939:
1018:
954:
971:
986:
1003:
1033:
909:
924:
541:
599:
453:
1078:
316:
1108:
1063:
394:
33:
129:
671:
not having the tact to lead them gently, he tried to drive them fiercely. He failed; abused patrons and patronage, and intermingled talk of the noblest independence with acts not always dignified. He was self-willed to perversity, but his perseverance was such as is seldom associated with so much vehemence and passion. To the last he believed in his own powers and in the ultimate triumph of art. He proclaimed himself the apostle and martyr of high art, and, not without some justice, believed himself to have a claim on the sympathy and support of the nation.
1093:
1773:
717:
169:; 26 January 1746 – 22 June 1846) was a British painter who specialised in grand historical pictures, although he also painted a few contemporary subjects and portraits. His commercial success was damaged by his often tactless dealings with patrons, and by the enormous scale on which he preferred to work. He was troubled by financial problems throughout his life, which led to several periods of imprisonment for debt. He died by suicide in 1846.
218:
1048:
1175:
1751:
1734:
561:, in order to impress on him the importance of government patronage of art, especially in relation to the opportunities offered by the rebuilding made necessary by the disaster. Although a scheme along the lines of his suggestions was in fact carried out at the Houses of Parliament, Haydon played no part in it. When, in 1843, an exhibition was held at
378:, his financial problems increased, and he was arrested but not imprisoned, the sheriff-officer taking his word for his appearance. In October, 1821, he increased his commitments when he married Mary Hyman, a widow with two young children, whom he had known for some years. In 1823 Haydon spent two months imprisoned for debt in the
302:, his next production, was sold for £700, to two Plymouth bankers, and also brought £100 voted to him by the directors of the British Institution, and the freedom of the borough of Plymouth. The income was not enough to pay off all his debts, but it maintained his credit, allowing him to continue borrowing.
843:
a new one-man play based on Haydon's life and diaries, written and performed by Robert Lloyd Parry, in the historic life-drawing classroom of the Royal
Academy Schools in London. The first performance took place on 22 June, the 161st anniversary of Haydon's suicide. It was specially written to tie in
702:
wrote in 1846 that "All his life had utterly mistaken his vocation. No amount of sympathy with him and sorrow for him in his manly pursuit of a wrong idea for so many years – until, by dint of his perseverance and courage it almost began to seem a right one – ought to prevent one from saying that he
1754:
676:
Every reader of his autobiography will be struck by the frequency and fervour of the short prayers interspersed throughout the work. Haydon had an overwhelming sense of a personal, overruling and merciful providence, which influenced his relations with his family, and to some extent with the world.
670:
To form a correct estimate of Haydon it is necessary to read his autobiography. This is one of the most natural books ever written, full of various and abundant power, and fascinating to the reader. His love for his art was both a passion and a principle. He found patrons difficult to manage, and,
281:
The financial difficulties which were to dog him for the rest of his life began in 1810 when, in response to Haydon having achieved a certain amount of commercial success, his father stopped paying him his annual allowance of £200. He also became involved in disputes with
Beaumont, for whom he had
938:
1017:
518:. Attempts to raise subscriptions to fund the painting failed, and only sketches were ever made, but Haydon did receive a commission from the new Whig prime minister, Lord Grey, for a picture of the Reform Banquet held at the Guildhall. Completed in 1834, the
410:
During 1825, following an agreement for his financial support with his lawyer, Thomas
Kearsey, Haydon turned, rather unwillingly, to portrait painting, and at first had considerable success. His works in the genre were, however, attacked in a savage review in
1002:
648:
In 1839 Haydon began work on an autobiography, drawing on materials from his extensive diaries. Before his death he had completed the story of his life up to the year 1820. It was published in three volumes in 1853, edited by
723:(1819). Satirical print aimed at Haydon (at the left in blue) and William Paulet Carey (represented by the goose behind him). Carey had criticised Haydon's charging for admission to an exhibition of eight chalk drawings.
639:
at St Mary's Church, Paddington, London. The cemetery was converted to a park, St Mary's
Gardens, in 1885. Haydon's is one of the few preserved stones. It is modest and eroded but his name is still (2014) just legible.
