612:
288:
547:; by the 1830s the majority of successful English artists had trained there. The Government School was funded by the Board of Trade, and intended, at least by them, for different purposes, though precisely what these were remained a political battleground for decades. The school was not founded to train academic painters; this at least was clear, although in fact many ex-students became just that. The Government had recognised that British industrial design was falling behind that of the Continent, and believed that the training of designers was worth public subsidy. Later, a national network of schools to train students in applied art and design was established, and the central London school was both to be the flagship of the network, and to train teachers for the rest of the schools.
52:
353:
Burchett, it is excellently painted, and I like it for its subject; these men in full armour won't go in, they won't end the day completely after risking all their lives, because of that old priest with the jack-in-the-box! Superstition, you see, turns them into caitiffs!" This knocked over poor
Burchett so much, the transaction came to nothing" Scott comments that Burchett: "gave himself up to historical painting on a rather large scale, just the kind of art which English taste and the R. Academy as the mediocre exponent of the same would like to crush out of existence".
33:
364:, who describe it as a "minor masterpiece". This small painting, which more closely approaches a Pre-Raphaelite landscape style, shows a half-harvested cornfield, with tools and jugs of the farm-workers piled up beside a corn stook. But the only figures visible are two clearly middle-class women, no doubt part of the same party as the artist, one sitting against a stook reading a book, and the other walking with a
551:
1025:
175:
198:
about the teaching methods, in what was at the time a controversy that attracted a great deal of public attention, and finally a
Parliamentary Committee of Enquiry. He gave evidence to this in 1846-7, by which time he had become a master at the school (the "Master of Form", from 1845), remaining on
602:
consisted of drawing a man wearing a suit of armour. The Royal
Academy Schools did not accept women students until 1861, although there were other alternatives for women. The female school, under Royal patronage, became a rather fashionable place for young ladies, able to support its expansion by
202:
Burchett spent most of his time throughout his adult life on his work at the school, and that his most highly regarded work today is an atypical landscape subject is an indication of how much his personal painting was neglected for teaching, and public commissions through the school. According to
589:
for the teaching of art, which was to be dominant in the UK, and other
English-speaking countries, at least until the end of the century, and not to entirely vanish until the 1930s. Burchett was the first to implement the course in London, and worked with Redgrave in drawing it up - Redgrave had
476:
The controversy at the school in 1845 was about the
Headmaster and his teaching methods, but reflected wider issues about the aims of the school in terms of the balance between fine art and applied and commercial art and design; these questions were to remain a perennial bone of contention for at
246:
In 1870, he began proceedings for bankruptcy, which were still not concluded by his death. Scott says he "took to a sort of farming at considerable expense ... He began to get into deep water, and into the hands of 20 per cent money-lenders. Still he fought bravely with his difficulties, and even
597:
There were several types of students, pursuing different courses: the "general students", who paid no fees and were given a small living allowance, training to be teachers of art (though many ended up elsewhere), the "National
Scholars" intended for industrial designers, and fee-paying students,
372:
or realist focus on agriculture is absent "his cornfield is just part of a landscape where middle-class people take their leisure. The corn is no more or no less useful than the beaches which we imagine to be in the distance of this brilliantly coloured painting". Here too a more subtle hint of
424:
brought the project to reproduce the full set to an end, but it was revived in the 21st century, and finally completed in 2010. Like the works in the Palace by better-known painters like Dyce, these have been generally disliked by critics from their first unveiling; the overall painting of the
593:
The full course was divided into twenty-three stages, most with several sections. Different types of students were to take different combinations of stages: "machinists, engineers and foremen of works" should take stages 1–5, and then skip to the final 23rd stage, "Technical
Studies", while
352:
William Bell Scott has an anecdote of
Burchett, who "had chosen the subject as a glorious example of the power of the Church and the faith of the prince at that blessed period in Merry England" failing to sell the painting to an "extreme Radical" shipping magnate: ""I admire the picture, Mr.
