawings on See also:wood for the See also:illustration of their celebrated " See also:Bible See also:Gallery." The cartoons for " St See also:George " and " St See also:David," the mosaic panels now embellishing the See also:outer See also:lobby of the See also:Palace of See also:Westminster, were produced in 187o, and they were followed by the " See also:Apelles " and
Phidias," in the same method of See also:reproduction, in the See also:Victoria and See also:Albert Museum; by the important series of frescoes in St See also:Stephen's, See also:Dulwich—scenes from the See also:life of the See also:saint; by the decoration of the grill See also:room at the Museum at See also:South See also:Kensington, with the tiles en camaieu—an achievement strikingly successful and pregnant with results. Always a See also:lover of See also:water-See also:colour See also:drawing and of the art of landscape See also:painting, he was elected to the Royal Society of Painters in Water See also:Colours in 1883. In 1874 he designed the Ashantee See also:medal; and in 1892, for the coinage of that year, the See also:reverse of the See also:shilling and florin, to the obverse of Mr See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas See also:Brock, R.A.
When the art teaching centre of South Kensington was assuming the importance it has since attained, Mr Poynter was appointed director for art in the See also:Science and Art See also:Department, and See also:principal of the See also:National Art Training See also:Schools (now the Royal See also:College of Art), and by virtue of his vigorous and successful See also:administration he invested his 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 with a distinction which, after his resignation in 1881, it soon notoriously lacked.
The directorship of the National Gallery became vacant in 1894, and Poynter, profoundly versed in the See also:works of the Old Masters, especially of the See also:Italian schools, was appointed to the See also:post, which he held for ten years. Under his See also:rule the National Gallery of See also:British Art, at Millbank, presented by the See also:late Sir 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 See also:Tate, became a department of the National Gallery, and thither were removed many pictures formerly in the British rooms at See also:Trafalgar Square, as well as the See also:Chantrey Collection from South Kensington, &c. One of the most important services by the director was the editing of the See also:great Illustrated See also:Catalogue of the National Gallery (1889-1900), in which every picture in the collection is reproduced—an unprecedented achievement in the See also:annals of art-See also:publishing.
On the See also:death of Sir John See also:Millais in 1896, Poynter was elected to the See also:presidency of the Royal Academy, and was knighted. He was made a See also:baronet in 1902.
Paintings.—Among Sir Edward Poynter's most notable pictures have been the following: " Israel in Egypt " (1867) ; " The Catapult " (1868) ; " See also:Perseus and See also:Andromeda " (1872) ; " Atalanta's Race " (1876) ; " The See also:Fortune-See also:Teller " (1877) ; " See also:Nausicaa and Her Maidens " (1879) ; " Visit to See also:Aesculapius " (188o), now in the Chan-trey Collection in the Tate Gallery; " The Ides of March " (1883) ;
Diadumene" (1885), now destroyed; " On the See also:Terrace " (1889) ; " The See also:- MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)
Meeting of See also:Solomon and the See also:Queen of Sheba " (1891) ; " Horae Serenae " and " Idle Fears " (1894), and numerous portraits and water-colour drawings.
Lectures.—In his series of See also:Slade Lectures, delivered from 1875 to 1879, and first published in 1879 (republished, with additions, in 1897), Sir Edward Poynter deals with the whole subject of art See also:education, considering in turn Decorative Art, Old and New Art, Systems of Art Education, Hints on the Formation of a See also:Style, Training of Art Students, The Study of Nature, The Value of Things, See also:Objects of Study, See also:Professor See also:Ruskin on See also:Michelangelo (hotly controversial in See also:tone), See also:Influence of Art in Social Life, and See also:Ancient Decorative Art.
See also Cosmo See also:Monkhouse, " Sir E. J. Poynter, P.R.A.: His Life and Work," Art See also:Annual (1897) ; M. H. Spielmann, " Sir E. J. Poynter, P.R.A., and his Studies," The See also:Magazine of Art (1897).
End of Article: POYNTER, SIR EDWARD JOHN, BART
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