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in 1874. Fildes changed the composition, adding colour, more depth, and more women and children. The apparent reasons for the plight of the poor people depicted vary – one may be a drunkard, there is an old man, a father holding his son's hand, an unaccompanied woman (perhaps a widow) with a child,
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for the night. Many resisted taking up permanent residence at the workhouse, where men and women would be separated, and would be required to work to pay for their board and lodging; once they entered, many only left when they died. Instead, from 1864, if the police in London certified that a
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Most critics praised the work for its simplicity, truthfulness of characterisation, and lack of easy sentimentality, but others criticised it for the same reasons, condemning its squalor and hopelessness, and rejecting it as a suitable subject for a painting in an art gallery. Nevertheless, it
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person was genuinely in need, they could stay for one night on a "casual" basis, and leave the next morning, but they would have to queue up again for temporary admission the next evening. Poverty and vagrancy were pressing issues in
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in 1855: "Dumb, wet, silent horrors! Sphinxes set up against that dead wall, and none likely to be at the pains of solving them until the general overthrow." (This text was taken from a letter from
Dickens to
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85:. Fildes illustrated the six instalments, completed before the death of Dickens in June 1870 and published from April to September 1870, but the remaining six parts were not completed.
108:, which was traditionally regarded as the highest form of painting in Western art. Alongside the painting's listing in the exhibition catalogue was a description by
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became very popular with the viewing public, so much that a barrier was erected to keep back the crowd – an accolade rarely accorded: previous examples include
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Several years later, Fildes completed his large oil painting on a similar subject, 54 by 96 inches (140 cm × 240 cm), which was exhibited at the
71:. Fildes based the composition on a scene that he had witnessed when he moved to London. He paid several of the homeless people he saw to model for him.
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The 1927 Fildes auction also included a work measuring 24 by 45.5 inches (61 cm × 116 cm) described as "the original sketch", bought by Sir
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since 1970. Made by Fildes after 1908, this copy remained in the artist's collection until his death, and it was sold at
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was in London when the work was exhibited: he saw it in 1874, and later bought an engraving reprinted in
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54:, and the issuance of "casual" tickets doubled from around 200,000 in 1864 to over 400,000 in 1869.
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Printing and
Painting the News in Victorian London: "The Graphic and Social Realism, 1869-1891"
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in 1877, and wrote about it favourably in several letters to his brother
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illustrated newspaper of 4 December 1869, accompanying an article on the
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Applicants for
Admission to the Casual Ward at Saint Martin in the Fields
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The painting was 8 feet (2.4 m) wide, a scale usually reserved for
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272:, edited by Rafael Cardoso Denis, Colin Trodd, p. 102-116
32:, 22.5 by 37 inches (57 cm × 94 cm), after 1908
121:, included in Forster's published biography of Dickens.)
57:Fildes' painting is based on his earlier engraving
307:Paintings in Royal Holloway, University of London
262:, The Hague, Sunday, 8 or Monday, 9 January 1882]
132:Chelsea Pensioners reading the Waterloo Dispatch
242:Applicants for Admission to a Casual Ward, 1874
209:, inherited by her daughter Edith (who married
101:speaks to a policeman, disturbed by the scene.
270:Art and the Academy in the Nineteenth Century
260:Letter from Vincent van Gogh to Theo van Gogh
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161:, also exhibited at the exhibition in 1874.
61:, which was published in the first issue of
41:is an 1874 oil painting by British painter
248:Applicants for Admission to a Casual Ward
189:in 1883 and remains in the collection of
38:Applicants for Admission to a Casual Ward
277:Encyclopedia of Literature and Criticism
185:The original oil painting was bought by
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244:, Royal Holloway College art collection
151:in 1871. A rail was also required for
97:. A well-dressed man to the left in a
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69:Metropolitan Houseless Poor Act 1864
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221:again in July 1970 and bought by
90:Royal Academy summer exhibition
93:and an invalid soldier in his
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201:in June 1927. Acquired by
254:Applicants to a Casual Ward
213:), and sold in 1958 to Sir
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266:"From graphic to academic"
82:The Mystery of Edwin Drood
211:Frederick William Wignall
75:pointed out the image to
268:, Caroline Asscott; in
148:The Salon d'Or, Homburg
16:Painting by Luke Fildes
225:for the Tate Gallery.
191:Royal Holloway College
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175:The Graphic Portfolio
114:Whitechapel Workhouse
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137:William Powell Frith
73:John Everett Millais
59:Houseless and Hungry
256:, The Victorian Web
207:Edwin Ridsdale Tate
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312:Realist paintings
217:, it was sold at
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203:Gooden & Fox
170:Vincent van Gogh
106:history painting
52:Victorian London
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30:Tate Gallery
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223:Jeremy Maas
153:Lady Butler
64:The Graphic
43:Luke Fildes
296:Categories
236:References
230:Aston Webb
219:Christie's
199:Christie's
165:Provenance
182:in 1882.
47:workhouse
205:for Mrs
99:top hat
95:redcoat
155:'s
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112:of
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