528:. It is often referred to as the "Government Art School", and later the "South Kensington Schools", in the 19th century (the school was at various points divided into different sections, such as the "Female School", also under Burchett, and there were also science schools run by the
1743:
247:
when his large salary was placed under trustees, he went on with his historic subjects". His venture was ill-timed, hitting a period of agricultural depression. A series of twelve dividends to his creditors, between 1871 and
September 1876, paid off at least 7s 7
226:
had broken down for the second time. He married twice, and had several children. What appear to be a son and grandson are recorded exhibiting paintings in London. Ebenezer
Stanley Burchett (1837–1916) worked at South Kensington and then was Head Master of the
906:
that " was at one time almost exclusively the artist quarter and is still largely frequented by the votaries of the brush and chisel, though of late years Belgravia has been encroaching upon its boundaries, and Belgravian rents are stealing westward."
194:), before in about 1841 entering the "Government School of Design", founded three years before in 1837, which he was later to head, and which eventually became the Royal College of Art. In 1845 he was a ringleader of students protesting to the
425:
Palace after its rebuilding was probably the largest public painting commission in England during the 19th century, and, unlike the architecture of the Palace, has been regarded as very disappointing by most critics from the start.
669:
in 2003. He must have known Deverell as a boy, as his father had been Secretary to the school, and the family lived on the premises until 1852. Deverell joined the staff of the school in 1848, and was there until his death.
440:. The mosaics remain in place, and two of the cartoons are now themselves on display in the staircase on the Exhibition Road side of the building. He and his students decorated large medallions in the dome of the now-vanished
211:, who had worked under him, Burchett was: "an able, self-dependent actor in the affairs of life, yet one whose action was rarely to his own benefit, although largely to the benefit of those under him in his official position".
385:
to mean that the three artists were on a visit, or holiday, together. Dyce, like Burchett, was an artist who saw himself as a history painter but is now most often remembered for a single Pre-Raphaelitish landscape, his
1015:, Art Journal, Vol. 36, No. 4 (Summer, 1977) refers to another, also a view of the Isle of Wight: "Scene in the Isles (sic) of Wight" of 1865. This has cheerful farmworkers' children, so must be a different work.
395:
There are a number of public paintings by Burchett, with help of his students, commissioned through the school. He and his students painted, from Renaissance portraits, a number of full-length portraits of the
562:
William Dyce was the first Director, and Burchett studied under him, and then worked with him as a colleague, until Dyce left in 1848. The Isle of Wight paintings from 1855 suggest the two remained friends.
373:
religious feeling is found: "the church in the distance hints at the source of the bounty represented by the partially garnered harvest in the foreground fields". Treatments of the almost identical view by
740:
as a "student", but this seems dubious. She may have visited for a time before taking over her father's position running an art school for girls, the "École Gratuite de Dessins des Jeunes Filles" in 1849.
650:, buying two paintings now in the Victoria and Albert Museum, probably on their behalf, although he also sold them works apparently from his collection, as well as his Sandown landscape (in 1861).
88:
He was later described as "a prominent figure in the art-schools, a well-instructed painter, and a teacher exceptionally equipped with all the learning of his craft" by his ex-pupil, the poet
388:
261:
at less than £200, and Frayling records that a letter from his widow asking for a pension was found unanswered in the school files thirteen years later. Obituaries were published in the
590:
much less teaching experience. Burchett's published lectures reflected the system, and were widely used as text-books for it; how far he was involved in devising it cannot be said.
611:
2262:
287:
1415:
2056:
815:, where he played a crucial role in developing the present public park. Obituary of Mr E. S. Burchett by F.E. Hayes, A.R.C.A., F.R.G.S. West London Observer 24 March 1916
2257:
642:
He appears buying a number of lots for the school ("Marlborough House") and a few for himself in the huge (4294 lot) sale in 1855 of the distinguished collection of
574:
to spend. Cole was an extremely dynamic figure, with some training as a painter, and experience as an entrepreneurial designer of china. He made the young painter
578:, master of botany at the school since 1847, responsible for the superintendence of the national system, and appointed Burchett as Headmaster of the London School.