908:
269:, which, though it increased his fame, resulted in a lifelong quarrel with the Royal Academy, whose committee hung it in a small side-room instead of in the great hall. That same year, he took on his first pupil,
953:
614:
by shooting himself. The bullet failed to kill him, and he finished the task by cutting his throat. He left a widow and three surviving children, who were generously supported by Haydon's friends, including
421:. Haydon later blamed the article for his loss of clientele, and falling back into unmanageable levels of debt. Following a second period of incarceration at the King's Bench Prison in 1827, he painted the
970:
1032:
1516:
548:
Haydon became well known as a lecturer on painting, and from 1835 onwards travelled throughout
England and Scotland on lecture tours. He campaigned to have the country's public buildings decorated with
896:, at odds with all other Fellows, and in the context of borrowing a large sum of money from Turner, which rather than accepting graciously, is taken with bitterness, as he wishes the sum to be larger.
985:
703:
most unquestionably was a very bad painter, and that his pictures could not be expected to sell or to succeed." Dickens also observed Haydon's art to be "quite marvellous in its badness".
788:, has examined Haydon's activities as a design reformer, especially his argument that mechanics and artisans should learn to draw from the figure in order to learn principles of taste.
677:
His eager and combative character was partly his enemy, but he had other enemies actuated by motives as unworthy as his own were always high-pitched and on abstract grounds laudable.
1843:
1833:
923:
685:, published shortly after their delivery, showed that he was as bold a writer as painter. He also wrote the long and elaborate article on "Painting," in the 7th edition of the
1676:
1558:
1077:
189:, the only son of another Benjamin Robert Haydon, a prosperous printer, stationer and publisher, and his wife Mary, the daughter of the Rev. Benjamin Cobley, rector of
351:'s studio he saw a portrait of Napoleon, and began to develop a fascination with the defeated French leader, although, unlike some of his more radical friends such as
1190:
1107:
1478:
1062:
1195:
662:
426:
387:
1863:
1858:
1425:
620:
1047:
1813:
540:
1803:
1793:
1808:
575:– but the commission charged with choosing artists to carry out the work (which included his former pupil, Eastlake) found neither suitable.
1092:
598:
1788:
794:’s 1921 short story “The Tillotson Banquet” revolves around the rediscovery of a fictional pupil of Haydon and the character of Lypiatt in
1695:
1689:
879:. The play is set at a time when Keats was still an unknown, under the mentorship of Haydon. The premiere performance was 6 November 2008.
836:
filmed his rehearsals for the show. Rossiter had previously (1969) broadcast a monologue adapted by Eric Ewens from the artist's journals.
445:. His hopes that the king would buy this work were disappointed, a setback he blamed on the actions of the Keeper of the King's Pictures,
298:. Haydon was fascinated by the "Elgin Marbles", and believed that they provided evidence that ancient Greek artists had studied anatomy.
193:, Devon. At an early age he showed an aptitude for study, which was carefully fostered by his mother. At the age of six he was placed in
1848:
628:
452:
386:
in favour of the appointment of "a committee to inquire into the state of encouragement of historical painting", which was presented by
590:
was then appearing at the same venue; over the Easter week 12,000 people paid to see him, while only 133 visited Haydon's exhibition.
1743:
610:
overcome by debts of over £3,000, disappointment, and ingratitude, he wrote "Stretch me no longer on this rough world," and attempted
258:
1768:
1589:
529:
48:
1562:
437:, returning to the prison to make drawings of some of the inmates. A third painting of contemporary life showed the audience at a
315:
1818:
262:
430:
1798:
393:
32:
1537:
320:
383:
1482:
1646:
687:
515:
511:
206:
363:
128:
1716:
867:' first visit to see the Elgin Marbles, as the guest of Haydon, where they unexpectedly encounter the Greek gods
1757:., a painting engraved by S Sangster for Fisher's Drawing Room Scrap Book, 1837 with a poetical illustration by
1758:
1186:
1504:
1853:
1838:
571:
502:. (1843) As a supporter of parliamentary reform, he had the idea of painting a grand canvas of a meeting on
250:
194:
1617:
1354:
740:
379:
328:
254:
1379:
382:, where he received consoling letters from leading men of the day. While there, he drew up a petition to
241:
asked when he found time to eat. In 1807, at the age of 21, Haydon exhibited, for the first time, at the
1682:
893:
889:
819:
554:
332:
270:
348:
1764:
1621:
1613:
716:
606:
The artist's difficulties increased to such an extent that, whilst employed on his last grand effort,
1828:
1823:
832:
417:
287:
565:, to choose designs for paintings to decorate the Houses of Parliament, he submitted two cartoons –
1460:
852:
756:
520:
398:
844:
with "The Body
Politic," a display of Haydon's anatomical drawings at the Royal Academy of Art.
1585:
960:
883:
587:
507:
1739:
586:
in
Piccadilly, where he had hired a gallery several times over the years. The American dwarf
1662:
1452:
1180:
One or more of the preceding sentences incorporates text from a publication now in the
992:
815:
811:
744:
728:
562:
550:
217:
198:
143:
699:
624:
616:
446:
352:
202:
172:
He gave lectures on art, and kept extensive diaries that were published after his death.
1772:
233:
Full of energy and hope, he left home, on 14 May 1804, for London, where he entered the
209:
inspired him with a love for anatomy, and from childhood he wanted to become a painter.
1608:
Life of
Benjamin Robert Haydon, Historical Painter, from his Autobiography and Journals
736:
732:
655:
Life of
Benjamin Robert Haydon, Historical Painter, from his Autobiography and Journals
558:
503:
438:
290:, who had outraged Haydon by denying both the aesthetic and the financial value of the
226:
1456:
257:. This was a good start for Haydon, who shortly afterwards received a commission from
1782:
1656:
1402:
1181:
791:
636:
583:
412:
367:
291:
242:
234:
1678:
Blood, Bone and Genius: Benjamin Robert Haydon, historical painter, in his own words
1464:
860:
371:
347:, a painting he had particularly wanted to see, as "small & insignificant". At
238:
475:
190:
1750:
1667:
1603:
872:
864:
766:
650:
632:
442:
295:
97:
1703:
848:
796:
1426:"A Genius for Failure: The Life of Benjamin Robert Haydon by Paul O'Keeffe"
1505:
https://artintheblood.typepad.com/art_history_today/2015/10/antic-hay.html
1728:
1710:
469:
336:
186:
74:
1610:. (3 vols.) (2nd ed.). London: Longman, Brown, Green, and Longmans.
611:
553:
showing the glories of the nation's past, and within three days of the
283:
480:
Xenophon, on his
Retreat with the 'Ten Thousand,' first seeing the Sea
433:
for £500. Encouraged by this success, he painted a companion picture,
1650:
876:
868:
343:. Much of what he saw there disappointed him: he described Raphael's
340:
222:
1724:
1634:
The Autobiography and Journals of Benjamin Robert Haydon (1786-1846)
721:
St James' Street in an Uproar or the Quack Artist and his Assailants
1479:"Grand Designs: Labor, Empire, and the Museum in Victorian Culture"
524:
contained 597 individual portraits. He also made a painting of the
715:
597:
544:
Arthur Wellesley, 1st Duke of Wellington by Benjamin Robert Haydon
539:
451:
392:
314:
216:
78:
1026:(1837) which is on display at the Walker Art Gallery, Liverpool.
786:
Grand Designs: Labor, Empire, and the Museum in Victorian Culture
1690:
The Body Politic: Anatomical Drawings by Benjamin Robert Haydon
827:
826:. It is held to be one of Rossiter's greatest performances. A
653:, with additional material from the diaries, under the title
779:
To Haydon with a Sonnet Written on Seeing the Elgin Marbles
273:, later a leading figure in the British art establishment.
158:
152:
1424:
Truss, The Sunday Times Review by Lynne (9 August 2009).
1582:
A Genius for Failure: The Life of Benjamin Robert Haydon
635:, he was buried just to the north-west of the grave of
486:, purchased by the Marquis of Stafford (all 1831); and
253:
a year later for the Egyptian Room at his townhouse in
1056:, an example of Haydon's history painting (circa 1843)
1629:, with a memoir by his son, FW Haydon (2 vols., 1876)
1011:, (1833). Print based on Haydon's original paintings
225:'s horse, 1809. Black and white chalk on blue paper.
161:
582:
which was exhibited, along with other works, at the
327:
At the end of May 1814 Haydon took advantage of the
155:
602:
The grave of Haydon, St Mary's Cemetery, Paddington
149:
146:
121:
113:
105:
86:
56:
23:
1672:, Persona poems on Haydon by Robert Peters (1989)
1199:. Vol. 13 (11th ed.). pp. 111–112.
800:is thought by some to be based on Haydon himself.
769:named Haydon in several of his works, including
557:by fire in 1834 he visited the prime minister,
362:, which was later to form the nucleus of the
8:
1844:19th-century painters of historical subjects
1834:Prisoners and detainees of England and Wales
1740:Haydon, Benjamin Robert (1786-1846), painter
1627:B. R. Haydon's Correspondence and Table Talk
205:had received most of his education. Reading
1771:
859:, written by Janet Munsil and directed by
839:In 2007, Nunkie Theatre Company premiered
727:Haydon had several pupils. These included
335:, and see the art collections gathered by
31:
20:
1755:Eucles Announcing the Victory of Marathon
1168:
1166:
1164:
1162:
1160:
1158:
1156:
1039:The Anti-Slavery Society Convention, 1840
458:Meeting of the Birmingham Political Union
374:. While painting another large work, the
1713:held by Queen Mary, University of London
1584:. London: The Bodley Head. p. 177.
1443:Martin, Colin (2007). "Anatomical art".
1154:
1152:
1150:
1148:
1146:
1144:
1142:
1140:
1138:
1136:
830:camera crew from the documentary series
663:Encyclopædia Britannica Eleventh Edition
555:destruction of the Palace of Westminster
355:, Haydon never admired him politically.
1647:38 artworks by or after Benjamin Haydon
1481:. Duke University Press. Archived from
1132:
904:
892:. He is portrayed both ranting at the
660:The autobiography was assessed by the
1692:, at the Royal Academy of Arts (2007)
945:Alexander the Great Taming Bucephalus
358:On returning to England, he produced
265:. In 1809 he finished his picture of
237:Schools. He was so enthusiastic that
7:
526:Meeting of the Anti-Slavery Society,
463:Among Haydon's other pictures were:
329:cessation of hostilities with France
14:
1864:18th-century English male artists
1859:19th-century English male artists
1769:National Portrait Gallery, London
294:, recently brought to Britain by
49:National Portrait Gallery, London
1749:
1732:
1401:Benjamin Robert, Haydon (1838).
1173:
1106:
1091:
1076:
1061:
1046:
1031:
1016:
1001:
984:
969:
952:
937:
922:
907:
319:Portrait of Haydon by his pupil
142:
127:
1561:. Vancouver Sun. Archived from
1391:O'Keefe 2009, pp.479–80 and 509
784:Lara Kriegel, in her 2007 book
427:incident he had witnessed there
331:to visit Paris with his friend
1814:Suicides by firearm in England
1:
1804:19th-century English painters
1794:18th-century English painters
1538:"Search Results - BBC Genome"
1517:"Search Results - BBC Genome"
1457:10.1016/S0140-6736(07)61277-X
1403:"Painting, and the fine arts"
915:Christ's Entry into Jerusalem
608:Alfred and the Trial by Jury,
496:Curtius Leaping into the Gulf
360:Christ's Entry into Jerusalem
292:sculptures from the Parthenon
41:
1809:Artists from Plymouth, Devon
1765:Portraits of Benjamin Haydon
1717:April 4 1812: Haydon begins
1382:Caxton Steam Printing (1853)
1024:Blessing the Little Children
580:The Banishment of Aristides,
429:. The picture was bought by
364:American Gallery of Painting
321:Georgiana Margaretta Zornlin
1789:Artists who died by suicide
1731:(public domain audiobooks)
1711:Archives of Benjamin Haydon
1701:, a biography of Haydon at
1380:Paddington Past and Present
810:In 1977, the British actor
245:. The painting he entered,
191:Dodbrooke, near Kingsbridge
16:English painter (1786–1846)
1880:
1849:People imprisoned for debt
818:play, written by satirist
516:Birmingham Political Union
339:from across Europe at the
1636:(London: Macdonald, 1950)
1187:Rossetti, William Michael
530:National Portrait Gallery
492:Achilles playing the Lyre
366:, erected by his cousin,
126:
30:
1759:Letitia Elizabeth Landon
1725:Works by Benjamin Haydon
1669:Haydon, An Artist's Life
1405:. Adam and Charles Black
1355:"Benjamin Robert Haydon"
441:show in the New Road at
1819:Suicides in Westminster
1359:Encyclopædia Britannica
1196:Encyclopædia Britannica
1191:Haydon, Benjamin Robert
917:(between 1814 and 1820)
863:. The story centres on
841:Blood, Bone and Genius,
688:Encyclopædia Britannica
572:Edward the Black Prince
376:Resurrection of Lazarus
300:The Judgment of Solomon
261:and an introduction to
199:Plympton Grammar School
195:Plymouth Grammar School
1580:O'Keefe, Paul (2009).
