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661:] In the works which Wilkie produced in his final period he exchanged the detailed handling, the delicate finish and the reticent hues of his earlier works for a style distinguished by breadth of touch, largeness of effect, richness of tone and full force of melting and powerful colour. His subjects, too, were no longer the homely things of the genre-painter: with his broader method he attempted the portrayal of scenes from history, suggested for the most part by the associations of his foreign travel. His change of style and change of subject were severely criticized at the time; to some extent he lost his hold upon the public, who regretted the familiar subjects and the interest and pathos of his earlier productions, and were less ready to follow him into the historic scenes towards which this final phase of his art sought to lead them. The popular verdict had in it a basis of truth: Wilkie was indeed greatest as a genre-painter. But on technical grounds his change of style was criticized with undue severity. While his later works are admittedly more frequently faulty in form and draftsmanship than those of his earlier period, some of them at least (
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762:(completed 1839). His time was also much occupied with portraiture, many of his works of this class being royal commissions. His portraits are pictorial and excellent in general distribution, but the faces are frequently wanting in drawing and character. He seldom succeeded in showing his sitters at their best, and his female portraits, in particular, rarely gave satisfaction. A favourable example of his cabinet-sized portraits is that of Sir Robert Liston; his likeness of W. Esdaile is an admirable three-quarter length; and one of his finest full-lengths is the gallery portrait of Lord Kellie, in the town hall of
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265:, the engraver of Wilkie's works, we have an interesting account of his early studies, of his indomitable perseverance and power of close application, of his habit of haunting fairs and marketplaces, and transferring to his sketchbook all that struck him as characteristic and telling in figure or incident, and of his admiration for the works of
635:, executed in what Burnet styles his second manner, which, however, may be regarded as only the development and maturity of his first – he begins to unite to the qualities of Teniers that greater richness and fulness of effect which are characteristic of Ostade. But now he experienced the spell of the Italian masters, and of
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It is impossible to overestimate the influence upon Wilkie's art of these three years of foreign travel. It amounts to nothing short of a complete change of style. Up to the period of his leaving
Britain he had been mainly influenced by the Dutch genre-painters, whose technique he had carefully
623:, in particular, appears to have been his chief master; and in his earlier productions we find the sharp, precise, spirited touch, the rather subdued colouring, and the clear, silvery grey tone which distinguish this master; while in his subjects of a slightly later period – those, such as the
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361:. One of his first patrons in London was Robert Stodart, a pianoforte maker, a distant connection of the Wilkie family, who commissioned his portrait and other works and introduced the young artist to the dowager countess of Mansfield. This lady's son was the purchaser of the
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had also been begun before he left for abroad; but it was painted throughout in the later style, and consequently presents a more satisfactory unity and harmony of treatment and handling. It was one of the most successful pictures of the artist's later period.
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In the autumn of 1840 Wilkie resolved on a voyage to the East. Passing through the
Netherlands and Germany, he reached Constantinople, where, while detained by the war in Syria, he painted a portrait of the young sultan. He then sailed for
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studied, whose works he frequently kept beside him in his studio for reference as he painted, and whose method he applied to the rendering of those scenes of
English and Scottish life of which he was so close and faithful an observer.
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302:, which in 1803 gained a premium of ten guineas at the Trustees' Academy, while his pencil portraits of himself and his mother, dated that year, and now in the possession of the
665:, 1838, for instance) show a true gain and development in power of handling, and in mastery over complex and forcible colour harmonies. Most of Wilkie's foreign subjects – the
611:, a work which, like several small pictures executed in Rome, was strongly influenced by the Italian art by which the painter had been surrounded. In October he passed into
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199:, 1813. The painting represents the artist's own unpleasant experience of having presented a useless introduction letter to a potential patron who didn't receive it well.
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catalogued and published the complete series of his etchings and dry-points, supplying the place of a few copper-plates that had been lost by reproductions, in his
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may also be referred to for a critical estimate of his works. A list of the exceptionally numerous and excellent engravings from his pictures will be found in
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486:. In the same year he made his first visit to the continent, and in Paris entered upon a profitable and delighted study of the works of art collected in the
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715:– a curious example of a union of his earlier and later styles, a "mixture" which was very justly pronounced by Haydon to be "like oil and water". His
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866:(Laing, IV), are worthy to rank with the work of the greatest figure-etchers. During his lifetime he issued a portfolio of seven plates, and in 1875
490:. Interesting particulars of the time are preserved in his own matter-of-fact diary, and in the more sprightly and flowing pages of the journal of
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A painting which might be a real Wilkie or only a copy (the question is only resolved in the latter half of the book) plays a role in the novel
832:, containing the painter's journals and his observant and well-considered "Critical Remarks on Works of Art", was published in 1843. Redgrave's
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in 1816, at a cost of 1200 guineas (£102,600 in 2021), was exhibited at the Royal
Academy. On his return to Scotland in 1817, he painted
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794:, eventually dying at sea off Gibraltar, en route to Britain, on the morning of 1 June 1841. His body was consigned to the deep in the
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which was composed during recovery from a fever contracted in 1807 while on a visit to his native village. His next great work was the
464:, with lighting chosen to tone down the brightness of his kilt and his knees shown bare, without the pink tights he wore at the event.