2252:
566:
After the internal disputes of the 1840s, the school acquired a firm sense of control and direction when in 1853 the Government placed it under the control of
1935:
598:
pursuing a course more oriented to the fine arts. Latterly these were in fact the majority. Women pupils were taught at least partly separately, and their
239:." Burchett was in very bad health for the last years of his life, and when he died in Dublin, on 27 May 1875, he was staying with his wife's uncle, Sir
2267:
1595:
965:
2047:
461:
1874:
1408:
717:
after an unknown artist, very likely a student (above) published with an obituary. His necessarily imagined "portrait" of the medieval metalworker
356:
However the work which has attracted the most attention and praise from critics in recent decades is what appears to be his "only known landscape",
162:
is seen by modern art historians as his best work. Burchett published collections of his lectures as text-books for the South Kensington system of
1970:
1928:
2232:
2227:
417:
986:
803:
In 1875, he was at 20 Brompton Sq., where he registered a patent "for improvements in boxes for containing matches and other articles" -
1401:
721:
for the Victoria & Albert Museum mosaics (above) shows considerable similarity to his other portraits, and may be a self-portrait.
1736:
133:
543:
building, where it stayed until 1867. They had been established decades before the Government School, to provide a full training in
512:, leaving a section just for training art teachers on the Strand, and establishing a separate "Female School" in Gower St, from 1861
481:'s 1987 history of the College. The new teaching methods implemented by Burchett were themselves to become a matter of controversy.
1764:
1350:
1332:
1318:
918:
902:
2247:
1427:
1300:
322:
1368:
Autobiographical notes of the life of William Bell Scott, and notices of his artistic and poetic circle of friends, 1830 to 1882
1189:
2027:
2242:
2237:
1983:
1915:
1792:
570:, for whom the Science and Art Department was set up, with a large tract of land, and much of the large profit from the 1852
465:
187:
2169:
1371:
143:
As an artist he achieved some reputation for large history paintings, and decorated public buildings including parts of the
1103:
1956:
1785:
441:
1665:
1590:
263:
1286:
51:
449:
257:
d in the pound - dividends number 1, 7 & 8 seem not to appear in the London Gazette search results. His will was
243:, for his health. He had only been in the School for 133 days in 1872, arriving punctually on only seven of these.
1680:
1605:
1424:
1338:
529:
517:
361:
148:
44:
1992:
1615:
1977:
1942:
1881:
1834:
1806:
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1463:
1458:
540:
1383:
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2103:
1867:
1690:
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1530:
582:
497:
2034:
1921:
1860:
1700:
1575:
1535:
1448:
1049:
658:
654:
509:
421:
2145:
1909:
1902:
1820:
1813:
1525:
1227:
1215:
567:
405:
338:
144:
63:
2222:
2217:
1580:
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1490:
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1306:
1055:
909:
893:
616:
513:
478:
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342:
307:
228:
191:
82:
1067:
2185:
1963:
1895:
1847:
1750:
1695:
1500:
1438:
1070:
The Mellon Centre now date this 1849-50 however. Burchett sold his painting to the V&A in 1861.
808:
771:
V&A says from 1851 as Head of the "Department of Practical Art" section, for training teachers.