1317:O'Keefe 2009, pp.348–9
1308:O'Keefe 2009, pp.312–7
1299:O'Keefe 2009, pp.280–3
1281:O'Keefe 2009, pp.240–1
1122:References and sources
1084:James Henry Leigh Hunt
888:, Haydon is played by
724:
603:
545:
460:
402:
324:
230:
138:Benjamin Robert Haydon
61:Benjamin Robert Haydon
25:Benjamin Robert Haydon
1799:English male painters
1683:Royal Academy of Arts
1632:Elwin, Malcolm (ed.)
894:Royal Academy, London
719:
601:
543:
484:Waiting for the Times
455:
396:
318:
282:painted a picture of
271:Charles Lock Eastlake
220:
1698:A Genius for Failure
1114:Mary Russell Mitford
415:'s weekly newspaper
288:Richard Payne Knight
1719:Judgment of Solomon
1658:The Immortal Haydon
1565:on 5 November 2012.
1344:O'Keefe 2009, p.490
1326:O'Keefe 2009, p.441
1290:O'Keefe 2009, p.245
1272:O'Keefe 2009, p.217
1263:O'Keefe 2009, p.147
1254:O'Keefe 2009, p.130
1245:O'Keefe 2009, p.128
1236:O'Keefe 2009, p.146
1227:O'Keefe 2009, p.124
977:Chairing the Member
824:The Immortal Haydon
814:played Haydon in a
771:Addressed to Haydon
759:addressed a sonnet
435:Chairing the Member
380:King's Bench Prison
263:Sir George Beaumont
247:The Repose in Egypt
197:, and at twelve in
185:Haydon was born in
1218:O'Keefe 2009, p.73
1209:O'Keefe 2009, p.91
1069:Napoleon Bonaparte
1009:The Reform Banquet
930:Venus and Anchises
853:Touchstone Theatre
757:William Wordsworth
725:
604:
546:
521:The Reform Banquet
461:
403:
399:William Wordsworth
325:
277:Financial troubles
231:
1744:National Archives
1661:, a 1977 play by
961:The Mock Election
882:In the 2014 film
621:the Count d'Orsay
588:General Tom Thumb
567:The Curse of Adam
551:history paintings
508:Jewellery Quarter
406:Further paintings
135:
134:
100:, London, England
1871:
1775:
1753:
1736:
1735:
1663:Leonard Rossiter
1611:
1595:
1567:
1566:
1555:
1549:
1548:
1546:
1544:
1534:
1528:
1527:
1525:
1523:
1513:
1507:
1501:
1495:
1494:
1492:
1490:
1475:
1469:
1468:
1440:
1434:
1433:
1430:The Sunday Times
1421:
1415:
1414:
1412:
1410:
1398:
1392:
1389:
1383:
1378:Robins, William
1376:
1370:
1369:
1367:
1365:
1351:
1345:
1342:
1336:
1333:
1327:
1324:
1318:
1315:
1309:
1306:
1300:
1297:
1291:
1288:
1282:
1279:
1273:
1270:
1264:
1261:
1255:
1252:
1246:
1243:
1237:
1234:
1228:
1225:
1219:
1216:
1210:
1207:
1201:
1200:
1179:
1177:
1176:
1170:
1110:
1095:
1080:
1065:
1050:
1035:
1020:
1005:
993:Punch or May Day
988:
973:
956:
941:
926:
911:
812:Leonard Rossiter
751:In written works
745:Edward Chatfield
695:Critical opinion
631:. A resident of
578:He then painted
563:Westminster Hall
514:, leader of the
306:Height of career
249:, was bought by
168:
167:
164:
163:
160:
157:
154:
151:
148:
131:
93:
70:
68:
46:
43:
35:
21:
1879:
1878:
1874:
1873:
1872:
1870:
1869:
1868:
1779:
1778:
1733:
1643:
1598:
1592:
1579:
1571:
1570:
1557:
1556:
1552:
1542:
1540:
1536:
1535:
1531:
1521:
1519:
1515:
1514:
1510:
1502:
1498:
1488:
1486:
1485:on 16 June 2011
