See also:

• RECENT

RECENT See also:

• SCHOOLS

SCHOOLS OF  See also:

• PAINTING

PAINTING See also:

• BRITISH

British . At the beginning of the last See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century British See also:

• ART

art was held to be in a vigorous and authoritative position . During the years immediately preceding it had been developing with regularity and had displayed a vitality which seemed to be full of promise . It was supported by a large See also:

• ARRAY (from the O. Fr. areyer, Med. Lat. arredare, to get ready)

array of capable workers; it had gained the widest recognition from the public; and it was curiously See also:

• FREE

free from those See also:

• INTERNAL

internal conflicts which diminish the strength of an See also:

• APPEAL

appeal for popular appreciation . There were then few See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp divergences or subdivisions of an important See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . The leadership of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy was generally conceded, and its relations with the See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of outside artists were little wanting in cordiality . One of the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief reasons for this understanding was that at this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time an almost unprecedented approval was enjoyed by nearly all classes of painters . Picture-See also:

• COLLECTING

collecting had become a See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion, and even the youngest workers received encouragement directly they gave See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of a reasonable See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of capacity . The demand was equal to the See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply; and though the number of men who were adopting the See also:

• ARTISTIC

artistic profession was rapidly increasing, there seemed little danger of over-See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production . Pictorial art had established upon all sorts of See also:

• PEOPLE

people a hold too strong, as it seemed, to be affected by See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of fashion . All pointed in the direction of a permanent prosperity . Subsequent events provided a curious commentary on the anticipations which were reasonable enough in 1875 .

That See also:

• YEAR

year is now seen to have beep, not the beginning of an era of unexampled success for British pictorial art, but rather the culminating point of preceding activity . During the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period which has succeeded we have witnessed a rapid decline in thepopular See also:

• INTEREST

interest in picture-painting and a marked alteration in the conditions under which artists have had to See also:

• WORK

work . In the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of the former sympathy between the public and the producers, there See also:

• GREW, NEHEMIAH (1641-1712)

grew up something which almost approached indifference to their best and sincerest efforts . Simultaneously there See also:

• DEVELOPED

developed a See also:

• GREAT

great amount of internal dissension and of antagonism between different sections of the art community . As an effect of these two causes, a new set of circumstances came into existence, and the aspect of the British school under-went a See also:

• RADICAL (Lat. radix, a root)

radical change . Many art workers found other ways of using their. energies . The slackening of the popular demand inclined them to experiment, and to test forms of practice which formerly were not accorded serious See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention, and it led to the formation of detached hostile See also:

• GROUPS
• GROUPS, THEORY

groups of artists always ready to contend over details of technical See also:

• PROCEDURE (Fr. procedure, from Lat. procedere, to go for-ward)

procedure . Restlessness became the dominant characteristic of the British school, along with some intolerance of the popular lack of sympathy . The first sign of the coming change appeared very soon after 1875 . The right of the Royal Academy to define and See also:

• DIRECT

direct the policy of the British school was disputed in 1877, when the Grosvenor See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery was started " with the Grosvenor intention of giving See also:

• SPECIAL

special advantages of See also:

• EXHIBITION

exhibition Gauery to artists of established reputation, some of whom Academy. have previously been imperfectly known to the public." This exhibition gallery was designed not so much as a See also:

• RIVAL

rival to the Academy, as to provide a place where could be collected the See also:

• WORKS

works of those men who did not care to make their appeal to the public through the See also:

• MEDIUM

medium of a large and heterogeneous exhibition . As a rallying place for the few unusual painters, See also:

• STANDING

standing apart from their See also:

• FELLOWS, SIR CHARLES (1799-1860)

fellows in conviction and method, it had See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• REASON (Lat. ratio, through French raison)

reason for existence; and that it was not regarded at See also:

• BURLINGTON

Burlington See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House as a rival was proved by the fact that among the contributors to the first exhibition were included See also:

• SIR

Sir See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis See also:

• GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
• GRANT, ANNE (1755-1838)
• GRANT, CHARLES (1746-1823)
• GRANT, GEORGE MONRO (1835–1902)
• GRANT, JAMES (1822–1887)
• GRANT, JAMES AUGUSTUS (1827–1892)
• GRANT, ROBERT (1814-1892)
• GRANT, SIR ALEXANDER
• GRANT, SIR FRANCIS (1803-1878)
• GRANT, SIR JAMES HOPE (1808–1895)
• GRANT, SIR PATRICK (1804-1895)
• GRANT, U
• GRANT, ULYSSES SIMPSON (1822-1885)

Grant, the See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

President of the Royal Academy, and such artists as See also:

• LEIGHTON, FREDERICK LEIGHTON, BARON (183o–1896)
• LEIGHTON, ROBERT (161x—1684)

Leighton, See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais, G . F .

See also:

• WATTS, ALARIC ALEXANDER (1797-1864)
• WATTS, GEORGE FREDERICK (1817-1904)
• WATTS, ISAAC (1674-1748)

Watts, See also:

• ALMA

Alma-Tadema, G . D . See also:

• LESLIE
• LESLIE, CHARLES (1650-1722)
• LESLIE, CHARLES ROBERT (1794–1859)
• LESLIE, FRED [FREDERICK HOBSON] (1855–1892)
• LESLIE, SIR JOHN (1766-1832)
• LESLIE, THOMAS EDWARD CLIFFE (1827-1882)

Leslie and E . J . See also:

• POYNTER, SIR EDWARD JOHN, BART

Poynter, who were at the time Academicians or Associates . With them, however, appeared such men as Burne-See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones, See also:

• HOLMAN, JAMES (1786–1857)

Holman See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt, See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• CRANE (in Dutch, Kraan; O. Ger. Kraen; cognate, as also the Lat. grus, and consequently the Fr. grue and Span. grulla, with the Gr. dpavos)
• CRANE, STEPHEN (1870-1900)
• CRANE, WALTER (1845– )
• CRANE, WILLIAM HENRY (1845– )

Crane, W . B . See also:

• RICHMOND
• RICHMOND, EARLS AND DUKES OF
• RICHMOND, LEGH (1772-1827)
• RICHMOND, SIR WILLIAM BLAKE (1842– )

Richmond and J . McN . See also:

• WHISTLER, JAMES ABBOTT

Whistler, who had not heretofore obtained the publicity to which they were entitled by the exceptional quality and intention of their work . There was doubtless some See also:

• SUGGESTION

suggestion that the Academy was not keeping See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch with the more important art movements, for shortly after the opening of the Grosvenor Gallery there began that attack upon the See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official art leaders which has been one of the most noteworthy incidents in See also:

• RECENT

recent art See also:

• HISTORY

history in Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain . The initial See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of this conflict ended about 1886, when the vehemence of the attack had been weakened, partly by the withdrawal of some of the more prominent " outsiders," who had meanwhile been elected into the Academy, and partly by the formation of smaller See also:

• SOCIETIES, LEARNED

societies, which afforded the more " advanced " of the younger men the opportt'tnities which they desired for the exposition of their views .

In a modified See also:

• FORM (Lat. forma)

form, however, the antagonism between the Academy and the outsiders has continued . The various protesting art association continues to work in most matters independently of one another, with the See also:

• COMMON

common belief that the dominant See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Burlington House is not exercised entirely as it should be for the promotion of the best interests of British art, and that it maintains tradition as against the development of See also:

• INDIVIDUALISM (from Lat. individualis, that which is not divided, an individual)

individualism and a " new See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style." The agitation in all branches of art effort was not entirely without result even inside Burlington House . Some of the older See also:

• ACADEMIC

academic views were modified, and changes seriously discussed, which formerly would have been rejected as opposed to all the traditions of the society . Its calmness under attack, and its ostentatious disregard of the demands made upon it by the younger and more strenuous outsiders, have veiled a great See also:

• DEAL

deal of shrewd observation of passing events . It may be said that the Academy has known when to break up an organization in which it recognized a possible source of danger, by selecting the ablest leaders of the opposition to fill vacancies in its own ranks; it has given places on its walls to the works of those reformers who were not unwilling to be represented in the See also:

