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993:, Watts set to work on a new plaster model of another horse and rider, without specific reference to any individual, in 1883. Seeking to reinvigorate the rhetoric of the equestrian monument for the modern age, he was still working on it at the time of his death in 1904. The plaster model was part of the artist's bequest to Watts Gallery, and, also in 1904, the first bronze cast of the work (made in 1902 at the Parlanti Foundry) became the artist's last submission to the Royal Academy's summer exhibition. It marked a new prominence for the courtyard of Burlington House as a site for dramatic contemporary sculpture (a role continued today by the Annenberg Courtyard).
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vanity of human desires, and "The people that sat in darkness," turning eagerly towards the growing dawn. In 1850 he first gave public expression to his intense longing to improve the condition of humanity in the picture of "The Good
Samaritan" bending over the wounded traveller; this, as recorded in the catalogue of the Royal Academy, was "painted as an expression of the artist's admiration and respect for the noble philanthropy of
549:, of Manchester," and to that city he presented the work. From the late 1840s onward he painted many portraits in France and England, some of which are described below. Notable pictures of the same period are "Sir Galahad" (1862), "Ariadne in Naxos" (1863), "Time and Oblivion" (1864), originally designed for sculpture to be carried out "in divers materials after the manner of Pheidias," and "Thetis" (1866).
1968:
1005:. In 1907, a posthumous cast was made and sited in Kensington Gardens, London, fulfilling the artist's intention to gift the work to the British Government, insisting that it should be "for the nation" and displayed "somewhere in London". A third cast, created in 1959, is situated in the grounds of the
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Leaving
Florence in April 1847 for what was intended to be a brief return to London, he ended up staying. After obtaining a first-class prize of £500, his winning painting at the exhibition in Westminster Hall was purchased by the government, and was hung in one of the committee rooms of the House of
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only three months before he died. Both
Limnerslease and the chapel are now maintained, and the house owned, by the Watts Gallery. In 2016 Watts's studio in the house re-opened, restored as far as possible using photographs from Watts's lifetime, as part of the Watts Gallery, and the main residential
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is an allegory of human vitality and humanity's ceaseless struggle for betterment; he said it was "a symbol of that restless physical impulse to seek the still unachieved in the domain of material things". It also embodied the artist's belief that access to great art would bring immense benefits to
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He was also admired as a portrait painter. His portraits were of the most important men and women of the day, intended to form a "House of Fame". In his portraits Watts sought to create a tension between disciplined stability and the power of action. He was also notable for emphasising the signs of
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While the
Lincoln's Inn undertaking was still in progress, Watts was working steadily at pictures and portraits. In 1849 the first two of the allegorical compositions which form the most characteristic of the artist's productions were exhibited—"Life's Illusions," an elaborate presentment of the
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in 1843. Watts won a first prize in the competition, which was intended to promote narrative paintings on patriotic subjects, appropriate to the nation's legislature, securing a prize of £300. In the end Watts made little contribution to the
Westminster decorations, but from it he conceived his
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He first exhibited at the
Academy in 1837, with a picture of "The Wounded Heron" and two portraits, but his attendance at the Academy was short-lived, and his further art education was confined to personal experiment and endeavour, guided by a constant appeal to the standard of ancient Greek
340:(after whom he was named), to the second wife of a poor piano-maker. Delicate in health and with his mother dying while he was still young, he was home-schooled by his father in a conservative interpretation of Christianity as well as via the classics such as the
1134:
wrote his Sixth
Symphony "In Memoriam G. F. Watts". It was composed in 1905 and first performed on 18 January 1906 in London under Stanford's direction. The four movements, although not having a detailed programme, are inspired by several works of art by Watts.
623:, they married on 20 February 1864, just seven days short of her 17th birthday. They separated within a year of the wedding; Watts did not immediately divorce her, but made her allowance (paid to her father) conditional on her never returning to the stage.
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Back in
Britain he was unable to obtain a building in which to carry out his plan of a grand fresco based on his Italian experiences, though he did produce a 45 ft by 40 ft fresco on the upper part of the east wall of the Great Hall of
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nearby, a museum dedicated to his work – the first (and now the only) purpose-built gallery in
Britain devoted to a single artist – which opened in April 1904, shortly before his death, and received a major expansion between 2006 and 2011.