1477:
1476:
1472:
1442:
1441:
1437:
1423:
1422:
1418:
1408:
1406:
1400:
1399:
1395:
1390:
1386:
1377:
1373:
1363:
1361:
1353:
1352:
1348:
1343:
1339:
1334:
1330:
1325:
1321:
1316:
1312:
1307:
1303:
1298:
1294:
1289:
1285:
1280:
1276:
1271:
1267:
1262:
1258:
1253:
1249:
1244:
1240:
1235:
1231:
1226:
1222:
1217:
1213:
1208:
1204:
1185:
1174:
1172:
1171:
1134:
1124:
1117:
1111:
1102:
1096:
1087:
1081:
1072:
1066:
1057:
1051:
1042:
1036:
1027:
1021:
1012:
1006:
997:
989:
980:
974:
965:
957:
948:
942:
933:
927:
918:
912:
903:
807:
753:
714:
709:
700:Charles Dickens
697:
646:
625:Thomas Talfourd
617:Sir Robert Peel
596:
538:
510:, addressed by
500:Uriel and Satan
447:William Seguier
425:inspired by an
408:
353:William Hazlitt
349:François Gérard
345:Transfiguration
313:
311:Early paintings
308:
279:
215:
203:Joshua Reynolds
183:
178:
145:
141:
101:
95:
91:
82:
72:
71:26 January 1786
66:
64:
63:
62:
52:
44:
26:
17:
12:
11:
5:
1877:
1875:
1867:
1866:
1861:
1856:
1854:1840s suicides
1851:
1846:
1841:
1839:Artist authors
1836:
1831:
1826:
1821:
1816:
1811:
1806:
1801:
1796:
1791:
1781:
1780:
1777:
1776:
1762:
1747:
1737:
1722:
1714:
1708:
1693:
1686:
1673:
1665:
1654:
1642:
1641:External links
1639:
1638:
1637:
1630:
1624:
1596:
1590:
1576:
1575:
1569:
1568:
1550:
1529:
1508:
1496:
1470:
1435:
1416:
1393:
1384:
1371:
1346:
1337:
1328:
1319:
1310:
1301:
1292:
1283:
1274:
1265:
1256:
1247:
1238:
1229:
1220:
1211:
1202:
1131:
1130:
1129:
1128:
1123:
1120:
1119:
1118:
1116:(date unknown)
1112:
1105:
1103:
1101:(date unknown)
1097:
1090:
1088:
1086:(date unknown)
1082:
1075:
1073:
1071:(date unknown)
1067:
1060:
1058:
1052:
1045:
1043:
1037:
1030:
1028:
1022:
1015:
1013:
1007:
1000:
998:
990:
983:
981:
975:
968:
966:
958:
951:
949:
943:
936:
934:
928:
921:
919:
913:
906:
902:
899:
898:
897:
880:
845:
837:
806:
803:
802:
801:
789:
782:
764:
761:To B.R. Haydon
752:
749:
737:William Bewick
733:Edwin Landseer
713:
710:
708:
705:
696:
693:
679:
678:
673:
672:
645:
642:
595:
592:
559:Lord Melbourne
537:
534:
512:Thomas Attwood
439:Punch and Judy
431:King George IV
407:
404:
312:
309:
307:
304:
278:
275:
255:Duchess Street
227:British Museum
214:
211:
182:
179:
177:
174:
133:
132:
124:
123:
119:
118:
115:
111:
110:
107:
103:
102:
96:
94:(aged 60)
88:
84:
83:
73:
60:
58:
54:
53:
36:
28:
27:
24:
15:
13:
10:
9:
6:
4:
3:
2:
1876:
1865:
1862:
1860:
1857:
1855:
1852:
1850:
1847:
1845:
1842:
1840:
1837:
1835:
1832:
1830:
1827:
1825:
1822:
1820:
1817:
1815:
1812:
1810:
1807:
1805:
1802:
1800:
1797:
1795:
1792:
1790:
1787:
1786:
1784:
1774:
1770:
1766:
1763:
1760:
1756:
1752:
1748:
1745:
1741:
1738:
1730:
1726:
1723:
1721:
1720:
1715:
1712:
1709:
1706:
1705:
1700:
1699:
1694:
1691:
1687:
1684:
1680:
1679:
1674:
1671:
1670:
1666:
1664:
1660:
1659:
1655:
1652:
1648:
1645:
1644:
1640:
1635:
1631:
1628:
1625:
1623:
1619:
1615:
1609:
1605:
1601:
1600:Haydon, B. R.