• ANNUAL

annual exhibitions; and it has, without seeming to yield to clamour, responded perceptibly to the pressure of professional See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion . In so doing, though it has not checked the progress of the changing fashion by which the popular liking for pictorial art has been diverted into other channels, it has kept its hold upon the public, and has not to any appreciable extent weakened its position of authority . It is doubtful whether a more definite participation by the Academy in the controversies of the period would have been of Changed any use as a means of prolonging the former good Conditions relations between artists and the collectors of works of British of art . The change is the result of something more Arr. than the failure of one art society to fulfil its entire See also:

• MISSION

mission . The steady falling off in the demand for See also:

• MODERN

modern pictures has been due to a See also:

• COMBINATION (Lat. combinare, to combine)

combination of causes which have been powerful enough to alter nearly all the conditions under which British painters have to work . For example, the older collectors, who had for some years anterior to 1875 bought up eagerly most of the more important canvases which came within their reach, could find no more See also:

• ROOM

room in their galleries for further additions; again, artists, with the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of profiting to the utmost by the keenness of the competition among the buyers, had forced up their prices to the highest limits . But the most active of all causes was that the younger See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation of collectors did not show the same inclination that had swayed their predecessors to limit their attention to modern pictorial art . They turned more and more from pictures to other forms of artistic effort .

They built themselves houses in which the possibility of See also:

• HANGING

hanging large canvases was not contemplated, and they began to See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call upon the craftsman and the decorator to supply them with what was necessary for the adornment of their homes . At first this modification in the popular See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste was scarcely perceptible, but with every successive year it became more marked in its effect . Latterly more See also:

• MONEY

money has been spent by one class of collectors upon pictures than was available even in the best of the times which have passed away; but this lavish See also:

• EXPENDITURE

expenditure has been devoted not to the acquisition of works by modern men, but to the See also:

• PURCHASE

purchase of examples of the old masters . Herein may often be recognized the wish to become possessed of See also:

• OBJECTS

objects which have a fictitious value in consequence of their rarity, or which are " See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound investments." Evidence of the existence of this spirit among collectors is seen in the prevailing eagerness to acquire works which inadequately represent some famous See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, or are even ascribed to him on grounds not always credible . The productions of See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor men, such as See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• MORLAND, GEORGE (1763-1804)

Morland, who had never been ranked among the masters, have received an amount of attention quite out of proportion to what merits they possess, if only they can be proved to be scarce examples, or historically notorious . All this implies in the creed of the art See also:

• PATRON

patron a change which has necessarily reacted on living painters and on the conditions of their art production . These, then, are the conclusions to which we are led by a comparison of the movements which affected the British school See also:

• PORTRAITURE

Portraiture. between 1875 and the beginning of the loth century . To a wide appreciation of all types of pictorial art succeeded a grudging and careless estimate of the value of the bulk of artistic endeavour . Only a few branches of production are still encouraged by anything approaching an efficient demand . Portraiture is the mainstay of the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of the figure painters; it has never lost its popularity, and may be said to have maintained satisfactorily its hold upon all classes of society, for the See also:

• DESIRE

desire to possess See also:

• PERSONAL

personal records is very general and is See also:

• INDEPENDENT

independent of any art fashion . It has persisted through all the changes of view which have been increasingly active in recent years . Episodical art, illustrating sentimental Episodical motives or incidents with some touch of dramatic Art. See also:

• ACTION

action, has remained popular, because it has some degree of See also:

• LITERARY

literary interest; but imaginative works and pictures which have been produced chiefly as expressions of anoriginal regard for nature, or of some unusual conviction as to technical details, have found comparatively few admirers .

The designers, however, and the workers in the decorative arts have found opportunities which formerly were denied to them . They have had more See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope for the display Art rat1'e of their ingenuity and more inducement to exercise their See also:

• POWERS, HIRAM (1805-1873)

powers of invention . A vigorous and influential school of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design developed which promised to evolve work of originality and excellence . British designers gained a See also:

