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44:
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706:, had become recognised as one of the leading figures of the English landscape watercolour style of the first half of the 19th century. This judgement was complicated by reaction to the rougher and bolder style of Cox's later Birmingham work, which was widely ignored or condemned. While by this time De Wint and Fielding were essentially continuing in a long-established tradition, Cox was creating a new one.
1991:
1971:
323:
657:
Cox's later work produced after his move to
Birmingham in 1841 was marked by simplification, abstraction and a stripping down of detail. His art of the period combined the breadth and weight characteristic of the earlier English watercolour school, together with a boldness and freedom of expression
281:
from his workshop at 10 Parade in the northwest of the town. Early biographers of Cox record that he left his apprenticeship after
Fielder's suicide, with one reporting that Cox himself discovered his master's hanging body, but this is probably a myth as Fielder is recorded at his address in Parade
546:
In
Harborne, Cox established a steady routine – working in watercolour in the morning and oils in the afternoon. He would visit London every spring to attend the major exhibitions, followed by one or more sketching excursions, continuing the pattern that he had established in the 1830s. From 1844
526:
made it difficult for an artist to be recognised for work in both watercolour and oil in London, however, and it is likely that Cox would have preferred to explore this new medium in the more supportive environment of his home town. By the early 1840s his income from sales of his watercolours was
398:
By 1810 he was elected
President of the Associated Artists in Water Colour. In 1812, following the demise of the Associated Artists, he was elected as associate of the Society of Painters in Water Colour (the old Water Colour Society). He was elected a Member of the Society in 1813, and exhibited
681:
Cox's watercolour technique of the 1840s was sufficiently different from his earlier methods to need explanation to his son in 1842, despite the fact that his son had been helping him teach and paint since 1827. The materials used for his later works in watercolour also differed from his earlier
673:
of landscape artists with which Cox had been associated early in his life, and as early as 1810 Cox's work had been criticised for its "sketchiness of finish" and "cloudy confusion of objects", which were held to betray "the coarseness of scene-painting". During the 1840s and 1850s Cox took this
721:
By 1850 Bennett in particular had become recognised as "perhaps the most distinguished among the landscape painters" for his Cox-like vigorous and decisive style. Such early followers concentrated on the example of Cox's more moderate earlier work and steered clear of what were then seen as the
904:
In 1983, an exhibition celebrating the bicentenary of the artist's birth was organized by the
Birmingham Museums and Art Gallery and curated by Stephen Wildman. The exhibition traveled to the Victoria and Albert Museum, London, in the same year. An exhibition of his work was held at the
1974:
452:, the move to Hereford marked a retreat in terms of his career as a painter: he sent few works to the annual exhibition of the Society of Painters in Water Colours during his first years away from London and not until 1823 would he again contribute more than 20 pictures.
1994:
738:
as "a kind of potted art, of an agreeable flavour, suppliable and taxable as a patented commodity", excluding only the late work of Cox, about which he wrote "there is not any other landscape which comes near these works of David Cox in simplicity or seriousness".
237:
to the east of
Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his
423:
and in Autumn 1814 moved to the town with his family. Cox taught at the school in
Widemarsh Street until 1819, his substantial salary of £100 per year requiring only two days' work per week, allowing time for painting and the taking of private pupils.
505:
In May 1840 Cox wrote to one of his
Birmingham friends: "I am making preparations to sketch in oil, and also to paint, and it is my intention to spend most of my time in Birmingham for the purpose of practice." Cox had been considering a return to
443:
had caused a contraction in the art market, however, and by 1814 Cox had been very short of money, requiring a loan from one of his pupils to pay even for the move to
Hereford. Despite its financial advantages and its proximity to the scenery of
419:, but he resigned shortly afterwards, finding little sympathy with the atmosphere of a military institution. Soon after that he applied to a newspaper advertisement for a position as drawing master for Miss Crouchers' School for Young Ladies in
242:, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites while recovering from a broken leg.