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1545:(Illustrated with twenty plates, etc.), London : Walter Scott Publishing Co., 1903, (Series: The makers of British art).
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539:) a cabinet-sized picture with small full-length figures in the dress of Scottish peasants, the result of a commission by
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was a relative. He developed a love for art at an early age. In 1799, after he had attended school at
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was the incident ultimately chosen; and in the following year, when the artist, upon the death of
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114:(18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his
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Memorial to Wilkie, erected by his sister in the church at his birthplace in Fife
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In 1825 he sought relief in foreign travel: after visiting Paris, he went to
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1508:. Vol. 28 (11th ed.). Cambridge University Press. p. 644–645.
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for
January 1840. Apart from his skill as a painter Wilkie was an admirable
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Sir David Wilkie's flattering portrait of the kilted King George IV for the
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353:. In the spring of 1805 he left Scotland for London, carrying with him his
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as painter in ordinary to the king, and in 1836 he received the honour of
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Portrait by W Bentley, R. A. in Fisher's
Drawing Room Scrap Book, 1835,
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was tried in 1826, with little good result, and then Wilkie returned to
149:. Apart from royal portraits, his best-known painting today is probably
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Among his pictures of this period might be mentioned a subject from
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General Sir David Baird
Discovering the Body of Sultan Tippoo Sahib
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494:, his fellow traveller and brother Cedomir. On his return he began
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This article incorporates text from a publication now in the
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518:, was completed in 1820; and two years later the great picture of
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118:. He painted successfully in a wide variety of genres, including
1430:"Records of the clan and name of Fergusson, Ferguson and Fergus"
786:. On his return voyage he suffered from an attack of illness at
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The
Preaching of John Knox before the Lords of the Congregation
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Wilkie stood as godfather to the son of his fellow
Academician
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for 800 guineas. It was followed in 1813 by the well-known
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1323:"Purchasing Power of British Pounds from 1270 to Present"
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In the beginning of 1830 Wilkie was appointed to succeed
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The
Entrance of George IV at the Palace of Holyroodhouse
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Reception of the King at the Entrance of Holyrood Palace
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Wilkie now turned to historical scenes, and painted his
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in Scotland on 18 November 1785. He was the son of the
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there, and began his first important subject-picture,
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and returned to Cults. He established himself in the
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The Chelsea Pensioners reading the Waterloo Dispatch
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In November 1809 he was elected an associate of the
273:, two Scottish painters of scenes from humble life.
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The Chelsea Pensioners reading the Waterloo Dispatch
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The Chelsea Pensioners reading the Waterloo Dispatch
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607:, where he had sufficiently recovered to paint his
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257:(afterwards Sir William Allan and president of the
1588:Sir David Wilkie and the Scots School of Painters,
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1099:hanging in the Long Gallery of the Murray seat,
757:General Sir David Baird Discovering the Body of
1604:Paintings and drawings by Sir David Wilkie, R.A
615:, whence he returned to Britain in June 1828.
1249:"Chevalier, Caroline and Chevalier, Nicholas"
753:Queen Victoria Presiding at her First Council
708:On his return to the UK Wilkie completed the
1721:19th-century painters of historical subjects
1623:Profile on Royal Academy of Arts Collections
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956:Washington Irving in the Archives of Seville
1618:Works in the National Galleries of Scotland
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318:, afterwards developed into the well-known
1409:"Abbotsford: The Home of Sir Walter Scott"
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872:Etchings of David Wilkie and Andrew Geddes
834:Century of Painters of the English School
710:Reception of the King at the Entrance of
609:Princess Doria Washing the Pilgrims' Feet
502:, the engraver of many of his paintings.
130:, but he died and was buried at sea, off
71:Learn how and when to remove this message
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1282:(1900). "Chapter IV: Education in Art".