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traditions with a deliberately agitated and troubled surface, to suggest the dynamic energies of life and evolution, as well as the tentative and transitory qualities of life. These works formed part of a revised version of the
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Commons. It led, moreover, to a commission for the fresco of "St George overcomes the Dragon," which, begun in 1848 and finished in 1853, formed part of the decorations of the Hall of the Poets in the Houses of
Parliament.
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The memorial was unveiled in an unfinished state in 1900, consisting of a 50-foot (15 m) wooden loggia designed by Ernest George, sheltering a wall with space for 120 ceramic memorial tiles to be designed and made by
324:. These paintings were intended to form part of an epic symbolic cycle called the "House of Life", in which the emotions and aspirations of life would all be represented in a universal symbolic language.
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to commemorate ordinary people who had died saving the lives of others, and who might otherwise have been forgotten. The scheme was not accepted at that time, but in 1898 Watts was approached by
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already had homes on the island. To maintain his friendship with the Prinsep family as their children began leaving home, he built The Briary for them near Freshwater, and adopted their relative
346:. The former put him off conventional religion for life, while the latter was a continual influence on his art. He showed artistic promise very early, learning sculpture from the age of 10 with
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786:– he donated 18 of his symbolic paintings to Tate in 1897, and three more in 1900. Some of these have been loaned to the Watts Gallery in recent years, and are on display there.
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834:. This painting depicts God as a barely visible shape in an energised pattern of stars and nebulae. Some of Watts's other late works also seem to anticipate the paintings of
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The prize from the Westminster competition did, however, fund a long visit to Italy from 1843 onwards, where Watts stayed and became friends with the British ambassador
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and other famous Frenchmen. Apart from some visits to Italy, Greece and Egypt, the greater part of his subsequent life was passed in the seclusion of his home studios.
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With the lease on Little Holland House nearing its end and the building soon to be demolished, in the early 1870s he commissioned a new London home nearby from
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1079:. At the time of opening, only four of the memorial tiles were in place. Watts died in 1904, and his widow Mary Watts took over the running of the project.
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565:— both remained friends, but neither became a major artist. While living as tenant at Little Holland House, Watts's epic paintings were exhibited in
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583:) in 1852–53. He also took a short trip back to Italy in 1853 (including Venice, where Titian became yet more of an inspiration) and with
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652:. Watts hoped to trace the evolving "mythologies of the races " in a grand synthesis of spiritual ideas with modern science, especially
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425:, after making some experimental studies in that medium. Also while in Italy Watts began producing landscapes and was inspired by
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738:. The couple named the house "Limnerslease" (combining the words "limner" or artist with "leasen" or glean) and built the
615:, often emphasising sensuous pleasure and rich colour. Among these paintings is a portrait of his young wife, the actress
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520:. Previously staying at 48 Cambridge Street, and then in Mayfair, in 1850 he helped the Prinseps into a 21-year lease on
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484:. In consequence most of his major works are conventional oil paintings, some of which were intended as studies for the
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851:: 17 were donated in 1895, with more than 30 more added subsequently. Some who sat for him from the late 1840s were
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441:. In 1847, while still in Italy, Watts entered a new competition for the Houses of Parliament with his image of
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1123:"stretched beyond the brink of abstraction". On the centenary of his death Veronica Franklin Gould published
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emphasised Watts's spiritual and stylistic importance, also noting that late post-symbolist works such as
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vision of a building covered with murals representing the spiritual and social evolution of humanity.
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strain and wear on his sitter's faces. Of his British subjects many are now in the collection of the
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in 1856–57, via Constantinople and the Greek islands. In 1856 Watts paid a visit to Lord Holland at
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Although best known as a painter, Watts was also a sculptor. After completing a commission for the
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595:, where he was then ambassador, and through him made the acquaintance and painted the portraits of
512:, including Sara's seven sisters (including Virginia, with whom Watts fell in love but who married
806:(OM) in 1902 — in his own words, on behalf of all English artists. The order was announced in the
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sculpture. He also began his portraiture career, receiving patronage from his close contemporary
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681:: New Little Holland House (backing onto the estate of Lord Leighton), and acquired a house at
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354:(later writing "It was from them alone that I learned") and then enrolling as a student at the
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for the next 21 years. (The building was the dower house on the Hollands' London estate in
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Alfred Inciting the Saxons to Prevent the Landing of the Danes by Encountering them at Sea
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This includes a longer list of his portraits and an extended critical summary of his art.