245:
By the late 18th century
Birmingham had developed a network of private academies teaching drawing and painting, established to support the needs of the town's manufacturers of luxury metal goods, but also encouraging education in
310:
it is likely that he had already decided to try to establish himself as a professional artist, and apart from a few private commissions for painting scenery his focus over the next few years was to be on painting and exhibiting
2036:
628:
with his family. It is not known why he didn't continue working in this medium at the time, but the five known surviving examples were described in 1969 as "surely some of the most brilliant examples of the genre in England".
290:, initially as an assistant grinding colours and preparing canvases for the scene painters, but from 1801 painting scenery himself and by 1802 leading his own team of assistants and being credited in plays' publicity.
531:, then a village on Birmingham's south western outskirts. It was this move that would enable the higher levels of freedom and experimentation that were to characterise his later work.
1043:
1058:
1013:
923:
666:, but Cox stood apart from the older painter's focus on capturing material detail, instead employing a high degree of generalisation and a focus on overall effect.
641:
in 1814. Although only two major watercolours can confidently be traced to the period between Cox's arrival in the town and the end of the decade, both of these –
722:
excesses of Cox's later years. During a period dominated by sleek and detailed picturesque landscape, however, they were still condemned by publications such as
1028:
2066:
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373:) engaged him in 1808, Cox went on to acquire several other aristocratic and titled pupils. He also went on to write several books, including:
1800:
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in 1843; and two oil paintings were exhibited at the Royal Academy in 1844 – the last that would be exhibited in London during his lifetime.
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Cox showed regularly at the Birmingham Society of Arts and its successor, the Birmingham Society of Artists, becoming a member in 1842.
471:
439:, which claimed to present works by "all of the most approved water coloured draftsmen." The depression that accompanied the end of the
427:
Cox's reputation as both a painter and a teacher had been building over previous years, as indicated by his election as a member of the
1917:
1899:
1854:
953:
874:
802:
766:
467:
He made his first trip to the Continent, to Belgium and the Netherlands in 1826 and subsequently moved to London the following year.
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in 1831. In 1839, two of Cox's watercolours were bought from the Old Water Colour Society exhibition by the Marquis of Conynha for
2031:
562:
Cox's experience of trying to exhibit his oils in London was short and unsuccessful: in 1842 he made his only submission to the
527:
sufficient to allow him to abandon his work as a drawing master, and in June 1841 he moved with his wife to Greenfield House in
183:
towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter."
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By 1857 however, his eyesight had deteriorated. An exhibition of his work was arranged in 1858 by the Conversazione Society
106:
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from 1805. His paintings never reached high prices, so he earned his living mainly as a drawing master. His first pupil,
906:
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338:, his earliest dated watercolours are from this year. Throughout his lifetime he made numerous sketching tours to the
822:
563:
283:
777:
710:
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287:
1958:
1093:
A chronological history of the old English landscape painters, in oil, from the 16th century to the 19th century
584:
on 12 June 1853 that temporarily paralysed him, and permanently affected his eyesight, memory and coordination.
490:
366:
1985:
1978:
408:
307:
1908:
Wildman, Stephen (2008), "David Cox's Development and Reputation as an Oil Painter", in Wilcox, Scott (ed.),
690:
for which he became well-known – both of these were related to his development of a rougher and freer style.
1776:
806:
511:
335:
263:
234:
198:
2008:
898:
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The Birmingham school: paintings, drawings and prints by Birmingham artists from the permanent collection
662:. His concern with capturing the fleeting nature of weather, atmosphere and light was similar to that of
391:
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865:. Some of them have since been confirmed as forgeries. American collections holding Cox's work include
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The quest for character over precision in representing nature was an established characteristic of the
534:
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783:
709:
A group of young artists working in Cox's watercolour style emerged well before his death, including
1977:., engraved by W Taylor for Fisher's Drawing Room Scrap Book, 1832 with a poetical illustration by
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830:
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515:
273:
At the age of about 15 Cox was apprenticed to the Birmingham painter Albert Fielder, who produced
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315:. While living in London, Cox married his landlord's daughter, Mary Ragg and the couple moved to
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to work outdoors in both oil and watercolour, gradually becoming the focus for an annual summer
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1269:
The King's Artists: The Royal Academy of Arts and the Politics of British Culture 1760-1840
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He is considered one of the greatest English landscape painters, and a major figure of the
1113:
Pillement, Georges (1978), "The Precursors of Impressionism", in Sérullaz, Maurice (ed.),
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as "the 'blottesque' school", and failed to establish themselves as a cohesive movement.
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498:, Birmingham – where Cox lived from 1841 until his death in 1859 – pictured by his son
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to the Birmingham gun trade. Cox's mother was the daughter of a farmer and mille] from
2020:
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The Victoria and Albert Museum: A Bibliography and Exhibition Chronology, 1852-1996
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746:, was based on a manuscript by Cox's friend William Hall, edited and expanded by
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1990:
1970:
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74:
1927:
1143:, Heilbrunn Timeline of Art History, New York: The Metropolitan Museum of Art
1100:
846:
838:
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595:, London. Cox died several months later. He was buried in the churchyard of
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pencil as his primary drawing medium, and the rough and absorbent "Scotch"
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1845:
Osborne, Victoria (2008), "Cox and Birmingham", in Wilcox, Scott (ed.),
591:, and in 1859 a retrospective exhibition was held at the German Gallery
674:"peculiar manner" to new extremes, incorporating the techniques of the
412:
316:
303:
226:
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about whom little is known, except that he supplied components such as
1890:
Wilcox, Scott (2008), "The Work of the Mind", in Wilcox, Scott (ed.),
1817:"Sun, Wind, and Rain: The Art of David Cox | britishart.yale.edu"
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809:, on the condition it opened on Sundays. His work is also held at the
1962:
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810:
769:
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416:
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In the summer of 1813 Cox was appointed as the drawing master of the
1091:
Grant, Maurice Harold (1958), "The Birmingham School of Landscape",
282:
as late as 1825. At some time during mid-1800 Cox was given work by
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in Great Charles Street, where fellow students included the artist
1771:
Barbara M. D. Smith, 'Nettlefold, Joseph Henry (1827–1881)’, rev.
858:
620:
In the spring of 1811 Cox made a small number of notable works in
533:
489:
355:
321:
239:
197:
2037:
Members and Associates of the Royal Birmingham Society of Artists
1606:, Birmingham: Birmingham Museums & Art Gallery, p. 6,
1984:
In Fisher's Drawing Room Scrap Book, 1834, as illustration to
1754:
A Biography of David Cox: With Remarks on His Works and Genius
744:
A Biography of David Cox: With Remarks on His Works and Genius
559:
that continued until 1856 with Cox as its "presiding genius".
510:
since 1836 and in 1839 had taken lessons in oil painting from
1722:
1720:
1718:
1935:
1912:, New Haven, CT: Yale University Press, pp. 113–127,
1406:
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there every year (except 1815 and 1817) until his death.
1849:, New Haven, CT: Yale University Press, pp. 69–83,
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1307:
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1157:
298:
In 1804 Cox was promised work by the theatre impresario
270:, both of whom would become important lifelong friends.
1894:, New Haven, CT: Yale University Press, pp. 1–67,
1433:
1431:
1249:
1247:
1176:
Wilcox, Scott (October 1983), "David Cox. Birmingham",
334:
In 1805 he made his first of many trips to Wales, with
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and moved to London, taking lodgings in 16 Bridge Row,
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782:
His pupils included Birmingham architectural artist,
1095:, vol. 2, Leigh-on-Sea: F. Lewis, p. 167,
909:
in the US in 2008, traveling to Birmingham in 2009.
761:
memorials commemorating him at 116 Greenfield Road,
213:
Cox was born on 29 April 1783 on Heath Mill Lane in
1272:, Oxford: Oxford University Press, pp. 91–92,
131:
113:
102:
82:
60:
34:
1529:, Norwich: University of East Anglia, p. 12,
514:, to whom he had been introduced by mutual friend
678:into his finished works to a far greater degree.