1597:
1593:
1591:9780224062473
1587:
1583:
1578:
1577:
1573:
1572:
1564:
1560:
1554:
1551:
1539:
1533:
1530:
1518:
1512:
1509:
1506:
1500:
1497:
1484:
1480:
1474:
1471:
1466:
1462:
1458:
1454:
1451:(9587): 558.
1450:
1446:
1439:
1436:
1431:
1427:
1420:
1417:
1404:
1397:
1394:
1388:
1385:
1381:
1375:
1372:
1360:
1356:
1350:
1347:
1341:
1338:
1335:O'Keefe 2009,
1332:
1329:
1323:
1320:
1314:
1311:
1305:
1302:
1296:
1293:
1287:
1284:
1278:
1275:
1269:
1266:
1260:
1257:
1251:
1248:
1242:
1239:
1233:
1230:
1224:
1221:
1215:
1212:
1206:
1203:
1198:
1197:
1192:
1188:
1183:
1182:public domain
1169:
1167:
1165:
1163:
1161:
1159:
1157:
1155:
1153:
1151:
1149:
1147:
1145:
1143:
1141:
1139:
1137:
1133:
1126:
1125:
1121:
1115:
1109:
1104:
1100:
1094:
1089:
1085:
1079:
1074:
1070:
1064:
1059:
1055:
1049:
1044:
1040:
1034:
1029:
1025:
1019:
1014:
1010:
1004:
999:
995:
994:
987:
982:
978:
972:
967:
963:
962:
955:
950:
946:
940:
935:
931:
925:
920:
916:
910:
905:
900:
895:
891:
890:Martin Savage
887:
886:
881:
878:
874:
870:
866:
862:
858:
854:
850:
846:
842:
838:
835:
834:
829:
825:
821:
817:
813:
809:
808:
804:
799:
798:
793:
792:Aldous Huxley
790:
787:
783:
780:
776:
772:
768:
765:
762:
758:
755:
754:
750:
748:
746:
742:
738:
734:
730:
722:
718:
711:
706:
704:
701:
694:
692:
690:
689:
684:
675:
674:
669:
668:
667:
666:in this way:
665:
664:
658:
656:
652:
643:
641:
638:
637:Sarah Siddons
634:
630:
629:Lord Carlisle
626:
622:
618:
613:
609:
600:
593:
591:
589:
585:
584:Egyptian Hall
581:
576:
574:
573:
568:
564:
560:
556:
552:
542:
535:
533:
531:
527:
523:
522:
517:
513:
509:
505:
501:
497:
493:
489:
485:
481:
477:
473:
471:
466:
459:
454:
450:
448:
444:
440:
436:
432:
428:
424:
423:Mock Election
420:
419:
414:
413:Theodore Hook
405:
400:
395:
391:
389:
388:Lord Brougham
385:
381:
377:
373:
369:
368:John Haviland
365:
361:
356:
354:
350:
346:
342:
338:
334:
330:
322:
317:
310:
305:
303:
301:
297:
293:
289:
285:
276:
274:
272:
268:
264:
260:
259:Lord Mulgrave
256:
252:
248:
244:
243:Royal Academy
240:
236:
235:Royal Academy
228:
224:
219:
213:Royal Academy
212:
210:
208:
204:
200:
196:
192:
188:
180:
175:
173:
170:
166:
139:
130:
125:
120:
116:
112:
108:
104:
99:
89:
85:
80:
76:
59:
55:
50:
39:
38:Self-portrait
34:
29:
22:
19:
1718:
1702:
1697:
1677:
1668:
1657:
1649: at the
1633:
1626:
1607:
1599:
1581:
1563:the original
1553:
1541:. Retrieved
1532:
1520:. Retrieved
1511:
1499:
1487:. Retrieved
1483:the original
1473:
1448:
1444:
1438:
1429:
1419:
1407:. Retrieved
1396:
1387:
1374:
1362:. Retrieved
1358:
1349:
1340:
1331:
1322:
1313:
1304:
1295:
1286:
1277:
1268:
1259:
1250:
1241:
1232:
1223:
1214:
1205:
1194:
1113:
