1819-1909 English painter. His parents were in domestic employment before taking a hotel in Harrogate in 1826. They encouraged him to become an artist, despite his own desire to be an auctioneer. While at school in Dover, Frith sketched caricatures and copies of Dutch genre scenes (Dover Mus.) that betray his disposition to narratives. His taste did not accord with the academic training he received at Henry Sass Academy in London (1835-7) and at the Royal Academy Schools (1837). Frith began his career as a portrait painter, using members of his family as models. He first exhibited at the British Institution in 1838, and during the 1840s he established himself with his entertaining historical and literary subjects in the popular tradition of C. R. Leslie, William Mulready and Sir David Wilkie. He was a member of THE CLIQUE, which included Richard Dadd, Augustus Egg, Henry O Neil and John Phillip. His friendship with Charles Dickens began with commissions for paintings of Dolly Varden (London, V&A) and Kate Nickleby (untraced) in 1842.   Related Paintings of William Powell Frith :. | The Railway Station | The Railway Station | For Better For Worse | A Scene from Sterne's A Sentimental Journey | Derby Day |
Related Artists:
Pascal Adolphe Jean Dagnan-Bouveret
1852-1929 The popular French naturalist painter Pascal-Adolphe-Jean Dagnan-Bouveret is best known for his painstakingly detailed paintings of peasant scenes. Dagnan-Bouveret also created portraits and religious paintings. Pascal-Adolphe-Jean Dagnan was born in Paris on Jan. 7, 1852. His father moved to Brazil when he was 16, but he decided to stay in France with his mothers father. Later Dagnan-Bouveret added his grandfathers family name Bouveret to his own. Dagnan-Bouveret entered art school in Paris at age 17 and studied under the well-known academic painter Gerome. During this period Dagnan-Bouveret entered his paintings in several official competitions and placed highly in several. In 1878 Dagnan-Bouveret moved to the region known as the Franche-Comte, where he produced many landscapes and still life paintings. Dagnan-Bouveret won recognition in 1880 with his oil painting An Accident, which depicts a peasant boy with an injured hand visiting the doctor. Considered one of his finest paintings, it exemplifies Dagnan-Bouverets attempt to examine the psychology of his subjects through the use of well-rendered detail. Dagnan-Bouveret took advantage of new photographic technology to bring greater detail and heightened realism to his paintings. Dagnan-Bouveret used this technique especially in his paintings of peasants, such as Horses at the Watering Trough (1885). Dagnan-Bouveret was known to select people from his village, dress them in historical costumes, and then take photographs, which he then used with sketches as the basis of his paintings. By the 1890s his popularity as a portrait painter among wealthy patrons allowed him to explore more personal themes. Many of Dagnan-Bouverets later paintings, such as Supper at Emmaus (1896 C97), were religious in nature. Dagnan-Bouveret died in Quincey, Haute-Saone, France, on July 3, 1929.
robert herrick
The English poet and Anglican parson Robert Herrick (1591-1674) invented a fanciful world compounded of pagan Rome and Christian England, of reality and fantasy, which he ruled as his poetic domain.
NUVOLONE, Panfilo
Italian painter, Lombard school (1581-1651) After studying with Giovanni Battista Trotti, he moved to Milan, where he is recorded in 1610. The influence of Trotti and of late Cremonese Mannerism is evident in his first known work, SS Nicholas and Costanza Adoring a Miraculous Image of the Virgin (1607; Can?nica d'Adda, S Giovanni Evangelista). In his paintings of scenes from the Life of Samson (1610-14; Milan, S Angelo, Cappella Sansoni) Nuvolone moved away from Trotti, exaggerating the size of the figures and defining form with an academic clarity reminiscent of the contemporary art of Camillo Procaccini. There followed, shortly after the work in S Angelo, frescoes of the Coronation of the Virgin and other scenes in the presbytery of S Maria della Passione in Milan, and, in 1614, a lunette of the Angel Announcing to Mary her Approaching Death for S Domenico, Cremona (Cremona, Mus. Civ. Ala Ponzone). In 1620 he painted the Coronation of the Virgin for the Swiss parish church in Milan (in situ). Still tied stylistically to the earlier work in S Maria della Passione, this demonstrates the difficulty Nuvolone experienced in breaking with the late Mannerism of Giovanni Paolo Lomazzo, Giuseppe Meda (d 1599) and Ambrogio Figino and in adapting to new trends in 17th-century Milanese painting. His Virgin and Child with Two Saints (1624; Milan, S Eustorgio), featuring stiff figures and inflated Mannerist drapery with its metallic folds, indicates continued contact with Procaccini. In the same year he was employed in the decoration of the Collegiata di Appiano Gentile, where he painted two scenes from the Life of St Stephen and a Virgin and Child with SS Anthony and Victor. He continued to produce a vast number of repetitive religious works, yet these are less interesting than his still-life paintings, generally of fruit stands with peaches and grapes presented symmetrically against dark backgrounds.