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Several reverent biographies of Watts were written shortly after his death; and one (by
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In his late paintings, Watts's creative aspirations mutate into mystical images such as
421:. For them he painted a portrait of Lady Holland, exhibited in 1848, and in the villa a
310:(23 February 1817 – 1 July 1904) was a British painter and sculptor associated with the
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then travelled to Cape Town to form part of a memorial to the founder of Rhodesia (now
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to the Royal Academy in 1867 and accepted to be one of the original members of the new
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573:, and he finally received a commission for the Houses of Parliament, completing his
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1160:(1909, p. 34). Watts features (not altogether favourably) as a character in
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movement. Watts became famous in his lifetime for his allegorical works, such as
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Department of Image Collections, National Gallery of Art Library, Washington, DC
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2007:
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1930:. Vol. 28 (11th ed.). Cambridge University Press. pp. 420–422.
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1911:
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726:, a Scottish designer and potter, then aged 36. In 1891 he bought land near
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and Edward, Prince of Wales – Watts proposed, in 1887, to commemorate the
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1107:, former curator of the Watts Gallery, in his irreverent 1975 biography
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list published on 26 June 1902, and he received the insignia from King
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The culmination of Watts's ambition in the field of public sculpture,
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The complex history surrounding the decoration is best summarized by
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1910:
This article incorporates text from a publication now in the
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portrays him in a satirical manner, an approach also adopted by
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George Frederic Watts, 1898, platinum print by Frederick Hollyer
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1967:
1942:
Discovering the Sculptures of George Frederick Watts O.M., R.A.
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G.F. Watts: Portraits, Fame & Beauty in Victorian Society
1936:
England's Michelangelo: A Biography of George Frederick Watts
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705:. This was to prove his ideal venue for the next ten years.
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altered during the 1870s, as his work increasingly combined
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One of only two pupils Watts ever accepted was Henry's son
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The Decorations of the New Palace of Westminster 1841–1863
1091:) earlier in the year of his death. With the emergence of
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George Frederic Watts's Memorial to Heroic Self Sacrifice
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for an equestrian monument to commemorate his ancestor,
504:) and his wife Sara (née Pattle). Watts thus joined the
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church. He suggested the memorial could be created in
2074:, 2004–05 exhibition at the National Portrait Gallery
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755:, which Watts paid for; he also painted a version of
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1815:. No. 36842. London. 9 August 1902. p. 6.
1800:. No. 36804. London. 26 June 1902. p. 5.
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1138:Literary references to Watts and his work include
751:Watts's wife Mary had designed the nearby earlier
611:In the 1860s, Watts's work shows the influence of
384:He came to the public eye with a drawing entitled
668:, painted in 1886 and given to the nation in 1897
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1955:The Laurel and the Thorn; A Study of G. F. Watts
722:In 1886, at the age of 69, Watts remarried, to
697:from Ellen Terry finally came through, and the
1980:495 artworks by or after George Frederic Watts
1957:(1945) by Ronald Chapman, Faber and Faber Ltd.
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2023:BBC Restoration Appeal for the Watts Gallery
2002:(online ed.). Oxford University Press.
794:Refusing the baronetcy twice offered him by
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327:
2105:
2091:
2051:, with eight reproductions in colour. (by
631:Watts's association with Rossetti and the
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49:
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1938:(1975) by Wilfrid Blunt, Hamish Hamilton.
1609:Learn how and when to remove this message
1127:, a positive study of his life and work.
766:section can be visited on a guided tour.
685:– his friends Julia Margaret Cameron and
2043:Watts (1817–1904) by William Loftus Hare
1825:
1572:This article includes a list of general
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956:
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768:
746:
707:
658:
569:by his friend the social reformer Canon
286:
1999:Oxford Dictionary of National Biography
1043:An admirer of royalty – he had painted
524:, and stayed there with them and their
376:, who later came to be a close friend.
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1708:
1548:Aberdeen Archives, Gallery and Museums
1530:Aberdeen Archives, Gallery and Museums
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1887:Theoria: Art and the Absence of Grace
1125:G. F. Watts: The Last Great Victorian
830:, in which Watts seems to anticipate
789:
336:in central London on the birthday of
2035:, 392 works by George Frederic Watts
1915:
1847:"National Portrait Gallery - Person"
1735:
1667:
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1095:, however, his reputation declined.