1098:
1083:
1068:
1053:
1038:
1023:
1008:
991:
976:
959:
944:
929:
914:
884:
861:Katrina Dunn
856:
840:
831:
823:
795:
785:
778:
774:
770:
760:
741:John Jackson
726:
720:
698:
686:
682:
680:
661:
659:
654:
647:
607:
605:
579:
577:
570:
566:
547:
525:
519:
504:Newhall Hill
499:
495:
491:
487:
483:
479:
472:at St Helena
468:
464:
462:
457:
434:
422:
416:
409:
397:Portrait of
375:
372:Philadelphia
359:
357:
344:
333:David Wilkie
326:
299:
280:
266:
246:
239:Henry Fuseli
232:
201:, where Sir
184:
171:
137:
136:
92:(1846-06-22)
90:22 June 1846
37:
18:
1829:1846 deaths
1824:1786 births
1604:Taylor, Tom
1559:"Influence"
536:Later years
528:now in the
476:Robert Peel
456:Sketch for
286:, and with
251:Thomas Hope
176:Early years
45: 1845
1783:Categories
1696:Review of
1688:Review of
1489:16 January
1445:The Lancet
1127:References
1099:John Keats
885:Mr. Turner
873:Hephaestus
865:John Keats
855:premiered
820:John Wells
767:John Keats
651:Tom Taylor
633:Paddington
474:, for Sir
443:Marylebone
384:Parliament
296:Lord Elgin
106:Occupation
98:Paddington
67:1786-01-26
1704:The Times
1189:(1911). "
857:Influence
849:Vancouver
847:In 2008,
822:, titled
797:Antic Hay
775:To Haydon
681:Haydon's
506:near the
418:John Bull
229:, London.
181:Childhood
122:Signature
81:, England
1746:, London
1729:LibriVox
1685:, London
1675:Show of
1602:(1853).
1543:10 April
1522:10 April
1465:54342908
1409:6 August
816:West End
805:In drama
773:(1816),
763:in 1815.
683:Lectures
644:Writings
494:(1832).
488:Falstaff
470:Napoleon
467:(1829);
337:Napoleon
267:Dentatus
221:Head of
187:Plymouth
114:Children
75:Plymouth
1767:at the
1742:at the
1681:at the
1606:(ed.).
1574:Sources
1184::
1054:Curtius
901:Gallery
781:(1817).
729:Charles
612:suicide
284:Macbeth
207:Albinus
109:Painter
1707:(2009)
1651:Art UK
1622:Vol. 3
1618:Vol. 2
1614:Vol. 1
1612:
1588:
1463:
1364:5 July
1178:
1041:(1841)
996:(1829)
979:(1828)
964:(1827)
947:, 1826
932:(1826)
877:Apollo
875:, and
869:Athena
777:, and
712:Pupils
707:Legacy
498:, and
482:; and
465:Eucles
401:, 1842
341:Louvre
323:, 1825
223:Selene
1461:S2CID
833:Arena
594:Death
79:Devon
1653:site
1586:ISBN
1545:2016
1524:2016
1503:See
1491:2011
1411:2018
1366:2009
743:and
731:and
627:and
569:and
490:and
87:Died
57:Born
1727:at
1453:doi
1449:370
1193:".
851:'s
828:BBC
370:of
1785::
1620:•
1616:•
1459:.
1447:.
1428:.
1357:.
1135:^
871:,
747:.
739:,
735:,
691:.
657:.
623:,
619:,
532:.
478:;
449:.
390:.
153:eɪ
77:,
47:.
42:c.
40:,
1761:.
1594:.
1547:.
1526:.
1493:.
1467:.
1455::
1432:.
1413:.
1368:.
165:/
162:n
159:ə
156:d
150:h
147:ˈ
144:/
140:(
117:3
69:)
65:(
51:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