389:(1816). The ninth and last edition of his series
190:(1809–1885), was also a successful artist.
637:Cox reached artistic maturity after his move to
566:; one oil painting was exhibited at each of the
857:shows a number of Cox's watercolours bought by
175:Although most popularly known for his works in
157:of landscape artists and an early precursor of
306:. Although he was unable to get employment at
649:of 1817 – mark advances on his earlier work.
250:, and nurturing the distinctive tradition of
149:(29 April 1783 – 7 June 1859) was an English
8:
1738:
1726:
1709:
1697:
1685:
1673:
1863:Wilcox, Scott; Newall, Christopher (1992),
258:. Cox initially enrolled in the academy of
153:, one of the most important members of the
1940:(Online ed.), Oxford University Press
547:these tours evolved into a yearly trip to
31:
1910:Sun, Wind, and Rain: the art of David Cox
1892:Sun, Wind, and Rain: the art of David Cox
1847:Sun, Wind, and Rain: the art of David Cox
1526:A decade of English naturalism, 1810-1820
1140:Watercolor Painting in Britain, 1750–1850
470:He exhibited for the first time with the
682:periods: he used black chalk instead of
1937:Oxford Dictionary of National Biography
1773:Oxford Dictionary of National Biography
1490:. Royal Birmingham Society of Artists.
1473:
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1020:Rainbow over the Shrewsbury Battlefield
919:
1661:
1649:
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1488:A Place for Art: The Story of the RBSA
1461:
1437:
1422:
1368:
1356:
1337:
330:, brush and brown wash, over graphite.
1115:Phaidon Encyclopedia of Impressionism
768:, and at 34 Foxley Road, Kennington,
27:English landscape painter (1783–1859)
7:
736:Society of Painters in Water-colours
520:Society of Painters in Water Colours
429:Society of Painters in Water Colours
179:, he also painted over 300 works in
803:Birmingham Museum & Art Gallery
791:Royal Birmingham Society of Artists
194:Early life in Birmingham, 1783–1804
1959:122 artworks by or after David Cox
1383:, Dictionary of National Biography
875:Fine Arts Museums of San Francisco
734:in 1857 condemned the work of the
221:. His father was a blacksmith and
25:
2067:19th-century English male artists
2042:Burials at West Norwood Cemetery
2005:Jerdair, A hill village, Gurwall
1989:
1969:
1057:
1042:
1027:
1012:
997:
982:
967:
952:
937:
922:
387:Progressive Lessons on Landscape
42:
1975:The Grass-Rope Bridge, at Teree
1866:Victorian Landscape Watercolors
1117:, Oxford: Phaidon, p. 39,
895:Princeton University Art Museum
607:tree, alongside his wife Mary.
379:A Series of Progressive Lessons
361:Cox exhibited regularly at the
217:, then an industrial suburb of
867:The Metropolitan Museum of Art
383:Treatise on Landscape Painting
277:and paintings for the tops of
1:
2057:19th-century English painters
1757:. Editied with additions, by
1137:Barker, Elizabeth E. (2004),
887:Rhode Island School of Design
472:Birmingham Society of Artists
455:Between 1823 and 1826 he had
206:, Birmingham, illustrated by
801:Several of his works are in
776:, where he lived from 1827.
698:By the 1840s Cox, alongside
538:The elderly Cox pictured by
375:Ackermanns' New Drawing Book
907:Yale Center for British Art
871:The National Gallery of Art
647:Lugg Meadows, near Hereford
107:St Peter's Church, Harborne
2083:
2027:English landscape painters
1869:, New York: Hudson Hills,
1795:. Routledge. p. 579.