678:
555:
326:
117:
97:
89:
539:
Schools, which made space for the new school by its decision to vacate Somerset House for the new
182:
Burchett was born in Brighton on 30 January 1815. He attended the "London Mechanics Institute" in
2020:
1771:
1729:
1620:
1560:
1520:
1495:
1363:
862:
833:
690:
437:
223:
208:
101:
1265:
460:
1744:
A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids
1238:
2193:
1999:
1949:
1757:
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1346:
1328:
1314:
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346:
215:
294:(1291–1303), design for a mosaic in the Victoria and Albert Museum, now also on display there
2073:
1827:
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857:
828:
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624:
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571:
521:
445:
382:
299:
232:
121:
67:
1092:
2177:
2078:
2041:
1799:
1655:
1555:
1453:
1192:: Education and the Formation of South Kensington's Museums Rafael Cardoso Denis, V&A
897:
718:
698:
433:
269:
240:
219:
129:
125:
113:
32:
2156:
1393:
1013:
The "Dreary Landscape" as a Background for Scenes of Rural Poverty in Victorian Paintings
913:
623:
Collections of Burchett's lectures from the school were published in book form, through
516:. In 1861 the main school moved again to buildings adjoining (and now absorbed by) the
2006:
1660:
1600:
1468:
804:
714:
694:
493:
489:
409:
401:
397:
318:
291:
231:
School of Arts & Crafts. In 1870 Richard Burchett is described as "formerly of 43
195:
137:
105:
93:
78:
17:
2211:
2113:
2108:
1888:
1841:
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Edward IV Withheld by Ecclesiastics from Pursuing Lancastrian Fugitives into a Church
183:
163:
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60:
Edward IV Withheld by Ecclesiastics from Pursuing Lancastrian Fugitives into a Church
2151:
2128:
2118:
2093:
2013:
1685:
1565:
737:
647:
643:
544:
432:
for the exteriors to the south court of the Victoria and Albert Museum he produced
374:
1303:, online, "Richard Burchett", by Anne Pimlott Baker, accessed Feb 13, 2008.("DNB")
673:
Apart from his own students, Burchett encouraged other young artists, sending the
653:
Burchett looked after a number of paintings by his colleague, the Pre-Raphaelite
81:
movement, who was for over twenty years the Headmaster of what later became the
2123:
2098:
2088:
1853:
1630:
1625:
702:
275:
218:; it is presumed that he was influenced by the already-converted Pre-Raphaelite
154:
109:
38:
890:
Survey of London Artists, musicians and writers resident in Brompton, 1790–1870
657:(1827–54) for a decade after Deverell's early death, before handing them on to
381:, Mellon Centre, Yale), both Burchett's colleagues at the school, are taken by
178:
Portrait published 1875, after an unknown artist (the age appears to be wrong).
2083:
1024:
For quote, search online collection on Burchett (accessed February 15, 2008).
973:
599:
313:
689:
Portraits of the heavily-bearded Burchett include a marble bust by his pupil
665:, Deverell's major work, which fetched £600,650 ($ 957,436) in an auction at
989:
The two titles are mentioned separately by the DNB, who give the Guildhall
416:, copying from an 18th-century print a one of a set of tapestries made for
550:
77:(1815–1875) was a British artist and educator on the fringes of the
586:
408:(1855-9). He painted other works for the new Palace, including a large
1311:
The Royal College of Art, One Hundred and Fifty Years of Art and Design
581:
Redgrave, drawing on Dyce's ideas, and propelled by Cole, set out the "
429:
369:
365:
258:
236:
615:
The Six Wives of Henry VIII, by Burchett and his students, 1854–1860,
1387:
174:
697:
that has followed the Royal College to its new Darwin Building on
610:
549:
459:
286:
173:
993:, but there seems only to be the one painting (exhibited RA 1867)
888:
Brompton Square was home to many artists, writers and actors etc
1058:, R.A. (1817–1903). - Horsley was also a colleague of Burchett's
1397:
92:. Burchett's pupils included the extremely varied talents of
199:
the staff until his death in 1875, from 1852 as Headmaster.
701:, where it is installed in a courtyard. He was painted by
414:
The English Fleet Pursuing the Spanish Fleet Against Fowey
222:, with whom he was living after Collinson's engagement to
558:
to illustrate his teaching at the school, V&A Museum.
140:'s daughter, and a talented artist, was also a student.
389:
Pegwell Bay, Kent – a Recollection of October 5th 1858
317:). These are rather generously described as "in the
1161:
South Kensington' and the Science and Art Department
760:
The Great Exhibitor: the Life and Work of Henry Cole
524:, and long after Burchett's death it became in 1896
477:
least another century, and are a recurring theme in
298:
Burchett exhibited five works, apparently all large
2137:
2066:
2057:
I Am Half-Sick of Shadows, Said the Lady of Shalott
1709:
1477:
1277:
DNB, Frayling - possibly destroyed in World War II?
713:(1869, Victoria and Albert Museum), and there is a
504:in 1853, moving to the equally palatial setting of
594:designers and "ornamentalists" took most stages.
875:
873:
693:in an elaborate pink alabaster frame designed by
677:schools a letter of recommendation for the young
1137:
1135:
637:Linear Perspective for the Use of Schools of Art
70:with which Burchett hoped to make his reputation
329:in 1855. His best-known work in this genre is
302:, at the Royal Academy between 1847, including
1226:Published "Names of Purchasers and Prices..."
823:
821:
1409:
1343:Catalogue of British Oil Paintings, 1820–1860
1214:of 1856 - the 1872 work may be a new edition
952:
950:
948:
8:
2263:19th-century painters of historical subjects
790:
788:
786:
484:The school had been founded in 1837, as the
1325:The History and Philosophy of Art Education
938:
936:
635:(1857), which was translated into Chinese,
1596:Louisa Beresford, Marchioness of Waterford
1416:
1402:
1394:
2258:Alumni of Birkbeck, University of London
1875:The Finding of the Saviour in the Temple
1384:50 artworks by or after Richard Burchett
1048:Catalogue, King St, Sale 7279, Lot 219
498:Register of Births, Deaths and Marriages
420:, the victorious admiral. The death of
341:, London, showing an incident after the
333:(RA, 1867), the snappy modern title for
50:
31:
1210:translation per DNB, although they say
758:Elizabeth Bonython and Anthony Burton,
729:
214:In the mid-1850s Burchett converted to
1313:, 1987, Barrie & Jenkins, London,
1252:catalogue entry (2003) for Deverell's
762:, V&A Publications, London, p.150.
535:The main art school in London was the
358:View across Sandown Bay, Isle of Wight
2253:Academics of the Royal College of Art
1287:Copy in the National Portrait Gallery
496:, until the space was needed for the
7:
1772:Our English Coasts ('Strayed Sheep')
646:. He was also at the studio sale of
235:Square , but now of 8 Bedford Road,
306:, "famous in its day" according to
1737:Christ in the House of His Parents
1083:, 1975, pp 134–7, ref. in V&A,
977:, probably quoting another source.
134:Princess Louise, Duchess of Argyll
25:
2268:19th-century English male artists
1936:King Cophetua and the Beggar Maid
1011:So the DNB, but Howard D. Rodee:
448:, and he painted a window in the
400:for the royal antechamber to the
186:(founded 1823, the forerunner of
1370:, Volume II, ed. W Minto, 1892,
1301:Dictionary of National Biography
1327:, 2004, James Clarke & Co.,
866:. 11 August 1876. p. 4524.
1916:Pygmalion and the Image series
919:Dickens's Dictionary of London
903:Dickens's Dictionary of London
837:. 18 March 1870. p. 1811.
554:Botany Diagram, about 1855 by
466:Margaret Tudor, Queen of Scots
325:. He exhibited a work at the
1:
2233:19th-century English painters
2228:Converts to Roman Catholicism
1786:Paolo and Francesca da Rimini
1372:New York edition, online text
1360:, 1982, Phaidon Press, London
428:From a number of designs for
166:, which he helped to devise.
1666:John Roddam Spencer Stanhope
1591:Robert Braithwaite Martineau
1108:Image, Palace of Westminster
502:National Art Training School
811:. By 1878 he had moved to
486:Government School of Design
456:The South Kensington system
436:(two versions in fact) and
2284:
1681:Algernon Charles Swinburne
1425:Pre-Raphaelite Brotherhood
1358:British Landscape Painting
1339:Victoria and Albert Museum
711:Distribution of Art Prizes
530:Science and Art Department
518:Victoria and Albert Museum
362:Victoria and Albert Museum
149:Victoria and Albert Museum
45:Victoria and Albert Museum
1993:The Roses of Heliogabalus
1616:Valentine Cameron Prinsep
1434:
1228:digitised on Google Books
1156:Survey of London, vol 38;
900:) wrote in his 1879 book
442:Great Exhibition building
360:probably of 1855, in the
1978:The Legend of Briar Rose
1807:The Awakening Conscience
1464:Frederic George Stephens
1459:William Michael Rossetti
736:MacDonald:173 describes
526:The Royal College of Art
514:Queen Square, Bloomsbury
418:Lord Howard of Effingham
2248:Pre-Raphaelite painters
2163:Rossetti and His Circle
2104:Marie Spartali Stillman
1691:John William Waterhouse
1676:John Melhuish Strudwick
1671:Marie Spartali Stillman
1541:Charles Allston Collins
1239:Christopher Wood Report
1216:digitized, Google Books
583:South Kensington system
18:South Kensington system
1765:The Light of the World
1701:William Lindsay Windus
1449:Dante Gabriel Rossetti
659:Dante Gabriel Rossetti
655:Walter Howell Deverell
620:
559:
473:
295:
179:
71:
48:
2243:Artists from Brighton
2238:English male painters
1910:A Vision of Fiammetta
1814:The Hireling Shepherd
1526:Georgiana Burne-Jones
1307:Frayling, Christopher
633:Practical Perspective
614:
603:society fundraising.
585:", a highly specific
553:
532:, hence the plural).
463:
406:Palace of Westminster
377:and James Collinson (
339:Guildhall Art Gallery
290:
177:
145:Palace of Westminster
64:Guildhall Art Gallery
54:
35:
2028:Hylas and the Nymphs
1581:Edward Robert Hughes
1546:Frank Cadogan Cowper
1491:Lawrence Alma-Tadema
1444:John Everett Millais
1356:Rosenthal, Michael:
1093:Lady Jane Grey image
1056:John Calcott Horsley
1051:Showing a Preference
910:Dickens, Charles Jr.
894:Charles Dickens, Jr.
617:Houses of Parliament
607:Author and collector
488:, occupying part of
479:Christopher Frayling
471:Houses of Parliament
345:of 1471, during the
343:Battle of Tewkesbury
304:The Death of Marmion
192:University of London
83:Royal College of Art
66:. One of the large
2187:Desperate Romantics
2049:The Lady of Shalott
1985:The Lady of Shalott
1929:Cymon and Iphigenia
1896:The Shadow of Death
1848:Oxford Union murals
1793:The Last of England
1751:Ecce Ancilla Domini
1696:William James Webbe
1439:William Holman Hunt
1364:Scott, William Bell
1337:Parkinson, Ronald:
1323:MacDonald, Stuart,
1190:Teaching by Example
556:Christopher Dresser
327:British Institution
118:Hubert von Herkomer
104:(Lady Butler), Sir
98:Christopher Dresser
1957:Dante and Beatrice
1621:Christina Rossetti
1561:Henry Treffry Dunn
1521:Edward Burne-Jones
1496:George Price Boyce
1250:Artfact/Christie's
1212:Linear Perspective
863:The London Gazette
834:The London Gazette
807:, March 29, 1878,
691:Henrietta Montalba
661:. These included
629:Practical Geometry
621:
560:
474:
450:Greenwich Hospital
438:William of Wykeham
312:The Making of the
296:
224:Christina Rossetti
209:William Bell Scott
180:
102:Elizabeth Thompson
72:
49:
43:probably of 1855,
2205:
2204:
1950:The Golden Stairs
1611:Joseph Noel Paton
1586:Frederic Leighton
896:(eldest child of
705:standing next to
506:Marlborough House
500:. It became the
347:Wars of the Roses
300:history paintings
216:Roman Catholicism
68:history paintings
16:(Redirected from
2275:
2157:Morris & Co.
