1785-1841 British Sir David Wilkie Galleries Wilkie may have inherited his rectitude and tenacity, even his nervous inhibitions, from his father, the minister of his native parish. Though little responsive to schooling, he showed an early inclination towards mimicry that expressed itself in drawings, chiefly of human activity. In these he was influenced by a copy of Allan Ramsay pastoral comedy in verse, the Gentle Shepherd (1725), illustrated by David Allan in 1788. One of the few surviving examples of his early drawings represents a scene from it (c. 1797; Kirkcaldy, Fife, Mus. A.G.). Wilkie cherished the demotic spirit of this book and its illustrations throughout his life.  Related Paintings of Sir David Wilkie :. | the blind fiddler | Reading the Will | Self portrait of Sir David Wilkie aged about 20 | Sotiri, Dragoman of Mr Colquhoun | The Defence of Saragossa (mk25) |
Related Artists:
Adolphe Bouguereau
French 1825-1905 French painter. From 1838 to 1841 he took drawing lessons from Louis Sage, a pupil of Ingres, while attending the coll?ge at Pons. In 1841 the family moved to Bordeaux where in 1842 his father allowed him to attend the Ecole Municipale de Dessin et de Peinture part-time, under Jean-Paul Alaux. In 1844 he won the first prize for figure painting, which confirmed his desire to become a painter. As there were insufficient family funds to send him straight to Paris he painted portraits of the local gentry from 1845 to 1846 to earn money. In 1846 he enrolled at the Ecole des Beaux-Arts, Paris, in the studio of Fran?ois-Edouard Picot. This was the beginning of the standard academic training of which he became so ardent a defender later in life. Such early works as Equality (1848; priv. col., see 1984-5 exh. cat., p. 141) reveal the technical proficiency he had attained even while still training. In 1850 he was awarded one of the two Premier Grand Prix de Rome for Zenobia Discovered by Shepherds on the Bank of the River Araxes (1850; Paris, Ecole N. Sup. B.-A.). In December 1850 he left for Rome where he remained at the Villa Medici until 1854, working under Victor Schnetz and Jean Alaux (1786-1864). During this period he made an extensive study of Giotto's work at Assisi and Padua and was also impressed by the works of other Renaissance masters and by Classical art. On his return to France he exhibited the Triumph of the Martyr (1853; Lun?ville, Mus. Lun?ville; see fig. 1) at the Salon of 1854. It depicted St Cecilia's body being carried to the catacombs, and its high finish, restrained colour and classical poses were to be constant features of his painting thereafter. All his works were executed in several stages involving an initial oil sketch followed by numerous pencil drawings taken from life.
Arthur hacker,R.A.
1858-1919 was an English classicist painter. Born in London in 1858, Hacker was the son of Edward Hacker, a line engraver specialising in animal and sporting prints (who was also for many years the official Registrar of Births, Marriages and Deaths for Kentish Town in the St Pancras registration district, north London). In his art he was most known for painting religious scenes and portraits, and his art was also influenced by his extensive travels in Spain and North Africa. He studied at the Royal Academy between 1867 and 1880, and at the Atelier Bonnat in Paris. He was twice exhibited at the Royal Academy, in 1878 and 1910, and was elected an Academician in 1910. In 1894 he was the subject of a bust by Edward Onslow Ford. An original portrait by Hacker of Sir Alfred Keogh by hangs in the RAMC HQ Mess at Millbank, London. He died in London on November 12, 1919. In 1902,
T.Dart Walker
Illustrator and marine artist American ,1869-1914