• HEARING (formed from the verb " to hear," O. Eng. hyran, heron, &c., a common Teutonic verb; cf. Ger. Koren, Dutch hooren, &c.; the O. Tent. form is seen in Goth. hausjan; the initial h makes any connexion with " ear," Lat. audire, or Gr. &Kobew very doub

hearing abroad, and earned emphatic approval in countries where a sound decorative tradition had been maintained for centuries . The one dominant influence, that of the Pre-Raphaelite Brotherhood, which in the 'fifties was altering the whole complexion of British art, had begun to wane See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early in Wane of the 'seventies, and it was rapidly being replaced Pre-by another scarcely less distinctive . The younger Rj m and generation of artists had wearied, even before 1875, Rise of of the pre-Raphaelite precision, and were impatient See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French of the restrictions imposed upon their freedom of Influence. technical expression by a method of practice which required laborious application and unquestioning obedience to a rather formal See also:

• CODE (Lat. codex)

code of regulations . They yearned for greater freedom and boldness, and for a better See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance of asserting their individual capacities . So they gave way to a strong reaction against the creed of their immediate predecessors, and cut themselves deliberately adrift . With the craving of See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young artists for new forms of technique came also the idea that the " old-master traditions " were opposed to the exact See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation of nature, and were based too much upon See also:

• CONVENTION (Lat. conventio, an assembly or agreement, from convenire, to come together)
• CONVENTION, THE NATIONAL

convention to be adapted for the needs of men who believed that See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism was the one thing See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth aiming at in picture-production . So See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris instead of See also:

• ROME
• ROME (Roma)

Rome became the educational centre . There was to British students, dissatisfied with the See also:

• HALF

half-hearted and imperfect systems of teaching with which they were tantalized at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, a peculiarly exhilarating See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere in the French studios—an amount of See also:

• ENTHUSIASM

enthusiasm and a love of art for its own See also:

• SAKE

sake without parallel elsewhere . They saw in. operation principles which led by the right sequence of stages to sure and certaifi results .

In these circumstances they allowed their sympathies with French methods to become rather exaggerated, and were somewhat reckless in their See also:

• ADOPTION (Lat. adoptio, for adoptalio, from adoptare, to choose for oneself)

adoption of both the good and See also:

• BAD, BCD

bad qualities of so attractive a school . At first the results of this breaking away from all the older educational customs were not wholly satisfactory . British students came back from See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France better craftsmen, stronger and sounder draughtsmen, more skilful manipulators, and with an infinitely more correct appreciation of refinements of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone-management than they had ever possessed before; but they brought back also a disproportionate amount of French manner-ism and a number of affectations which sat awkwardly upon them . In the first flush of their See also:

• CONVERSION (Lat. conversio, from convertere, to turn or ,change)

conversion they went further than was See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise or necessary, for they changed their motives as well as their methods . The quietness of subject and reserve of manner which had been hitherto eminently characteristic of the British school were abandoned for See also:

• FOREIGN

foreign See also:

• SENSATIONALISM

sensationalism and exaggeration of effect . An affectation of extreme vivacity, a liking for theatrical suggestion, even an inclination towards coarse presentation of unpleasant incidents from modern See also:

• LIFE

life —all of which could be found in the paintings of the French artists who were then recognized as leaders—must be noted as importations from the Paris studios . They were the source of a distinct degeneration in the artistic taste, and they introduced into British pictorial practice certain unnatural tendencies . Scarcely less evident was the depreciation in the instinctive See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour-sense of British painters, which was brought about by the adoption of the French See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit of regarding strict accuracy of tone-relation as the one important thing to aim at . Before this there had been a preference for See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich and sumptuous harmonies and for See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic effects which were rather compromises with, than exact renderings of, nature; but, as the foreign influence grew more active, these pleasant adaptations, inspired - BRITISH] by a sensuous love of colour for its own sake, were abandoned for more scientific statements . The colder and cruder tone-studies of the modern Frenchman became the See also:

• MODELS

models upon which the younger artists based themselves, and the See also:

• STANDARDS

standards against which they measured their own success . " Actuality " was gained, but much of the See also:

• POETRY

poetry, the delicacy, and the subtle See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm which had distinguished British colourists were lost . For some while there was a danger that the art of Great Britain might become hybrid, with the French See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain predomi-Danger of nating .

