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SANDYS, FREDERICK (1832-1904)

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Originally appearing in Volume V24, Page 144 of the 1911 Encyclopedia Britannica.
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SANDYS, See also:FREDERICK (1832-1904) , See also:English painter and draughtsman, was See also:born at See also:Norwich on the 1st of May 1832, and received his earliest lessons in See also:art from his See also:father, who was himself a painter. His See also:early studies show that he had a natural See also:gift for careful and beautiful See also:drawing, and that he sought after See also:absolute sincerity of presentment. Sandys worked along the same lines as See also:Millais, Madox See also:Brown, See also:Holman See also:Hunt and See also:Rossetti. He first met Rossetti in 1857, and carried away with him the impression of the painter-poet's features, which he reproduced so cleverly in " A Nightmare," a See also:caricature of " See also:Sir Isumbras at the See also:Ford," by Millais. Both the picture and the skit upon it by Sandys attracted much See also:attention in 1857. The caricaturist turned the See also:horse of Sir Isumbras into a donkey labelled " J. R., Oxon." (See also:John See also:Ruskin). Upon it were seated Millais himself, in the See also:character of the See also:knight, with Rossetti and Holman Hunt as the two See also:children, one before and one behind. Rossetti and Sandys became intimate See also:friends, and for about a See also:year and a See also:quarter, ending in the summer of 1867, Sandys lived with Rossetti at Tudor See also:House (now called See also:Queen's House) in See also:Cheyne Walk, See also:Chelsea. By this See also:time Sandys was known as a painter of remark-able gifts. He had begun by drawing for Once a See also:Week, the Cornlzill See also:Magazine, See also:Good Words and other See also:periodicals. He See also:drew only in the magazines.

No books illustrated by him can be traced. So his exquisite draughtsmanship has to be sought for in the old See also:

bound-up periodical volumes which are now hunted by collectors, or in publications such as Dalziel's See also:Bible See also:Gallery and the Cornhill Gallery and books of drawings, with verses attached to them, made to See also:lie upon the drawing-See also:room tables of those who had for the most See also:part no See also:idea of their merits. Every drawing Sandys made was a See also:work of art, and many of them were so faithfully engraved that they are worthy of the See also:collector's See also:portfolio. Early in the 'sixties he began to exhibit the paintings which set the See also:seal upon his fame. The best known of these are " Vivien " (1863), " See also:Morgan le See also:Fay " (1864), " See also:Cassandra " and " See also:Medea." Sandys never became a popular painter. He painted little, and the dominant See also:influence upon his art was the influence exercised by lofty conceptions of tragic See also:power. There was in it a sombre intensity and an almost stern beauty which lifted it far above the ideals of the See also:crowd. The Scandinavian Sagas and the Morte d'See also:Arthur gave him subjects after his own See also:heart. " The Valkyrie " and " Morgan le Fay " represent his work at its very best. He made a number of See also:chalk drawings of famous men of letters, including See also:Tennyson, See also:Browning, See also:Matthew See also:Arnold, and See also:James. See also:Russell See also:Lowell. Sandys died in See also:Kensington on the loth of See also:June 1904.

See also See also:

Esther See also:Wood, The Artist (See also:Winter number, 1896).

End of Article: SANDYS, FREDERICK (1832-1904)

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