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749:Empress Josephine and the Fortune-Teller
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34:This article includes a list of general
1573:No. 19, Winter 1984, pp. 25 – 27,
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547:The visit of King George IV to Scotland
1741:Alumni of the Edinburgh College of Art
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854:. The best of his plates, such as the
1640:132 artworks by or after David Wilkie
1530:. Vol. 61. 1900. p. 253 ff.
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798:. Wilkie's death was commemorated by
559:a fitting subject for a picture. The
1746:People of the Scottish Enlightenment
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737:Columbus in the Convent at La Rabida
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415:, to which a companion picture, the
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355:Bounty-Money, or the Village Recruit
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1254:Dictionary of New Zealand Biography
1089:Charles Cathcart, 9th Lord Cathcart
1017:The First Council of Queen Victoria
687:Guerilla Taking Leave of his Family
557:Visit of King George IV to Scotland
462:Visit of King George IV to Scotland
249:, and began the study of art under
90:of Sir David Wilkie, aged about 20.
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1761:19th-century Scottish male artists
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1188:David Wilkie: The People's Painter
603:. The summer of 1827 was spent in
575:Three more years of foreign travel
182:Painting by David Wilkie entitled
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1259:Ministry for Culture and Heritage
842:Practical Essays on the Fine Arts
387:and the admirable picture of the
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1554:(London: G. Bell and sons, 1902)
1527:Dictionary of National Biography
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691:Guerilla's Return to his Family
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1706:19th-century Scottish painters
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1562:Scottish Painting: The Later
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139:Principal Painter in Ordinary
1726:British Orientalist painters
1435:National Library of Scotland
1162:. Vol. III. Edinburgh:
802:in the oil painting titled
16:Scottish painter (1785–1841)
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1387:National Galleries Scotland
1226:National Galleries Scotland
1130:National Galleries Scotland
1064:List of Orientalist artists
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695:Two Spanish Monks of Toledo
241:Wilkie was admitted to the
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1567:, in Parker, Geoff (ed.),
1548:Gower, Ronald Sutherland.
1219:The Letter of Introduction
1193:Edinburgh University Press
1185:Tromans, Nicholas (2007).
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403:), which was purchased by
197:The Letter of Introduction
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1457:"Mr. John Hollins A.R.A."
1350:Scotland: The Green Guide
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639:and the great Spaniards.
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325:In 1804, Wilkie left the
203:David Wilkie was born in
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971:The Guerilla's Departure
940:The Defence of Saragossa
826:Life of Sir David Wilkie
478:In 1814 he executed the
439:Travels on the Continent
126:. His main base was in
1505:Encyclopædia Britannica
862:(Laing, VIII), and the
860:Pope examining a Censer
683:Guerilla Council of War
663:The Bride at her Toilet
551:In 1822 Wilkie visited
55:more precise citations.
1756:People who died at sea
1711:Scottish male painters
1601:Woodward, John (ed.).
1164:A. Fullarton & Co.
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755:(exhibited 1838); and
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655:and the Fortune-Teller
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480:Letter of Introduction
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405:John Julius Angerstein
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1596:"Famous Scots Series"
1521:"Wilkie, David"
1380:The Abbotsford family
1049:Muhammad Ali of Egypt
856:Gentleman at his Desk
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805:Peace – Burial at Sea
703:Marquess of Lansdowne
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537:The Abbotsford Family
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496:Distraining for Rent
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397:The Village Festival
310:, and a sketch from
98:Sir David Wilkie by
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1465:. 1855. p. 539
1378:"Sir David Wilkie:
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1160:The Scottish Nation
1156:"Wilkie, Sir David"
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729:Sir Thomas Lawrence
449:The Highland Family
363:Village Politicians
320:Village Politicians
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1539:Sir David Wilkie,
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1125:"Sir David Wilkie"
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924:The Penny Wedding
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675:Maid of Saragossa
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473:The Rent Day 1817
413:the Prince Regent
375:Historical scenes
368:The Blind Fiddler
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895:
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888:Wilkie Collins
879:
876:
813:
810:
679:Spanish Podado
671:Princess Doria
644:
641:
576:
573:
548:
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533:and his Family
512:New Pinakothek
440:
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424:
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393:Ale-House Door
376:
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335:Pitlessie Fair
172:Pitlessie Fair
164:
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147:Queen Victoria
79:
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33:
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1564:Enlightenment
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1491:public domain
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1127:. Biography.