1064:ABDAG003347 - David Cox -
1049:ABDAG003344 - David Cox -
823:Victoria and Albert Museum
564:Society of British Artists
367:Colonel the Hon.H. Windsor
284:William Macready the elder
1928:"Cox, David (1783–1859),
1926:Wildman, Stephen (2013),
1602:Wildman, Stephen (1990),
1035:Sheep drover on windy day
1007:by David Cox. Watercolour
805:, having been donated by
395:, was published in 1845.
41:
1986:Letitia Elizabeth Landon
1979:Letitia Elizabeth Landon
1789:Elizabeth James (2013).
1739:Wilcox & Newall 1992
1727:Wilcox & Newall 1992
1710:Wilcox & Newall 1992
1698:Wilcox & Newall 1992
1686:Wilcox & Newall 1992
1674:Wilcox & Newall 1992
789:A bust of Cox is in the
518:. Hostility between the
2032:English watercolourists
1995:The Zenana - Conclusion
1777:Oxford University Press
1486:Flynn, Brendan (2014).
1178:The Burlington Magazine
807:Joseph Henry Nettlefold
643:Butcher's Row, Hereford
1751:Hall, William (1881).
1266:Hoock, Holger (2003),
930:view of Harlech Castle
899:The Huntington Library
851:Lady Lever Art Gallery
603:, Birmingham, under a
543:
502:
474:in 1829, and with the
409:Royal Military College
331:
210:
2062:English male painters
752:Birmingham Daily Post
537:
493:
486:Birmingham, 1841–1859
431:and his inclusion in
325:
308:Astley's Amphitheatre
201:
188:David Cox the Younger
1051:Near the Inn, Bolton
960:A Train on a Viaduct
879:Cleveland Art Museum
784:Allen Edward Everitt
694:Influence and legacy
658:comparable to later
512:William James Müller
494:Greenfield House in
328:Travellers on a Path
202:Cox's birthplace in
1759:John Thackray Bunce
1523:Gage, John (1969),
1452:, pp. 116–117.
748:John Thackray Bunce
568:British Institution
516:George Arthur Fripp
403:Hereford, 1814–1827
392:Progressive Lessons
275:portrait miniatures
97:Birmingham, England
18:David Cox the Elder
1676:, pp. 17, 20.
1066:Pass of Llanberies
1037:by David Cox, 1851
1022:by David Cox, 1850
891:High Museum of Art
797:Public collections
715:David Hall McKewan
624:during a visit to
544:
503:
457:Joseph Murray Ince
332:
288:Birmingham Theatre
211:
186:His son, known as
1930:landscape painter
1802:978-1-134-27106-1
1700:, pp. 20–21.
1664:, pp. 39–40.
1652:, pp. 38–39.
1613:978-0-7093-0171-4
1497:978-0-9930294-0-0
1464:, pp. 14–15.
1381:James Murray Ince
1301:, pp. 71–72.
1241:, pp. 69–70.
1124:978-0-7148-1897-9
671:Birmingham School
476:Liverpool Academy
463:London, 1827–1841
294:London, 1804–1814
268:William Radclyffe
266:and the engraver
256:Birmingham School
155:Birmingham School
151:landscape painter
144:
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53:William Radclyffe
16:(Redirected from
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1155:
1146:
1144:
1136:
1135:
1131:
1125:
1112:
1111:
1107:
1090:
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1073:
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1062:
1053:
1047:
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1032:
1023:
1017:
1008:
1002:
993:
987:
978:
972:
963:
957:
948:
942:
933:
927:
915:
883:Fogg Art Museum
799:
711:William Bennett
704:Copley Fielding
696:
655:
635:
618:
613:
580:Cox suffered a
488:
465:
441:Napoleonic Wars
405:
296:
196:
132:
98:
95:
89:
87:
78:
72:
67:
65:
56:
55:, oil on canvas
37:
28:
23:
22:
15:
12:
11:
5:
2080:
2078:
2070:
2069:
2064:
2059:
2054:
2049:
2044:
2039:
2034:
2029:
2019:
2018:
2015:
2014:
2013:
2012:
2007:, engraved by
1999:
1998:
1982:
1966:
1954:
1953:External links
1951:
1950:
1949:
1923:
1919:978-0300117448
1918:
1905:
1901:978-0300117448
1900:
1887:
1875:
1860:
1856:978-0300117448
1855:
1840:
1837:
1835:
1834:
1808:
1801:
1781:
1764:
1743:
1731:
1714:
1702:
1690:
1678:
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1642:
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1618:
1612:
1594:
1582:
1570:
1558:
1546:
1515:
1503:
1496:
1478:
1476:, p. 116.