456:
366:
782:Many of his paintings are owned by
626:
575:The Triumph of the Red Cross Knight
449:, on a patriotic subject but using
13:
2349:Royal Society of Portrait Painters
2078:Focus on "Thetis"-artwork analysis
1889:. London, Chatto and Windus, 1988.
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1578:it lacks sufficient corresponding
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889:James Parke, 1st Baron Wensleydale
400:
350:, starting to study devotedly the
14:
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2304:20th-century English male artists
2289:19th-century English male artists
2233:Memorial to Heroic Self-Sacrifice
1961:
1835:. 2 September 1902. p. 5679.
1053:Memorial to Heroic Self-Sacrifice
1031:Memorial to Heroic Self-Sacrifice
1025:Memorial to Heroic Self-Sacrifice
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472:Justice, A Hemicycle of Lawgivers
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1049:Golden Jubilee of Queen Victoria
911:in 1867. Other sitters included
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200:
2214:(Mary Seton Watts, second wife)
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1879:
1867:
1839:
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1771:"Watts Studios – Watts Gallery"
798:, he was finally elected as an
220:
196:
2299:20th-century British sculptors
2284:19th-century British sculptors
1944:(1994) by Elizabeth Hutchings
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1789:
1763:
1741:
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1673:
841:
777:
500:(for 16 years a member of the
474:(completed 1859), inspired by
1:
2334:Members of the Order of Merit
2309:20th-century English painters
2294:19th-century English painters
1990:The works of G.F. Watts, R.A.
1554:
1007:National Archives of Zimbabwe
672:
644:, influenced by the ideas of
374:Alexander Constantine Ionides
254:Alexander Constantine Ionides
56:
2016:UK public library membership
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563:John Roddam Spencer Stanhope
407:Henry Fox, 4th Baron Holland
7:
1874:The Illustrated London News
1855:. National Portrait Gallery
981:Physical Energy (sculpture)
871:(1856, and again in 1859),
16:English painter (1817–1904)
10:
2375:
2028:The Watts Gallery, Compton
1996:"Watts, George Frederic".
1796:"The Coronation Honours".
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1028:
978:
875:the historian (1859), the
863:and Thomas Wright (1851),
540:Productive painting period
18:
2198:
2179:
2120:
1852:National Portrait Gallery
1715:. Yale University Press.
1709:Dakers, Caroline (1993).
1132:Charles Villiers Stanford
949:in Cheshire, sculpted by
945:hawking on horseback, at
849:National Portrait Gallery
701:was opened by his friend
683:Freshwater, Isle of Wight
559:Valentine Cameron Prinsep
553:Teaching, further travels
514:Charles, Viscount Eastnor
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2279:Artists' Rifles soldiers
2059:Watts – 5 works in focus
1121:The Sower of the Systems
828:The Sower of the Systems
773:The Sower of the Systems
328:Early life and education
19:Not to be confused with
2033:georgefredericwatts.org
1927:Encyclopædia Britannica
1918:Watts, George Frederick
1916:Bell, Malcolm (1911). "
1876:, 3 October 1903, p484.
1593:more precise citations.
1061:St Botolph's Aldersgate
808:1902 Coronation Honours
380:Westminster mural prize
2324:English male sculptors
2274:People from Marylebone
2070:6 October 2008 at the
2008:10.1093/ref:odnb/36781
1751:. compton-surrey.co.uk
1377:, with Spanish Pointer
1310:Dante Gabriel Rossetti
1262:The Judgement of Paris
1111:. In his 1988 book on
1109:England's Michelangelo
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1021:the country at large.
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954:
951:George Frederick Watts
774:
719:
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518:Julia Margaret Cameron
338:George Frederic Handel
296:
2319:English male painters
2114:George Frederic Watts
1975:at Wikimedia Commons
1973:George Frederic Watts
1038:
960:
941:Equestrian statue of
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836:Picasso's Blue Period
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753:Watts Mortuary Chapel
747:Watts Mortuary Chapel
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662:
585:Charles Thomas Newton
496:In his studio he met
356:Royal Academy Schools
300:George Frederic Watts
290:
128:Royal Academy Schools
32:George Frederic Watts
2223:Little Holland House
1699:17:1954, pp. 319–58.