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864:Seat of Hands
861:
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847:The Art Union
843:
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824:An elaborate
818:
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287:in Search of
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255:William Allan
252:
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239:Earl of Leven
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100:Samuel Joseph
96:
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88:Self-portrait
85:
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44:
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37:
32:
23:
22:
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1666:
1642: at the
1634:David Wilkie
1602:
1587:
1568:
1561:
1549:
1538:
1525:
1503:
1480:
1467:. Retrieved
1460:
1451:
1439:. Retrieved
1433:
1424:
1412:. Retrieved
1403:
1391:. Retrieved
1385:
1379:
1372:
1349:
1344:
1332:. Retrieved
1326:
1304:– via
1298:. Retrieved
1296:. p. 32
1284:
1274:
1262:. Retrieved
1252:
1242:
1230:. Retrieved
1224:
1218:
1211:
1187:
1180:
1168:. Retrieved
1159:
1146:
1134:. Retrieved
1128:
1119:
1101:Scone Palace
1095:
1083:
1047:
1032:
1015:
1000:
985:
970:
955:
938:
923:
899:
897:
881:
871:
863:
859:
855:
845:
841:
833:
825:
823:
812:Achievements
803:
768:
756:
752:
748:
740:
736:
726:
716:
709:
707:
698:
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690:
686:
682:
678:
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660:
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632:
628:
624:
617:
608:
583:, where, in
578:
560:
550:
536:
529:
519:
503:
495:
479:
477:
472:
447:
426:
416:
408:
399:(now in the
396:
392:
388:
385:Card-Players
384:
380:
378:
366:
362:
354:
339:illustration
338:
334:
324:
319:
315:
308:Allan Ramsay
293:
283:
277:
275:
202:
196:
183:
171:
157:Apsley House
150:
136:
116:genre scenes
106:
105:
87:
67:
61:January 2014
58:
39:
18:
1701:1841 deaths
1696:1785 births
1590:Edinburgh:
1166:p. 641
1069:Orientalism
868:David Laing
838:John Burnet
643:Later years
314:'s ballad
271:David Allan
263:John Burnet
251:John Graham
231:Kingskettle
155:of 1822 in
124:Middle East
53:introducing
1690:Categories
1672:1830–1841
1570:Cencrastus
1459:Obituary.
1111:References
1103:, Scotland
894:In fiction
784:Alexandria
782:, done at
733:knighthood
535:, (titled
347:St Andrews
289:Proserpine
163:Early life
143:William IV
36:references
1594:, 1900, (
1579:0264-0856
792:Gibraltar
776:Jerusalem
719:John Knox
667:Pifferari
653:Josephine
553:Edinburgh
433:Pall Mall
247:Edinburgh
227:Pitlessie
205:Pitlessie
132:Gibraltar
1560:(1984),
1469:22 April
1441:22 April
1414:22 April
1393:22 April
1354:Michelin
1334:22 April
1300:22 April
1264:22 April
1232:22 April
1170:22 April
1154:(1877).
1136:22 April
1058:See also
751:(1837);
747:(1836);
743:Pius VII
739:(1835);
689:and the
631:and the
601:Florence
589:Carlsbad
500:Raimbach
389:Rent Day
351:Aberdeen
343:Kinghorn
221:, Fife.
215:minister
141:to King
1607:(1900).
1493::
910:Gallery
621:Teniers
565:Raeburn
508:Bavaria
423:Honours
299:Calisto
279:Macbeth
253:. From
137:He was
102:, 1842.
49:improve
1644:Art UK
1577:
1487:
1360:
1199:
1052:, 1842
1035:, 1839
1020:, 1838
1003:, 1832
988:, 1830
973:, 1828
958:, 1828
943:, 1828
926:, 1818
878:Legacy
852:etcher
772:Smyrna
685:, the
677:, the
673:, the
657:(1837)
627:, the
605:Geneva
597:Venice
516:Munich
488:Louvre
452:, 1824
292:, and
261:) and
212:parish
174:(1804)
128:London
38:, but
1075:Notes
828:, by
788:Malta
764:Cupar
613:Spain
595:, to
593:Italy
581:Italy
331:manse
295:Diana
285:Ceres
235:Cupar
219:Cults
1646:site
1575:ISSN
1471:2023
1443:2023
1416:2023
1395:2023
1358:ISBN
1336:2023
1302:2023
1266:2023
1234:2023
1197:ISBN
1172:2023
1138:2023
836:and
681:, a
599:and
585:Rome
349:and
297:and
269:and
233:and
208:Fife
145:and
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902:by
840:'s
514:at
245:in
217:of
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1541:RA
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337:(
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59:(
45:.
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