1466:
1454:
1442:
1427:
1415:
1413:, p. 114.
1400:
1398:, p. 115.
1385:
1373:
1361:
1342:
1330:
1318:
1303:
1291:
1278:
1258:
1243:
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1194:
1168:
1166:, p. 113.
1153:
1129:
1123:
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1079:
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949:
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934:
928:
921:
918:
917:
916:
914:
911:
815:British Museum
798:
795:
765:, Birmingham,
757:There are two
742:An 1881 book,
717:and Cox's son
695:
692:
688:wrapping paper
664:John Constable
654:
651:
634:
631:
617:
614:
612:
609:
557:artists colony
487:
484:
480:Queen Victoria
464:
461:
404:
401:
336:Charles Barber
295:
292:
264:Charles Barber
195:
192:
142:
141:
135:
129:
128:
115:
114:Known for
111:
110:
104:
100:
99:
96:
94:(aged 76)
84:
80:
79:
73:
62:
58:
57:
47:
39:
38:
35:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2079:
2068:
2065:
2063:
2060:
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2043:
2040:
2038:
2035:
2033:
2030:
2028:
2025:
2024:
2022:
2010:
2009:Thomas Higham
2006:
2003:
2002:
2001:
2000:
1996:
1992:
1987:
1983:
1980:
1976:
1972:
1968:The painting
1967:
1964:
1960:
1957:
1956:
1952:
1939:
1938:
1933:
1931:
1924:
1921:
1915:
1911:
1906:
1903:
1897:
1893:
1888:
1878:
1872:
1868:
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1798:
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1785:
1782:
1778:
1774:
1768:
1765:
1760:
1756:
1755:
1747:
1744:
1741:, p. 18.
1740:
1735:
1732:
1729:, p. 22.
1728:
1723:
1721:
1719:
1715:
1712:, p. 21.
1711:
1706:
1703:
1699:
1694:
1691:
1688:, p. 20.
1687:
1682:
1679:
1675:
1670:
1667:
1663:
1658:
1655:
1651:
1646:
1643:
1640:, p. 38.
1639:
1634:
1631:
1628:, p. 33.
1627:
1622:
1619:
1615:
1609:
1605:
1598:
1595:
1592:, p. 53.
1591:
1586:
1583:
1580:, p. 58.
1579:
1574:
1571:
1568:, p. 46.
1567:
1562:
1559:
1555:
1550:
1547:
1536:
1532:
1528:
1527:
1519:
1516:
1513:, p. 15.
1512:
1507:
1504:
1499:
1493:
1489:
1482:
1479:
1475:
1470:
1467:
1463:
1458:
1455:
1451:
1446:
1443:
1440:, p. 14.
1439:
1434:
1432:
1428:
1425:, p. 13.
1424:
1419:
1416:
1412:
1407:
1405:
1401:
1397:
1392:
1390:
1386:
1382:
1377:
1374:
1370:
1365:
1362:
1358:
1353:
1351:
1349:
1347:
1343:
1339:
1334:
1331:
1327:
1322:
1319:
1316:, p. 73.
1315:
1310:
1308:
1304:
1300:
1295:
1292:
1281:
1275:
1271:
1270:
1262:
1259:
1256:, p. 70.
1255:
1250:
1248:
1244:
1240:
1235:
1232:
1229:, p. 69.