So many students had succumbed to the the French See also:

• FASCINATION (from Lat. fascinare, to bewitch, probably connected with the Or. f3ao-Kaiveev, to speak ill of, to bewitch)

fascination of a See also:

• SYSTEM

system of training which seemed to Influence, supply them with a perfect equipment on all points, that they were inclined to despise not only the educational methods of their own See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, but also the inherent characteristics of British taste . The result was that the exhibitions were full of pictures which presented See also:

• ENGLISH

English people and English landscape in a purely arbitrary and artificial manner, strictly in accordance with a French convention which was out of sympathy with British instincts, and indeed, with British facts . Ultimately a discreet See also:

• MIDDLE

middle course was found between the extreme application of the See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science of the French art See also:

• SCHOOLS

schools and the See also:

• COMPARATIVE

comparative irresponsibility in technical matters which had so See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long existed in the British Isles . In the careers of men like See also:

• STANHOPE, EARLS
• STANHOPE, LADY HESTER LUCY (1776-1839)

Stanhope See also:

• FORBES
• FORBES, ALEXANDER PENROSE (1817-1875)
• FORBES, ARCHIBALD (1838-1900)
• FORBES, DAVID (1828--1876)
• FORBES, DUNCAN
• FORBES, EDWARD (1815—1854)
• FORBES, JAMES DAVID (1809—1868)
• FORBES, SIR JOHN (1787—1861)

Forbes, H . S . See also:

• TUKE

Tuke, See also:

• FRANK, JAKOB (1726-1791)

Frank Bramley, and other prominent members of the school, many illustrations are provided of the way in which this readjustment has been effected . Their pictures, if taken in a sufficiently long sequence, summarize instructively the course of the See also:

• MOVEMENT

movement which became active about 1875 . They prove how valuable the interposition of France has been in the See also:

• MATTER

matter of artistic See also:

• EDUCATION

education, and how much Englishmen have improved in their understanding of the technique of painting . One noteworthy outcome of the See also:

• TRIUMPH (triumphus)

triumph of common sense over fanaticism must be mentioned . Now that the exact weakening relation which French teaching should See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear to British of the thought has been adjusted, an inclination to revive French the more typical of the forms of pictorial expression Influence. which have had their See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue in the past is becoming increasingly evident . Picturesque domesticity is taking the place of theatrical sensation, the desire to select and represent what is more than ordinarily beautiful is ousting the former preference for what was brutal and ugly, the effort to please is once again stronger than the intention t4 surprise or See also:

• SHOCK, or COLLAPSE

shock the art See also:

• LOVER, SAMUEL (1797-1868)

lover . Even the Pre-Raphaelite theories and practices are being reconstructed, and quite a considerable See also:

• GROUP

group of young artists has sprung up who are avowed believers in the ?rmciples which were advocated so strenuously in 185o .

To French intervention can be ascribed the rise and progress of several movements which have had results of more than Groups See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary moment . There was a few years ago much within the banding together of men who believed strongly in British the importance of asserting plainly their belief in School . 499 See also:

• FUNCTION

function of the painter . Necessarily, in such a gathering there were several notable personalities who may fairly be reckoned among the best of English modern masters . Perhaps the most conspicuous of the groups was the gathering of painters who established themselves in the Cornish See also:

• VILLAGE

village of See also:

• NEWLYN

Newlyn (q.v.) . This group—" The Newlyn School," as The Newlyn it was called—was afterwards much modified, and School . many of its most cherished beliefs were considerably altered . In its beginning it was essentially French in atmosphere, and advocated not only strict adherence to realism in choice and treatment of subject, but also the subordination of colour to tone-gradation, and the observance of certain technical details, such as the exclusive use of See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat brushes and the laying on of See also:

• PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments in square touches . The See also:

• COLONY (Lat. colonia, from colonus, a cultivator)

colony was formed, as it were, in stages; and as the school is to be reckoned in the future history of the British school, the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order in which the adherents arrived may here be set on See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record . See also:

• EDWIN, AEDUINI
• EDWIN, JOHN (1749–1790)

Edwin See also:

• HARRIS, GEORGE, 1ST BARON (1746–1829)
• HARRIS, JAMES (1709-1780)
• HARRIS, JOEL CHANDLER (1848-1908)
• HARRIS, JOHN (c. 1666-1719)
• HARRIS, SIR WILLIAM SNOW
• HARRIS, THOMAS LAKE (1823-1906)
• HARRIS, WILLIAM TORREY (1835-1909)

Harris came first, and was joined by Walter See also:

• LANGLEY, SAMUEL PIERPONT (1834-1906)

Langley . Then, in the following order, came See also:

• RALPH (d. 1122)

Ralph Todd, L . Suthers,,Fred See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall, Frank Bramley and T .