1630:Lucie-Smith, Edward.
1248:Orpheus And Eurydice
650:comparative religion
532:, near the house of
522:Little Holland House
481:The School of Athens
390:Houses of Parliament
199: 1864;
2359:Symbolist sculptors
2269:Artists from London
2218:Holland Park Circle
2053:William Loftus Hare
1738:, pp. 420–421.
1638:Thames & Hudson
1326:Henry Thoby Prinsep
1217:Paolo and Francesca
1045:Prince de Joinville
987:Duke of Westminster
873:John Lothrop Motley
857:Sir Henry Rawlinson
498:Henry Thoby Prinsep
137:Painting, sculpture
2354:Symbolist painters
2344:Royal Academicians
2212:Mary Fraser Tytler
1832:The London Gazette
1811:"Court Circular".
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977:
955:
897:Sir William Bowman
818:on 8 August 1902.
790:Awards and honours
775:
724:Mary Fraser Tytler
720:
670:
633:Aesthetic movement
413:at their homes in
358:at the age of 18.
332:Watts was born in
297:
212:Mary Fraser Tytler
21:George Fiddes Watt
2339:Religious artists
2329:English sculptors
2241:
2240:
2161:The All-Pervading
2048:Project Gutenberg
2014:(Subscription or
1971:Media related to
1619:
1618:
1611:
1544:A Study of a Head
1526:A Study of a Head
1392:The wounded heron
1115:, the art critic
1077:William De Morgan
895:(1858 and 1865),
865:Lord John Russell
816:Buckingham Palace
758:The All-Pervading
699:Grosvenor Gallery
691:Blanche Clogstoun
648:, the founder of
580:The Faerie Queene
457:Return to Britain
367:First exhibitions
285:
284:
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2169:After the Deluge
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861:Sir Henry Taylor
627:Later influences
601:Jérôme Bonaparte
561:; the other was
502:Council of India
443:Alfred the Great
439:Scrovegni Chapel
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293:Miss May Prinsep
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77:23 February 1817
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2188:Physical Energy
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2072:Wayback Machine
2040:
2013:
1995:
1964:
1904:
1902:
1899:
1894:
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1885:Fuller, Peter.
1884:
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1689:Journal of the
1678:
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1624:
1615:
1604:
1598:
1595:
1585:Please help to
1584:
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1294:Physical Energy
1290:
1281:
1278:George Meredith
1273:
1264:
1259:
1250:
1245:
1236:
1228:
1219:
1214:
1205:
1200:
1191:
1183:
1174:
1166:Tennyson's Gift
1164:'s comic novel
1085:
1059:, the vicar of
1033:
1027:
1018:Physical Energy
995:Physical Energy
983:
975:, South Africa.
969:Rhodes Memorial
964:Physical Energy
935:
932:Physical Energy
921:James Martineau
905:Anthony Panizzi
853:François Guizot
844:
824:
792:
780:
749:
693:. In 1877, his
679:C. R. Cockerell
675:
629:
609:
555:
542:
494:
459:
403:
401:Italian travels
382:
369:
364:
330:
302:
248:
229:
226:
223: 1886)
218:
214:
206:
203: 1877)
194:
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159:Physical Energy
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33:
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2110:
2109:
2102:
2095:
2087:
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2080:
2075:
2062:
2061:at Tate Online
2056:
2037:
2036:
2030:
2025:
2020:
1993:
1987:
1963:
1962:External links
1960:
1959:
1958:
1952:
1939:
1933:
1922:Chisholm, Hugh
1898:
1895:
1892:
1891:
1878:
1866:
1838:
1818:
1803:
1788:
1762:
1749:"Watts Chapel"
1740:
1728:
1721:
1701:
1681:T. S. R. Boase
1672:
1670:, p. 420.