1228:
1223:
1220:
1216:
1211:
1209:
1207:
1205:
1203:
1201:
1199:
1195:
1191:
1187:
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1160:
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1142:
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1120:
1116:
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1067:
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1036:
1030:
1025:
1021:
1015:
1010:
1006:
1000:
995:
991:
985:
980:
976:
975:Raglan Castle
970:
965:
961:
955:
950:
946:
940:
935:
931:
925:
920:
912:
910:
908:
902:
900:
896:
892:
888:
884:
880:
876:
872:
868:
864:
860:
856:
855:Port Sunlight
852:
848:
844:
840:
836:
832:
828:
824:
820:
816:
812:
808:
804:
796:
794:
792:
787:
786:(1824–1882).
785:
780:
778:
775:
771:
767:
764:
760:
755:
753:
749:
745:
740:
737:
733:
729:
727:
726:
725:The Spectator
720:
719:David Cox Jr.
716:
712:
707:
705:
701:
700:Peter De Wint
693:
691:
689:
685:
679:
677:
672:
667:
665:
661:
660:impressionism
652:
650:
648:
644:
640:
632:
630:
627:
623:
615:
610:
608:
606:
602:
598:
594:
590:
585:
583:
578:
575:
573:
572:Royal Academy
569:
565:
560:
558:
554:
550:
541:
540:Samuel Bellin
536:
532:
530:
525:
524:Royal Academy
521:
517:
513:
509:
501:
500:David Cox Jr.
497:
492:
485:
483:
481:
477:
473:
468:
462:
460:
458:
453:
451:
447:
442:
438:
435:'s 1813 book
434:
430:
425:
422:
418:
414:
410:
402:
400:
396:
394:
393:
388:
384:
380:
376:
372:
368:
364:
363:Royal Academy
359:
357:
353:
349:
345:
341:
340:Home Counties
337:
329:
324:
320:
318:
314:
309:
305:
301:
300:Philip Astley
293:
291:
289:
285:
280:
276:
271:
269:
265:
261:
260:Joseph Barber
257:
253:
252:landscape art
249:
243:
241:
236:
232:
228:
224:
220:
216:
209:
205:
200:
193:
191:
189:
184:
182:
178:
173:
171:
167:
162:
160:
159:Impressionism
156:
152:
148:
139:
136:
130:
127:
123:
119:
116:
112:
108:
105:
103:Resting place
101:
85:
81:
76:
64:29 April 1783
63:
59:
54:
50:
45:
40:
33:
30:
19:
2004:
1961: at the
1942:, retrieved
1936:
1929:
1909:
1891:
1880:, retrieved
1865:
1846:
1839:Bibliography
1825:. Retrieved
1821:the original
1811:
1791:
1784:
1767:
1753:
1746:
1734:
1705:
1693:
1681:
1669:
1657:
1645:
1633:
1621:
1603:
1597:
1585:
1573:
1561:
1549:
1538:, retrieved
1525:
1518:
1506:
1487:
1481:
1474:Wildman 2008
1469:
1457:
1450:Wildman 2008
1445:
1418:
1411:Wildman 2008
1396:Wildman 2008
1376:
1371:, p. 9.
1364:
1359:, p. 8.
1340:, p. 6.
1333:
1326:Wildman 2008
1321:
1314:Osborne 2008
1299:Osborne 2008
1294:
1283:, retrieved
1268:
1261:
1254:Osborne 2008
1239:Osborne 2008
1234:
1227:Osborne 2008
1222:
1215:Wildman 2013
1181:
1177:
1171:
1164:Wildman 2008
1145:, retrieved
1139:
1132:
1114:
1108:
1092:
1065:
1050:
1034:
1019:
1005:Bolton Abbey
1004:
992:by David Cox
989:
977:by David Cox
974:
962:by David Cox
959:
947:by David Cox
945:Boys Fishing
944:
932:by David Cox
929:
903:
863:James Orrock
819:Tate Gallery
800:
788:
781:
756:
743:
741:
730:
723:
708:
697:
680:
668:
656:
646:
645:of 1815 and
642:
636:
619:
586:
579:
576:
561:
549:Betws-y-Coed
545:
504:
469:
466:
459:as a pupil.
