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See also: English decorative painter, was See also: born at See also: York on the 4th of See also: September 1841
.
He was the youngest of the fourteen See also: children of the artist, See also: William
See also: Moore, of York who in the first See also: half of the I9th century enjoyed a considerable reputation in the See also: North of See also: England as a painter of portraits and landscape
.
In his childhood See also: Albert Moore showed
From Strasburger's Lelnbuch der Botanik, by permission of Gustav Fischer
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Botrychium Lunaria
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an extraordinary love of See also: art, and as he was encouraged in his tastes by his See also: father and See also: brothers, two of whom after-wards became famous as artists—John Collingham Moore, and See also: Henry Moore, R.A.—he was able to begin the active exercise of his profession at an unusually early age
.
His first exhibited
See also: works were two drawings which he sent to the Royal See also: Academy in 1857
.
A See also: year later he became a student in the Royal Academy See also: schools; but after working in them for a few months only he decided that he would be more profitably occupied in See also: independent practice
.
During the See also: period that extended from 1858 to 187o, though he produced and exhibited many pictures and drawings, he gave up much of his See also: time to decorative See also: work of various kinds, and painted, in 1863, a series of See also: wall decorations at Coombe Abbey, the seat of the See also: earl of Craven; in 1865 and 1866 some elaborate compositions: " The Last Supper " and " The Feeding of the Five Thousand " on the chancel walls of the See also: church of St
See also: Alban's, See also: Rochdale; and in 1868 " A See also: Greek See also: Play," an important panel in tempera for the See also: proscenium of the See also: Queen's Theatre in Long See also: Acre
.
His first large See also: canvas, " Elijah's Sacrifice," was completed during a stay of some five months in See also: Rome at the beginning of 1863, and appeared at the Academy in 1865
.
A still larger picture, " The Shunamite See also: relating the Glories of See also: King
See also: Solomon to her Maidens," was exhibited in 1866, and with it two smaller works, " Apricots " and " Pomegranates." In these Albert Moore asserted plainly the particular technical conviction which for the rest of his See also: life governed the whole of his practice, and with them he first took his place definitely among the most See also: original of See also: British painters
.
Of his subsequent works the most notable are "The Quartette " (1869), " See also: Sea Gulls " (1871), " Follow-my-See also: Leader " (1873), " Shells " (1874), " See also: Topaz " (1879), " See also: Rose Leaves " (1880), " Yellow Marguerites " (1881), " Blossoms " (1881), " Dreamers " (1882), " See also: Reading Aloud " (1884), " See also: Silver " (1886), " Midsummer " (1887), " A See also: River See also: Side " (1888), " A Summer See also: Night " (189o), " See also: Lightning and See also: Light " (1892), " An Idyll " (1893), and " The Loves of the Winds and the Seasons," a large picture which was finished only a few days before his See also: death
.
He died on the 25th of September 1893, at his studio in Spenser Street, See also: Westminster
.
Several of his pictures are now in public collections; among the chief are " Blossoms," in theSee also: National Gallery of British Art; " A Summer Night " in the Liverpool Corporation Gallery; " Dreamers " in the See also: Birmingham Corporation Gallery; and a See also: water-colour, " The Open See also: Book," in the See also: Victoria and Albert Museum, See also: South See also: Kensington
.
In all his pictures, save two or three produced in his later boyhood, he avoided any approach to See also: story-telling, and occupied himself exclusively with decorative arrangements of lines and colour masses
.
The spirit of his art is essentially classic, and his work shows plainly that he was deeply influenced by study of See also: antique sculpture; but he was not in any sense an archaeological painter, nor did he attempt reconstructions of the life of past centuries
.
Artistically he lived in a See also: world of his own creation, a place peopled with robust types of humanity of Greek See also: mould, and gay with bright-coloured draperies and brilliant-hued See also: flowers
.
As an executant he was careful and certain; he See also: drew finely, and his colour-sense was remarkable for its refinement and subtle appreciation
.
Few men have equalled him as a painter of draperies, and still fewer have approached his ability in the application of decorative principles to pictorial art
.
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