C . Gotch, and See also:

• PERCY (FAMILY)
• PERCY, SIR HENRY
• PERCY, THOMAS (1729-1811)
• PERCY, THOMAS (c. 156o-16os)

Percy See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

Craft and Stanhope Forbes together . H . Detmold and Chevallier Tayler next arrived; then See also:

• MISS

Miss See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth See also:

• ARMSTRONG, ARCHIBALD (d. 1672)
• ARMSTRONG, JOHN (1709-1779)
• ARMSTRONG, JOHN (1758—1843)
• ARMSTRONG, SAMUEL CHAPMAN (1839—1893)
• ARMSTRONG, WILLIAM GEORGE ARMSTRONG, BARON (1810—1900)

Armstrong (Mrs Stanhope Forbes), F . Bourdillon, W . See also:

• FORTESCUE, SIR JOHN (c. 1394-c. 1476)
• FORTESCUE, SIR JOHN (c. 1531-1607)

Fortescue and See also:

• NORMAN
• NORMAN, SIR HENRY WYLIE (1826-1904)

Norman Garstin . Ayerst See also:

• INGRAM, JAMES (1774-1850)
• INGRAM, JOHN KELLS (1823-1907)

Ingram, H . S . Tuke, H . See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin and F . Millard were later visitors . Stanhope Forbes (b .

1857) was trained at the See also:

• LAMBETH

Lambeth School and at the Royal Academy, and afterwards in See also:

• BONNAT

Bonnat's studio in Paris . His best known pictures are " A See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

Fish See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

Sale on a Cornish See also:

• BEACH

Beach " (1885), " Soldiers .and Sailors " (1891), " See also:

• FORGING

Forging the See also:

• ANCHOR (from the Greek ayrcvpa, which Vossius considers is from 6yi17 , a crook or hook)

Anchor " (1892), and " The Smithy " (1895) . He was elected A.R.A. in 1892, and became full Member in 1910 . Frank Bramley (b . 1867) studied art in the See also:

• LINCOLN
• LINCOLN, ABRAHAM (1809-1865)
• LINCOLN, EARLS OF

Lincoln School of Art and at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp . He gained much popularity by his pictures, " A Hopeless See also:

• DAWN (the 16th-century form of the earlier " Jawing " or " dawning," from an old verb " daw," O. Eng. dagian, to become day; cf. Dutch dagen, and Ger. tagen)

Dawn " (1888), " For of such is the See also:

• KINGDOM

Kingdom of See also:

• HEAVEN (0. Eng. hefen, heofon, heofone; this word appears in O.S. hevan; the High. Ger. word appears in Ger. Himmel, Dutch hemel; there does not seem to be any connexion between the two words, and the ultimate derivation of the word is unknown; the sugges

Heaven " (1891), and " After the See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

Storm " (1896), and was elected an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

Associate in 1894 . Of See also:

• LATE

late years he had made a very definite departure from the technical methods which he followed in his earlier period . T . C . Gotch (b . 1854) had a varied art training, for he worked at the See also:

• SLADE, FELIX (170o-1868)

Slade School, then at Antwerp, and finally in Paris under See also:

• JEAN

Jean See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• LAURENS, HENRY (1724–1792)

Laurens . He did not long remain faithful to the Newlyn creed, but diverged about 1890 into a kind of decorative symbolism, and for some years devoted himself entirely to pictures of this type .

The other men who must be ranked as supporters of the school adhered closely enough to the principles which were exemplified in the works of the leaders of the movement . They were faithful realists, sincere observers of the facts of the life with which they were brought in contact, and quite See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest in their efforts to paint what they saw, without modification or idealization . Another group which received its See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration directly from France was the Impressionist school (see See also:

• IMPRESSIONISM

IMPRESSIONISM) . This group never had any distinct organization like that of The imthe French Societe See also:

• DES

des Impressionistes, but among the pressionist members of it there was a general agreement on points Schoa of procedure . They based themselves, more or less, upon prominent French artists like See also:

• MANET, EDOUARD (1832-1883)

Manet, See also:

• RENOIR, FIRMIN AUGUSTE (1841– )

Renoir, See also:

• PISSARRO, CAMILLE (1831–1903)

Pissarro, and See also:

• CLAUDE, JEAN (1619-1687)

Claude See also:

• MONET, CLAUDE (184o- )

Monet, and owed not a little to the example of J . A . M'N . Whistler, whose own art may be said to be in a great measure a product of Paris . One of the fundamental principles of their practice was the subdivision of colour masses into their component parts, and the rendering of gradated tints by the juxtaposition of touches of pure colour upon the See also:

• CANVAS

canvas, rather than by attempting to match them by previously mixing them on the See also:

• PALETTE (the Fr. diminutive of pale, spade, blade of an oar, from Lat. Pala, spade, baker's shovel or peel; cf. pandere, to spread)

palette . In pictures so painted greater luminosity and more subtlety of aerial effects can be obtained . The works of the British Impressionists have been seen mostly in the exhibitions of the New English Art See also:

• CLUB (connected with " clump ")

Club . This society was founded in 1885 by a number The New of young artists who wished for facilities for exhibition wish which they See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt were denied to them in the other Art Club. galleries .

It See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew the greater number of its earlier supporters from the men who had been trained in foreign schools, and a See also:

• COMPLETE

complete See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of the contributors to its exhibitions includes the names of many of the best known of the younger painters . It was the See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting-place of numerous groups which advocated one or other of the new See also:

• CREEDS (Lat. credo, I believe), or CONFESSIONS OF FAITH

creeds, for among its members or exhibitors have been P . See also:

• WILSON, ALEXANDER (1766-1813)
• WILSON, HENRY (1812–1875)
• WILSON, HORACE HAYMAN (1786–1860)
• WILSON, JAMES (1742—1798)
• WILSON, JAMES (1835— )
• WILSON, JAMES HARRISON (1837– )
• WILSON, JOHN (1627-1696)
• WILSON, JOHN (178 1854)
• WILSON, ROBERT (d. 1600)
• WILSON, SIR DANIEL (1816–1892)
• WILSON, SIR ROBERT THOMAS (1777—1849)
• WILSON, SIR WILLIAM JAMES ERASMUS
• WILSON, THOMAS (1663-1755)
• WILSON, THOMAS (c. 1525-1581)
• WILSON, WOODROW (1856— )

Wilson See also:

• STEER, PAUL WILSON (186o– )

Steer, Fred See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

Brown, J . S . See also:

• SARGENT, JOHN SINGER (1856– )

Sargent (q.v.), See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon J . Solomon, Stanhope Forbes, T . C . Gotch, Frank Bramley, See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur Hacker, Francis Bate, See also:

• MOFFAT
• MOFFAT, ROBERT (1795-1883)

Moffat Lindner, J . L . Henry, W . W . See also:

• RUSSELL (FAMILY)
• RUSSELL, ISRAEL COOK (1852- )
• RUSSELL, JOHN (1745-1806)
• RUSSELL, JOHN (d. 1494)
• RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
• RUSSELL, JOHN SCOTT (1808–1882)
• RUSSELL, LORD WILLIAM (1639–1683)
• RUSSELL, SIR WILLIAM HOWARD
• RUSSELL, THOMAS (1762-1788)
• RUSSELL, WILLIAM CLARK (1844– )

Russell, See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• THOMSON, JAMES (1822-1892)
• THOMSON, JAMES (1834-1882)
• THOMSON, JAMES (r700-1748)
• THOMSON, JOHN (1778-184o)
• THOMSON, JOSEPH (1858-1895)
• THOMSON, SIR CHARLES WYVILLE (1830-1882)
• THOMSON, THOMAS (1773-1852)
• THOMSON, WILLIAM (1819-189o)

Thomson, Arthur Tomson, Henry Tonks, C .

W . See also:

• FURSE, CHARLES WELLINGTON (1868-1904)

Furse, R . See also:

• ANNING, MARY (1799—1847)

Anning See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell, Walter See also:

• OSBORNE

Osborne, Laurence See also:

• HOUSMAN, LAURENCE (1867– )

Housman, J . J . See also:

• SHANNON
• SHANNON, CHARLES HAZELWOOD (1865- )
• SHANNON, JAMES JEBUSA (1862- )

Shannon, W . L . Wyllie, H . S . Tuke, See also:

• MAURICE (1521–1553)
• MAURICE (MAURICIUS FLAVIUS TIBERIUS) (c. 539–602)
• MAURICE [or MAURITIUS], ST (d. c. 286)
• MAURICE, JOHN FREDERICK DENISON (1805-1872)

Maurice Greiffenhagen, G . P . Jacomb See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

Hood, See also:

• ALFRED

Alfred See also:

• PARSONS
• PARSONS (or PERSONS), ROBERT (1546-161o)
• PARSONS, THEOPHILUS (1750-1813)

Parsons, Alfred See also:

• EAST
• EAST, ALFRED (1849- )

East, J . See also:

• BUXTON
• BUXTON, JEDEDIAH (1707–1772)
• BUXTON, SIR THOMAS POWELL (1786-1845)

Buxton See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight, C .

H . Shannon, See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark See also:

• FISHER
• FISHER, ALVAN (1792–1863)
• FISHER, GEORGE PARK (1827-1909)
• FISHER, JOHN (c. 1469-1535)
• FISHER, JOHN ARBUTHNOT FISHER, 1ST BARON

Fisher, Walter Sickert, W . See also:

• STRANG, WILLIAM (1859- )

Strang, Frank See also:

• SHORT, FRANCIS JOB (1857– )

Short, See also:

• EDWARD

Edward Stott, See also:

• MORTIMER (Family)

Mortimer Menpes, Alfred See also:

• HARTLEY, DAVID (1705–1757)
• HARTLEY, JONATHAN SCOTT (1845– )
• HARTLEY, SIR CHARLES AUGUSTUS (1825– )

Hartley, See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William Stott, J . R . See also:

• REID, ROBERT (1862– )
• REID, SIR GEORGE (1841- )
• REID, SIR ROBERT GILLESPIE (184o-19o8)
• REID, SIR WILLIAM (1791-1858)
• REID, THOMAS (1710-1796)
• REID, THOMAS MAYNE (1818-1883)
• REID, WHITELAW (1837- )

Reid, Mouat Loudan, T . B . See also:

• KENNINGTON

Kennington, H . Muhrman, A . D . Peppercorn, George See also:

• CLAUSEN, GEORGE (1852- )

Clausen and J . A . M'N .

Whistler, and a number of the Scottish artists, like J . See also:

• LAVERY, JOHN (18J7– )

Lavery, J . See also:

• GUTHRIE
• GUTHRIE, SIR JAMES (1859– )
• GUTHRIE, THOMAS (1803-1873)
• GUTHRIE, THOMAS ANSTEY (1856- )

Guthrie, George Henry, See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• PATERSON
• PATERSON, ROBERT (1715-1801)
• PATERSON, WILLIAM (1658-1719)

Paterson, A . See also:

• ROCHE, SIR BOYLE, BART

Roche, E . A . See also:

• WALTON, BRIAN (1600-1661)
• WALTON, IZAAK (1593-1683)

Walton, J . E . See also:

• CHRISTIE, RICHARD COPLEY (183o–Igor)

Christie and E . A . Hornel . A number of the men who have been more or less actively identified with it have been elected members of the Royal Academy, so that it may fairly claim to have exercised a definite influence upon the tendencies of modern art . It has certainly the doctrines to which they had been converted abroad; and as a consequence of this desire for an offensive and defensive association, many detached groups were formed within the boundaries of the British school .

Each of these groups had some See also:

• PECULIAR

peculiar tenet, and each one had a small See also:

• ORBIT (from Lat. orbita, a track, orbis, a wheel)

orbit of its own in which it revolved, without concerning itself overmuch about what might be going on outside . Roughly, there were three classes into which the more thoughtful British artists could then be divided . One included those men who were in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)