1649:
1621:
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1517:
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1511:Thomas Carlyle
1507:
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1479:(c. 1884-1885)
1475:
1468:
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1434:
1432:
1429:L. R. Deuchars
1426:
1419:
1417:
1413:Good Samaritan
1409:
1402:
1400:
1390:
1383:
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1372:
1365:
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1358:Leslie Stephen
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1194:
1192:
1184:
1177:
1173:
1170:
1158:Robert Hichens
1142:'s 1953 novel
1099:'s comic play
1097:Virginia Woolf
1084:
1081:
1069:City of London
1065:Postman's Park
1051:by creating a
1029:Main article:
1026:
1023:
979:Main article:
934:
929:
925:William Morris
917:Thomas Carlyle
885:Lord Lyndhurst
877:Duke of Argyll
843:
840:
823:
822:Late paintings
820:
804:Order of Merit
796:Queen Victoria
791:
788:
779:
776:
748:
745:
703:Coutts Lindsay
674:
671:
628:
625:
608:
607:Brief marriage
605:
597:Adolphe Thiers
571:Samuel Barnett
554:
551:
541:
538:
516:in 1850), and
493:
492:Prinsep circle
490:
458:
455:
453:inspiration.
431:Sistine Chapel
402:
399:
381:
378:
368:
365:
363:
360:
348:William Behnes
329:
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238:Order of Merit
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138:
135:
134:Known for
131:
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124:William Behnes
121:
117:
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109:
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102:
100:(aged 87)
94:
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2314:Elgin Marbles
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2228:Watts Gallery
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2129:Found Drowned
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2017:
2009:
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1991:
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1956:
1953:
1951:
1950:0-9521939-6-5
1947:
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1919:
1913:
1912:public domain
1901:
1900:
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1854:
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1799:
1792:
1777:on 5 May 2017
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1646:0-500-20125-0
1643:
1639:
1635:
1634:Symbolist Art
1631:
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1613:
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1602:
1599:November 2022
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1477:Love and Life
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1433:
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1397:
1396:Watts Gallery
1393:
1387:
1382:
1378:
1376:
1375:Miss Mary Fox
1369:
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1341:Self-Portrait
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1203:Self-portrait
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1133:
1130:The composer
1128:
1126:
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1118:
1114:
1110:
1106:
1105:Wilfred Blunt
1102:
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918:
914:
913:Charles Dilke
910:
906:
902:
898:
894:
890:
886:
882:
881:Lord Lawrence
878:
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862:
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797:
787:
785:
771:
767:
764:
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759:
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741:
740:Watts Gallery
737:
733:
729:
725:
718:
714:
710:
706:
704:
700:
696:
692:
688:
687:Lord Tennyson
684:
680:
667:
666:
661:
657:
655:
651:
647:
643:
642:House of Life
638:
634:
624:
622:
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614:
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598:
594:
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589:Halicarnassus
586:
582:
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572:
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560:
550:
548:
547:Thomas Wright
537:
535:
534:Lord Leighton
531:
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523:
519:
515:
511:
507:
503:
499:
489:
487:
486:House of Life
483:
482:
477:
473:
469:
468:Lincoln's Inn
463:
454:
452:
448:
444:
440:
436:
432:
428:
424:
420:
419:Villa Careggi
416:
412:
409:and his wife
408:
398:
395:
391:
387:
377:
375:
359:
357:
353:
352:Elgin Marbles
349:
345:
344:
339:
335:
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323:
322:Love and Life
319:
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155:
154:Love and Life
151:
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114:
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95:
91:
86:
82:
69:
65:
52:
47:
42:
38:
29:
26:
22:
2264:Academic art
2208:(first wife)
2191: (1902)
2186:
2172: (1891)
2167:
2164: (1890)
2159:
2156: (1886)
2151:
2148: (1885)
2145:The Minotaur
2143:
2140: (1885)
2135:
2132: (1850)
2127:
2113:
2041:
1997:
1982: at the
1965:
1954:
1941:
1935:
1925:
1897:Bibliography
1886:
1881:
1873:
1869:
1857:. Retrieved
1850:
1841:
1830:
1821:
1812:
1806:
1797:
1791:
1779:. Retrieved
1775:the original
1765:
1753:. Retrieved
1743:
1731:
1711:
1704:
1688:
1684:
1675:
1633:
1625:
1605:
1596:
1577:
1543:
1525:
1509:Portrait of
1508:
1493:The Minotaur
1491:
1476:
1461:The bust of
1442:
1427:Portrait by
1410:
1391:
1373:
1355:
1340:
1324:
1308:
1292:
1276:Portrait of
1275:
1261:
1247:
1232:Fata Morgana
1230:
1216:
1202:
1185:
1165:
1153:
1149:
1143:
1137:
1129:
1124:
1120:
1117:Peter Fuller
1108:
1100:
1086:
1073:
1057:Henry Gamble
1042:
1017:
1015:
1003:Cecil Rhodes
994:
984:
962:
942:
931:
909:Dean Stanley
845:
832:abstract art
827:
825:
793:
784:Tate Britain
781:
756:
750:
721:
676:
663:
641:
630:
610:
587:to excavate
578:
574:
556:
543:
495:
485:
479:
471:
464:
460:
446:
427:Michelangelo
404:
385:
383:
370:
341:
331:
321:
315:
299:
298:
291:
157:
153:
147:
143:Notable work
98:(1904-07-01)
25:
2259:1904 deaths
2254:1817 births
2206:Ellen Terry
1859:21 November
1827:"No. 27470"
1755:19 December
1591:introducing
1449:), ca. 1864
1447:Ellen Terry
1162:Lynne Truss
1154:Bella Donna
953:(1817–1904)
907:(1866) and
842:Portraiture
800:Academician
778:Collections
730:, south of
695:decree nisi
656:evolution.
