William Logsdail - Knowledge (XXG)

22: 261: 169: 252:(1898), Sickert arrived and set up his easel nearby. He then 'began to caper like a master of fence, backing and lunging with sudden stabs at his canvas'. An American passing by noticed a button on the pavement, retrieved it and, offering it to Sickert, said, 'Excuse me, sir, but I think this has worked loose!'. 275:

His Venice-based works exhibit a high degree of draughtsmanship described as beautiful and nearly photographic. There is a cool proficiency in his architectural work and street scenes that express what was actually there before him. For example, in the winter in which he came to paint his

295:, in its review of the Royal Academy's 1881 exhibition, called Logsdail's work technically almost faultless, resembling a first-rate mosaic, rather than possessing those qualities understood by artists as painting and lacking 'delicacy of gradation'. 131:, painted in 1883, was judged by the Royal Academy to be the 'picture of the year' when it was exhibited in London although he appears to have been dissatisfied by it, and seriously considered cutting the painting up during its composition. 153:(1906) (a costume portrait of his daughter Mary) was well received. This marked the beginning of a period of portrait painting for Logsdail, who was offered so many commissions that he was able to pick and choose his sitter at will. 126:

where he was to remain, with occasional visits to England, the Balkans, Egypt and the Middle East, until 1900. During this early period in his career, he gravitated towards architectural and subject paintings. His

94:, (who was also Head of the School) he took to painting. While there, he won the Gold Medal for his work in competition with students at other English art schools. He went on to study in 388: 914: 272:

Logsdail cultivated a tight objective and realistic style, although his later portraiture and the works painted while in Sicily demonstrate a relaxation of this style.

282:(1888), he hoped for a snow scene, but when faced with only rain and sleet, Logsdail, with his feet buried in straw to keep them warm, painted the scene without snow. 21: 74:, May 1859. He was one of seven children, six boys and one girl. His father was a verger at the cathedral. As a boy, William attended Lincoln School (now 929: 924: 214:

saw his painting of Lincoln Cathedral's south porch and expressed a favourable opinion of the work, later writing to him and suggesting that he go to

336:, in its review of the Royal Academy's 1897 exhibition, highlighted the 'sincerity' and 'judicious combination' of colour hues demonstrated in his 909: 894: 260: 919: 354:

St. Martin-in-the-Fields achieved $ 214,200 in the sale of The Ann & Gordon Getty Collection at Christie's in New York in October 2022.

899: 168: 75: 278: 265: 157: 149:

After spending two years at Taormina in Sicily, he and his family returned to England, settling in West Kensington, London, where his

176:

In 1892, Logsdail met May Ashman of Necton, near Swaffham in Norfolk, marrying her in the same year. He had three children with her

360:

His portrait of his daughter "An Early Victorian" which launched his career as a portraitist made £30,000 at Christie's in 2011.

37: 143: 904: 357:

Bank and the Royal Exchange was offered with an estimate of £600,000 - £800,000 at Sotheby's in July 2010 but was unsold.

709: 348:

The record auction price is for a picture of The Bank and the Royal Exchange which made £420,000 at Duke's auctions.

328:

pointed out its success in its accurate portrayal of the 'vigour, variety, humour, and incident of a London crowd'.

32:(25 May 1859 – 3 September 1944) was a prolific English landscape, portrait, and genre painter. He exhibited at the 102:. While there, he became the first Englishman to win first prize at the School. One of his works from this period, 244:

While not inclined to openly criticise other artists, Logsdail did, in his memoirs, relate a story concerning

827: 296: 187:, where Logsdail remained until his death at the age 85. A plaque on the house commemorates his time there. 846: 234: 87: 324: 222: 90:, where he initially showed an aptitude for architecture, but with the encouragement of his art master, 617:

Sanders, John. 'Visualising Lincoln, The Work of Peter de Wint', pp. 58-71, in, Walker, Andrew, (ed.).

855: 889: 884: 226: 45: 865:

Blue plaque to William Logsdail on the Manor House, Noke, on Oxfordshire Blue Plaques Scheme website

238: 139: 318:, painted while in Egypt, were admirable and suited his talents as a colourist. Commenting on his 184: 180: 63: 41: 332: 135: 91: 67: 245: 230: 114:., When told of this, Logsdail supposedly commented, 'Shows her Majesty's good sense'. 107: 99: 864: 878: 204: 200: 196: 111: 33: 221:

While in Venice, Logsdail moved in a social circle that included Harper Pennington,

78:), and also earned money by guiding visitors up the central tower of the cathedral. 420:

Portrait of Stanley George Lutwyche, Master of the Leathersellers' Company 1906-07

138:

on the subject of the French and Italian Riviera. Seven of these were sold to the

211: 303:

as possessing a 'vivacity of characterisation' and a 'brilliancy of painting'.

48:, and others. He is notable for his realistic London and Venice scenes and his 351:

The Gates of Khalifa, Cairo realised £200,000 at Sotheby's in October 2019.

291: 218:

once his studies had reached a conclusion, advice the young artist ignored.

50: 837: 790: 763: 736: 25:

The Ninth of November 1888 by William Logsdail, Guildhall Gallery, London

299:, in their review of the Royal Academy's 1883 exhibition described his 95: 71: 199:, who also attended Lincoln School of Art and went on to co-found the 869: 831: 443:

Dictionary of British Art, Volume IV: Victorian Painters: I. The Text

215: 123: 870:

Historical plaques about William Logsdail, on Open Plaques website

632: