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Wilkie prepared a sketch, but it was not viewed by the Duke until March 1819, when he asked for some changes to add more and younger soldiers. The work was not completed until 1822. After its successful first exhibition, Wilkie asked the Duke for an exceptionally large fee of 1,200
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in 1822, where it was so popular that a rail was installed to protect it from the thronging crowds. This was the first time that a rail was needed at the Royal
Academy exhibition. The painting was retained by the Duke of Wellington and his descendants, and it is displayed at
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141:, which published the Waterloo Dispatch sent by the Duke of Wellington immediately after the Battle of Waterloo on 18 June 1815. The dispatch, dated 19 June 1815, was reprinted in several editions of the
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The painting measures 158 × 97 centimetres (62 × 38 in). It shows old soldiers gathered around a wooden table outside the "Duke of York" public house, in Jew's Row off the
322:. It became so popular that a rail was installed to protect it from the crowds, the first time that this precaution had been needed at a Royal Academy exhibition (the next occasion was for
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in August 1816, the year after the Battle of
Waterloo. Wellington commissioned Wilkie, who intended to complete the work within two years. Willkie specialised in
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98:. The painting took the relatively novel approach of showing history in a contemporary setting, without adding references to ancient history or the Bible.
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The painting includes many portraits of characters identified in notes prepared by Wilkie, and include, from left to right:
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Wilkie received his commission of 1,200 guineas from
Wellington, and he was paid a further 1,200 guineas by the publishers
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Chelsea
Pensioners Receiving the London Gazette Extraordinary of Thursday, June 22, 1815, Announcing the Battle of Waterloo
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Wilkie's preparatory drawings show the evolution of the group. There are also several oil sketches, including one at the
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when he viewed the unfinished work in Wilkie's studio in the spring of 1821, and on its second showing at the
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256:(the Blues) with his wife and son and the dog Old Duke which accompanied the regiment through Spain.
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A seated veteran eating an oyster (despite the consumption of oysters in June being prohibited by
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The life of Sir David Wilkie with his journals, tours and critical remarks on works of Art
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in 1822, hanging over the fireplace beside a portrait of the Duke of
Wellington by Sir
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A soldier's wife, pregnant and ashen-faced, waiting for news of her husband's fate.
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The
Newspaper as Nationalist Icon, or How to Paint ‘Imagined Communities’
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The painting's focus on ordinary people made a significant impression on
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who has brought the
Gazette, wearing a blue uniform with red pillbox hat.
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Chelsea
Pensioners receiving the announcement of the Battle of Waterloo
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Wellington and
Waterloo: The Duke, The Battle and Posterity, 1815-2015
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in 1829. The publisher also commissioned a watercolour copy, sold at
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for the right to reproduce the painting as a print, engraved by
94:, but in this work he attempted to combine genre painting with
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Catalogue of
Paintings in the Wellington Museum, Apsley House
43:, 158 × 97 centimetres (62 × 38 in).
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The painting was given a prominent, central position at the
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The Chelsea Pensioners reading the Waterloo Dispatch
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The Chelsea Pensioners reading the Waterloo Dispatch
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The Chelsea Pensioners reading the Waterloo Dispatch
219:An old soldier who fought under Wellington at the
241:, talking to an elderly veteran, who served with
267:In the background, a Highlander is playing the
154:An artilleryman who has laid down his knapsack.
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191:in 1759, standing and reading the Gazette.
134:is visible in the background to the left.
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64:Arthur Wellesley, 1st Duke of Wellington
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86:Wellington was introduced to Wilkie by
464:Paintings in the Wellington Collection
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172:(the Black Watch) who fought at the
386:, English Heritage, p. 325-329
183:A Chelsea pensioner who was at the
137:One of the soldiers is reading the
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212:) who witnessed the execution of
88:Thomas Graham, 1st Baron Lynedoch
27:1822 painting by Sir David Wilkie
489:Cultural depictions of soldiers
312:Royal Academy summer exhibition
118:The characters in the painting.
71:Royal Academy summer exhibition
459:Waterloo campaign in paintings
420:, Allan Cunningham, p. 77
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395:, Yale Centre for British Art
283:An oil sketch version at the
347:in London on 14 April 1994.
263:leaning out from the window.
234:A veteran with a wooden leg.
352:Yale Center for British Art
285:Yale Center for British Art
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204:A black bandsman from the
176:in 1811, and one from the
110:Description and characters
479:Paintings of black people
454:Paintings by David Wilkie
380:, R E Foster, p. 136
157:A mounted orderly of the
305:Richard Parkes Bonington
247:Great Siege of Gibraltar
69:It was exhibited at the
58:, is an oil painting by
231:in the 1750s and 1760s.
223:in 1803, and under the
299:. It was also seen by
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132:Royal Hospital Chelsea
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52:, originally entitled
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426:, Brian Winkenweder,
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237:An Irishman from the
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324:William Powell Frith
252:A corporal from the
178:King's German Legion
411:, 26 September 2002
401:, National Archives
259:A soldier from the
208:(once a servant of
164:A soldier from the
449:Scottish paintings
293:Théodore Géricault
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254:Royal Horse Guards
168:, a sergeant from
159:7th Light Dragoons
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62:, commissioned by
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430:, Volume 14, 2008
364:Chelsea Pensioner
297:Royal Institution
225:Marquis of Granby
199:Act of Parliament
174:Battle of Barrosa
147:on 22 June 1815.
16:(Redirected from
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399:News of Waterloo
301:Eugène Delacroix
229:Seven Years' War
221:Battle of Assaye
185:Battle of Quebec
139:Waterloo Gazette
96:history painting
66:in August 1816.
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320:Thomas Lawrence
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405:The home front
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316:Somerset House
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243:General Eliott
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210:General Moreau
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144:London Gazette
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92:genre painting
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76:Apsley House
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60:David Wilkie
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39:'s painting
37:David Wilkie
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469:Dogs in art
390:Sketch for
341:John Burnet
261:Foot Guards
166:Life Guards
124:King's Road
438:Categories
418:, Volume 2
370:References
354:, c.1819.
332:in 1858).
82:Background
345:Sotheby's
275:Reception
214:Louis XVI
170:42nd Foot
358:See also
269:bagpipes
216:in 1793.
245:in the
227:in the
130:. The
128:Chelsea
104:guineas
428:Limina
187:with
303:and
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314:at
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