See also:

• SIR

SIR See also:

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

GEORGE See also:

• REID, ROBERT (1862– )
• SIR GEORGE REID (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 (1841- )  , Scottish artist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• ABERDEEN
• ABERDEEN, GEORGE GORDON, 1ST EARL O (1637-1720)
• ABERDEEN, GEORGE HAMILTON GORDON, 4TH EARL

Aberdeen on the 31st of See also:

• OCTOBER

October 1841 . He See also:

• DEVELOPED

developed an See also:

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

early See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion for See also:

• DRAWING

drawing, which led to his being apprenticed in 1854 for seven years to Messrs See also:

• KEITH
• KEITH, FRANCIS EDWARD JAMES (1696-1758)
• KEITH, GEORGE (c. 1639-1716)
• KEITH, GEORGE KEITH ELPHINSTONE, VISCOUNT (1746-1823)

Keith & Gibb, lithographers in Aberdeen . In 1861 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 took lessons from an itinerantportrait-painter, 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 Niddrie, who had been a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of 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:

• GILES (GIL, GILLES), ST

Giles, R.S.A., and afterwards entered as a student in the school of the See also:

• BOARD (O. Eng. bord)

Board of Trustees in See also:

• EDINBURGH

Edinburgh . He returned to Aberdeen to paint landscapes and portraits for any trifling sum which his See also:

• WORK

work could command . His first portrait to attract See also:

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

attention, from its See also:

• FINE

fine quality, was that of See also:

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

George See also:

• MACDONALD, FLORA (1722—1790)
• MACDONALD, GEORGE (1824-1905)
• MACDONALD, JACQUES ETIENNE JOSEPH
• MACDONALD, JOHN SANDFIELD (1812-1872)
• MACDONALD, LAWRENCE (1799-1878)
• MACDONALD, SIR HECTOR ARCHIBALD (1852-1903)
• MACDONALD, SIR JOHN ALEXANDER (1815-1891)

Macdonald, the poet and novelist, now the See also:

• PROPERTY

property of the university of Aberdeen . His early landscapes were conscientiously painted in the open See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air and on the spot . But Reid soon came to see that such work was inherently false, painted as the picture was See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day after day under varying conditions of See also:

• LIGHT

light and shade . Accordingly, in 1865 he proceeded to See also:

• UTRECHT
• UTRECHT, TREATY OF

Utrecht to study under A . Mollinger, whose work he ad-mired, from its unity and simplicity . This 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 in his method of viewing Nature was looked on as revolutionary by the Royal Scottish See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and for some years his work found little favour in that See also:

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

quarter; but other artists gradually adopted the See also:

• SYSTEM

system of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone-studies, which ultimately prevailed . Reid went to 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 in 1868 to study under the figure painter Yvon; and he worked in 1872 with Josef Israels at the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague . From 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 forward Reid's success was continuous and marked .

He showed his versatility in landscape, as in his " Whins in See also:

• BLOOM (from A.S. bloma, a flower)

Bloom," which combined See also:

• GREAT

great breadth with fine detail; in See also:

• FLOWER (Lat. flos, floris; Fr. fleur)
• FLOWER, SIB

flower-pieces, such as his " See also:

• ROSES, WARS OF THE

Roses," which were brilliant in rapid suggestiveness and force; but most of all in his portraits, which are marked by great individuality, and by fine insight into See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . His work in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black-and-See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white, his admirable illustrations in brushwork of Edinburgh and its neighbourhood, and also his See also:

• PEN (Lat. penna, a feather, pen)

pen-drawings, about which it has been declared that " his work contains all the subtleties and refinements of a most delicate See also:

• ETCHING (Dutch, etsen, to eat)

etching," must also be noted . Elected See also:

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

Associate of the Royal Scottish Academy in 187o, Reid attained full membership in 1877, and took up his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence in Edinburgh in 1882 . In 1891 he was elected See also:

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

President—a See also:

• POST

post which he held until 1902—receiving also the See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of See also:

• KNIGHTHOOD

knighthood, and he was awarded a See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal at the Paris See also:

• EXHIBITION

Exhibition of 1900 . His See also:

• BROTHER

brother See also:

• SAMUEL

Samuel (b . 1854) was also a painter and a writer of tales and See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse .