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Wilkie prepared a sketch, but it was not viewed by the Duke until March 1819, when he asked for some changes to add more and younger soldiers. The work was not completed until 1822. After its successful first exhibition, Wilkie asked the Duke for an exceptionally large fee of 1,200
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in 1822, where it was so popular that a rail was installed to protect it from the thronging crowds. This was the first time that a rail was needed at the Royal
Academy exhibition. The painting was retained by the Duke of Wellington and his descendants, and it is displayed at
130:, which published the Waterloo Dispatch sent by the Duke of Wellington immediately after the Battle of Waterloo on 18 June 1815. The dispatch, dated 19 June 1815, was reprinted in several editions of the
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The painting measures 158 × 97 centimetres (62 × 38 in). It shows old soldiers gathered around a wooden table outside the "Duke of York" public house, in Jew's Row off the
311:. It became so popular that a rail was installed to protect it from the crowds, the first time that this precaution had been needed at a Royal Academy exhibition (the next occasion was for
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in August 1816, the year after the Battle of
Waterloo. Wellington commissioned Wilkie, who intended to complete the work within two years. Willkie specialised in
87:. The painting took the relatively novel approach of showing history in a contemporary setting, without adding references to ancient history or the Bible.
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The painting includes many portraits of characters identified in notes prepared by Wilkie, and include, from left to right:
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Wilkie received his commission of 1,200 guineas from
Wellington, and he was paid a further 1,200 guineas by the publishers
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Chelsea
Pensioners Receiving the London Gazette Extraordinary of Thursday, June 22, 1815, Announcing the Battle of Waterloo
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Wilkie's preparatory drawings show the evolution of the group. There are also several oil sketches, including one at the
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when he viewed the unfinished work in Wilkie's studio in the spring of 1821, and on its second showing at the
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245:(the Blues) with his wife and son and the dog Old Duke which accompanied the regiment through Spain.
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A seated veteran eating an oyster (despite the consumption of oysters in June being prohibited by
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The life of Sir David Wilkie with his journals, tours and critical remarks on works of Art
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in 1822, hanging over the fireplace beside a portrait of the Duke of
Wellington by Sir
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A soldier's wife, pregnant and ashen-faced, waiting for news of her husband's fate.
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The
Newspaper as Nationalist Icon, or How to Paint ‘Imagined Communities’
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The painting's focus on ordinary people made a significant impression on
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who has brought the
Gazette, wearing a blue uniform with red pillbox hat.
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Chelsea
Pensioners receiving the announcement of the Battle of Waterloo
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Wellington and
Waterloo: The Duke, The Battle and Posterity, 1815-2015
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in 1829. The publisher also commissioned a watercolour copy, sold at
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for the right to reproduce the painting as a print, engraved by
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Catalogue of
Paintings in the Wellington Museum, Apsley House
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The painting was given a prominent, central position at the
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The Chelsea Pensioners reading the Waterloo Dispatch
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The Chelsea Pensioners reading the Waterloo Dispatch
208:An old soldier who fought under Wellington at the
230:, talking to an elderly veteran, who served with
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256:In the background, a Highlander is playing the
143:An artilleryman who has laid down his knapsack.
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180:in 1759, standing and reading the Gazette.
123:is visible in the background to the left.
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53:Arthur Wellesley, 1st Duke of Wellington
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75:Wellington was introduced to Wilkie by
453:Paintings in the Wellington Collection
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161:(the Black Watch) who fought at the
375:, English Heritage, p. 325-329
172:A Chelsea pensioner who was at the
126:One of the soldiers is reading the
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201:) who witnessed the execution of
77:Thomas Graham, 1st Baron Lynedoch
16:1822 painting by Sir David Wilkie
478:Cultural depictions of soldiers
301:Royal Academy summer exhibition
107:The characters in the painting.
60:Royal Academy summer exhibition
448:Waterloo campaign in paintings
409:, Allan Cunningham, p. 77
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384:, Yale Centre for British Art
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272:An oil sketch version at the
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336:in London on 14 April 1994.
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252:leaning out from the window.
223:A veteran with a wooden leg.
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341:Yale Center for British Art
274:Yale Center for British Art
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193:A black bandsman from the
165:in 1811, and one from the
99:Description and characters
468:Paintings of black people
443:Paintings by David Wilkie
369:, R E Foster, p. 136
146:A mounted orderly of the
294:Richard Parkes Bonington
236:Great Siege of Gibraltar
58:It was exhibited at the
47:, is an oil painting by
220:in the 1750s and 1760s.
212:in 1803, and under the
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121:Royal Hospital Chelsea
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41:, originally entitled
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415:, Brian Winkenweder,
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226:An Irishman from the
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313:William Powell Frith
241:A corporal from the
167:King's German Legion
400:, 26 September 2002
390:, National Archives
248:A soldier from the
197:(once a servant of
153:A soldier from the
438:Scottish paintings
282:Théodore Géricault
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243:Royal Horse Guards
157:, a sergeant from
148:7th Light Dragoons
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51:, commissioned by
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419:, Volume 14, 2008
353:Chelsea Pensioner
286:Royal Institution
214:Marquis of Granby
188:Act of Parliament
163:Battle of Barrosa
136:on 22 June 1815.
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388:News of Waterloo
290:Eugène Delacroix
218:Seven Years' War
210:Battle of Assaye
174:Battle of Quebec
128:Waterloo Gazette
85:history painting
55:in August 1816.
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305:Somerset House
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199:General Moreau
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65:Apsley House
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49:David Wilkie
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28:'s painting
26:David Wilkie
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458:Dogs in art
379:Sketch for
330:John Burnet
250:Foot Guards
155:Life Guards
113:King's Road
427:Categories
407:, Volume 2
359:References
343:, c.1819.
321:in 1858).
71:Background
334:Sotheby's
264:Reception
203:Louis XVI
159:42nd Foot
347:See also
258:bagpipes
205:in 1793.
234:in the
216:in the
119:. The
117:Chelsea
93:guineas
417:Limina
176:with
292:and
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