454:
437:Aqua Pictura
436:
433:John Hassell
426:
406:
397:
390:
386:
385:(1813); and
382:
378:
374:
369:(the future
360:
333:
327:
313:watercolours
297:
272:
244:
212:
208:Samuel Lines
185:
174:
163:
146:
145:
137:
133:Notable work
126:oil painting
109:, Birmingham
48:
29:
2052:1859 deaths
2047:1783 births
1662:Wilcox 2008
1650:Wilcox 2008
1638:Wilcox 2008
1626:Wilcox 2008
1590:Wilcox 2008
1578:Wilcox 2008
1566:Wilcox 2008
1554:Wilcox 2008
1511:Wilcox 2008
1462:Wilcox 2008
1438:Wilcox 2008
1423:Wilcox 2008
1369:Wilcox 2008
1357:Wilcox 2008
1338:Wilcox 2008
893:, Atlanta,
793:' gallery.
759:Blue Plaque
732:John Ruskin
633:Mature work
593:Bond Street
553:North Wales
446:North Wales
344:North Wales
326:David Cox,
235:Small Heath
177:watercolour
170:watercolour
168:of English
122:watercolour
86:7 June 1859
2021:Categories
1876:155595071X
1279:0191556106
1076:References
990:Rhyl Sands
827:Manchester
653:Later work
616:Early work
450:Wye Valley
352:Derbyshire
279:snuffboxes
223:whitesmith
219:Birmingham
166:Golden age
138:Rhyl Sands
90:1859-06-08
75:Birmingham
68:1783-04-29
51:(1830) by
1101:499875203
847:Cambridge
839:Edinburgh
835:Liverpool
831:Newcastle
825:, and in
597:St Peters
589:Hampstead
348:Yorkshire
319:in 1808.
147:David Cox
118:landscape
77:, England
49:David Cox
36:David Cox
1988:'s poem
861:through
763:Harborne
684:graphite
639:Hereford
626:Hastings
605:chestnut
601:Harborne
570:and the
542:in 1855.
529:Harborne
522:and the
496:Harborne
448:and the
421:Hereford
381:(1811);
377:(1809);
248:fine art
227:bayonets
215:Deritend
204:Deritend
1827:2 March
1535:6705579
913:Gallery
413:Farnham
317:Dulwich
304:Lambeth
286:at the
254:of the
231:barrels
88: (
66: (
1963:Art UK
1944:24 May
1916:
1898:
1882:1 June
1873:
1853:
1799:
1779:, 2004
1610:
1540:1 June
1533:
1494:
1285:26 May
1276:
1190:881452
1188:
1147:1 June
1121:
1099:
897:, and
849:. The
843:Oxford
811:Louvre
770:London
676:sketch
582:stroke
417:Surrey
140:(1854)
1186:JSTOR
859:Lever
356:Devon
240:forge
1965:site
1946:2014
1914:ISBN
1896:ISBN
1884:2014
1871:ISBN
1851:ISBN
1829:2015
1797:ISBN
1608:ISBN
1542:2014
1531:OCLC
1492:ISBN
1287:2014
1274:ISBN
1149:2014
1119:ISBN
1097:OCLC
845:and
702:and
622:oils
611:Work
354:and
229:and
83:Died
61:Born
1182:125
774:SW9
551:in
411:in
181:oil
2023::
1997:.:
1934:,
1775:,
1717:^
1430:^
1403:^
1388:^
1345:^
1306:^
1246:^
1197:^
1180:,
1156:^
1083:^
901:.
889:,
885:,
881:,
877:,
873:,
869:,
853:,
841:,
837:,
833:,
829:,
821:,
817:,
813:,
779:.
772:,
754:.
713:,
599:,
482:.
415:,
358:.
350:,
346:,
342:,
172:.
161:.
124:,
120:,
2011:.
1981:.
1932:"
1831:.
1805:.
1761:.
1500:.
1328:.
1217:.
92:)
70:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