2074:Elizabeth Siddal
1971:The Magic Circle
1964:Love's Messenger
1721:
1646:Elizabeth Siddal
1636:Frederick Sandys
1551:Evelyn De Morgan
1516:Richard Burchett
1511:Lucy Madox Brown
1506:Ford Madox Brown
1418:
1411:
1404:
1395:
1289:
1284:
1278:
1275:
1269:
1266:Survey of London
1263:
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402:House of Lords
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292:William Torrel
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94:Kate Greenaway
79:Pre-Raphaelite
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164:art education
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159:Isle of Wight
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40:
34:
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19:
2194:
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2152:Hogarth Club
2144:
2129:Ruth Herbert
2119:Dorothy Dene
2094:Annie Miller
2055:
2048:
2040:
2033:
2026:
2019:
2014:Flaming June
2012:
2005:
1998:
1991:
1987:(Waterhouse)
1984:
1976:
1969:
1962:
1955:
1948:
1941:
1934:
1927:
1920:
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1777:
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1763:
1756:
1749:
1742:
1735:
1728:
1720:post-period)
1718:(period and
1686:Henry Wallis
1566:William Dyce
1536:John Collier
1515:
1481:artists and
1386: at the
1367:
1357:
1342:
1324:
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1273:
1261:
1253:
1245:
1234:
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1176:
1167:
1153:
1152:
1148:
1147:
1125:
1114:
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1088:
1080:
1079:Grigson, G,
1075:
1063:
1050:
1041:
1032:
1020:
1012:
1007:
998:
990:
982:
972:
969:(in Spanish)
961:
923:. Retrieved
917:
901:
884:
861:
852:
843:
832:
799:
776:
767:
759:
754:
749:DNB, V&A
745:
738:Rosa Bonheur
732:
710:
688:
679:Albert Moore
672:
662:
652:
648:Augustus Egg
644:Ralph Bernal
641:
636:
632:
628:
622:
600:life classes
596:
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565:
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545:Academic art
534:
525:
508:, thanks to
501:
485:
483:
475:
464:
427:
413:
394:
387:
378:
375:William Dyce
357:
355:
351:
334:
330:
311:
310:) and 1873 (
303:
297:
274:
268:
262:
245:
229:Bedford Park
213:
204:
201:
181:
153:View across
152:
142:
87:
74:
73:
59:
55:
37:View across
36:
29:
2223:1875 deaths
2218:1815 births
2197:(2014 film)
2173:(1967 film)
2166:(1922 book)
2124:Fanny Eaton
2099:Jane Morris
2089:Sophie Gray
2035:Lady Godiva
1922:The Beloved
1861:Roman Widow
1854:Lady Lilith
1713:well-known
1631:Emma Sandys
1626:John Ruskin
1479:Associated
1428:(paintings)
1171:Frayling:41
1129:Frayling:38
858:"No. 24353"
847:Frayling:52
829:"No. 23599"
703:Val Prinsep
444:of 1862 at
308:Hugh Thomas
276:The Graphic
270:Art Journal
155:Sandown Bay
110:Luke Fildes
39:Sandown Bay
2212:Categories
2195:Effie Gray
2084:Effie Gray
1903:Proserpine
1821:April Love
1501:John Brett
1046:Christie's
914:"Brompton"
780:Scott, 272
667:Christie's
568:Henry Cole
494:the Strand
314:New Forest
151:, but his
991:Sanctuary
925:22 August
685:Portraits
337:, in the
331:Sanctuary
264:Athenaeum
56:Sanctuary
2146:The Germ
1268:pre-move
966:Articles
942:Frayling
912:(1879).
639:(1872).
631:(1855),
587:syllabus
259:probated
233:Brompton
147:and the
62:, 1867,
2138:Related
1758:Mariana
1730:Ophelia
1483:figures
974:El País
956:V&A
809:p. 2259
709:in his
430:mosaics
404:in the
370:georgic
368:. Any
366:parasol
252:⁄
237:Clapham
205:Memoirs
2067:Models
2051:(Hunt)
2000:Lilith
1388:Art UK
1349:
1331:
1317:
412:scene
283:Artist
273:, and
267:, the
108:, Sir
1828:Found
1715:works
1711:Some
987:Image
725:Notes
58:, or
2021:Hope
1800:Work
1390:site
1347:ISBN
1329:ISBN
1315:ISBN
927:2007
203:the
170:Life
128:and
2007:Eos
971:in
794:DNB
520:in
492:on
323:DNB
207:of
132:.
2214::
1366:,
1341:,
1309::
1134:^
1106:;
1054:,
947:^
935:^
916:.
892:.
872:^
860:.
831:.
820:^
785:^
681:.
627::
469:,
452:.
392:.
349:.
279:.
190:,
157:,
136:,
124:,
120:,
116:,
112:,
100:,
96:,
85:.
1417:e
1410:t
1403:v
1256:.
1146:'
929:.
619:.
254:4
250:3
47:.
20:)
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