617:Ellen Terry
567:Whitechapel
415:Casa Feroni
394:Westminster
185:Ellen Terry
112:Nationality
96:1 July 1904
60: 1870
2248:Categories
2018:required.)
1781:9 February
1722:0300057768
1697:Institutes
1636:. London:
1574:references
1555:References
1101:Freshwater
991:Hugh Lupus
961:Detail of
947:Eaton Hall
943:Hugh Lupus
812:Edward VII
673:Later life
646:Max Müller
621:Tom Taylor
530:Kensington
508:circle of
386:Caractacus
334:Marylebone
81:Marylebone
73:1817-02-23
2180:Sculpture
2121:Paintings
1813:The Times
1798:The Times
1736:Bell 1911
1695:Courtauld
1668:Bell 1911
1640:, p. 47.
1379:, c. 1854
1093:Modernism
1083:Reception
973:Cape Town
901:Swinburne
893:Gladstone
732:Guildford
654:Darwinian
637:Classical
510:bohemians
470:entitled
312:Symbolist
268:Signature
249:Patron(s)
170:Symbolist
120:Education
106:, England
87:, England
85:Middlesex
2068:Archived
1443:Choosing
1394:, 1837 (
1168:(1996).
1150:Progress
999:Zimbabwe
903:(1865),
891:(1864),
887:(1862),
879:(1860),
869:Tennyson
867:(1852),
855:(1848),
761:for the
613:Rossetti
417:and the
166:Movement
2199:Related
1924:(ed.).
1914::
1691:Warburg
1632:(1972)
1587:improve
1188:Galahad
1172:Gallery
1067:in the
728:Compton
506:Prinsep
476:Raphael
451:Phidean
411:Augusta
225:
217:
205:
193:
189:
176:Spouses
115:English
2137:Mammon
2012:
1992:(1886)
1984:Art UK
1948:
1920:". In
1908:
1719:
1712:Clouds
1687:, in:
1644:
1576:, but
1496:, 1885
1463:Clytie
1361:, 1878
1343:, 1864
1235:, 1865
1113:Ruskin
1011:Harare
923:, and
736:Surrey
577:(from
435:Giotto
423:fresco
362:Career
234:Awards
104:London
55:Watts
1145:Angel
763:altar
734:, in
593:Paris
526:salon
343:Iliad
219:(
215:
195:(
191:
39:
2153:Hope
1986:site
1946:ISBN
1861:2022
1783:2016
1757:2008
1717:ISBN
1693:and
1642:ISBN
1411:The
1356:Sir
1186:Sir
899:and
883:and
665:Hope
433:and
320:and
317:Hope
201:div.
149:Hope
93:Died
67:Born
2046:at
2004:doi
1156:by
1152:in
1009:in
1001:),
971:in
967:at
814:at
536:.)
478:'s
437:'s
429:'s
392:at
2250::
1849:.
1829:.
1683:,
1652:^
1546:-
1528:-
1071:.
1013:.
927:.
919:,
915:,
859:,
838:.
715:,
599:,
488:.
445:,
307:RA
304:OM
221:m.
197:m.
83:,
57:c.
41:RA
37:OM
2106:e
2099:t
2092:v
2055:)
2010:.
2006::
1863:.
1785:.
1759:.
1725:.
1612:)
1606:(
1601:)
1597:(
1583:.
1445:(
1398:)
75:)
71:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
