See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

FREDERICK See also:

• WALKER, FRANCIS AMASA (1840-1897)
• FREDERICK WALKER (184o--1875)
• WALKER, GEORGE (c. 1618-169o)
• WALKER, HENRY OLIVER (1843— )
• WALKER, HORATIO (1858– )
• WALKER, JOHN (1732—1807)
• WALKER, OBADIAH (1616-1699)
• WALKER, ROBERT (d. c. 1658)
• WALKER, ROBERT JAMES (1801-1869)
• WALKER, SEARS COOK (1805—1853)
• WALKER, THOMAS (1784—1836)
• WALKER, WILLIAM (1824-1860)

WALKER (184o--1875)  , See also:

• ENGLISH

English subject painter, the son of a designer of See also:

• JEWELRY (O. Fr. jouel, Fr. joyau, perhaps from joie, joy; Lat. gaudium; retranslated into Low Lat. jocale, a toy, from jocus, by misapprehension of the origin of the word)

jewelry, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in Marylebone, See also:

• LONDON

London, on the 24th of May 184o . When very 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 he began to draw from the See also:

• ANTIQUE (Lat. antiquus, old)

antique in the See also:

• BRITISH

British Museum, and at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of sixteen he was placed in the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of an architect named See also:

• BAKER, HENRY (1698-1774)
• BAKER, SIR BENJAMIN (1840-1907)
• BAKER, SIR RICHARD (1568-1644/5)
• BAKER, SIR SAMUEL WHITE (1821-1893)
• BAKER, THOMAS (1656-1740)
• BAKER, VALENTINE [BAKER PASHA] (1827-1887)

Baker . The occupation proved uncongenial; at the end of eighteen months he resumed his See also:

• WORK

work from the See also:

• ELGIN

Elgin See also:

• MARBLES

marbles at the British Museum, and attended See also:

• LEIGH
• LEIGH, EDWARD (1602–1671)

Leigh's See also:

• LIFE

life school in See also:

• NEWMAN, FRANCIS WILLIAM (1805-1897)
• NEWMAN, JOHN HENRY (1801-1890)

Newman See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street . In See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1858 he was admitted a student of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . But his study in the academy See also:

• SCHOOLS

schools was disconnected, and ceased before he reached the life class, as he was anxious to begin earning his own living . As a means to this end, he turned his See also:

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

attention to designing for the See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-engravers, and worked three days a See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

week for about two years in the studio of J . W . Whyrnper, under whose tuition he quickly mastered the technicalities of See also:

• DRAWING

drawing on wood . His earliest See also:

• BOOK

book illustrations appeared in 186o in Once a Week, a periodical to which he was a prolific contributor, as also to the Cornhill See also:

• MAGAZINE

Magazine, where his admirable designs appeared to the See also:

• WORKS

works of See also:

• THACKERAY, WILLIAM MAKEPEACE (1811-1863)

Thackeray and those of his daughter . These woodcuts, especially his illustrations to Thackeray's Adventures of See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip and See also:

• DENIS (DIoNysms), SAINT
• DENIS, JOHANN NEPOMUK COSMAS MICHAEL (1729-1800)

Denis See also:

• DUVAL, ALEXANDRE VINCENT
• DUVAL, CLAUDE (1643–1670)

Duval, are among the most spirited and See also:

• ARTISTIC

artistic works of their class, and entitle See also:

• WALKER, FRANCIS AMASA (1840-1897)
• WALKER, FREDERICK (184o--1875)
• WALKER, GEORGE (c. 1618-169o)
• WALKER, HENRY OLIVER (1843— )
• WALKER, HORATIO (1858– )
• WALKER, JOHN (1732—1807)
• WALKER, OBADIAH (1616-1699)
• WALKER, ROBERT (d. c. 1658)
• WALKER, ROBERT JAMES (1801-1869)
• WALKER, SEARS COOK (1805—1853)
• WALKER, THOMAS (1784—1836)
• WALKER, WILLIAM (1824-1860)

Walker to See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank with See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais at the very See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the draughtsmen who have dealt with scenes of contemporary life . Indeed, by his contributions to Once a Week alone he made an immediate reputation as an artist of rare accomplishment, and although he was associated on that periodical with such men as Millais, 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:

• LEECH
• LEECH, JOHN (1817-1864)

Leech, See also:

• SANDYS, FREDERICK (1832-1904)
• SANDYS, GEORGE (1578-1644)
• SANDYS, SIR EDWIN (1561-1629)

Sandys, See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• KEENE
• KEENE, CHARLES SAMUEL (1823–1891)
• KEENE, LAURA (c. 1820-1873)

Keene, See also:

• TENNIEL, SIR JOHN (182o- )

Tenniel, and Du Maurier, he more than held his own against all competitors . In the intervals of work as a book illustrator he practised See also:

• PAINTING

painting in See also:

• WATER

water-See also:

• COLOURS, MILITARY

colours, his subjects being frequently more considered and refined repetitions in See also:

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

colour of his blackand-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 designs .

Among the more notable of his productions in water-colour are " See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

Spring," " A Fishmonger's See also:

• SHOP

Shop," " The See also:

• FERRY (from the same root as that of the verb " to fare," to journey or travel, common to Teutonic languages, cf. Ger. fahren; it is connected with the root of Gr. 7ropos, way, and Lat. portage, to carry)
• FERRY, JULES FRANCOIS CAMILLE (1832—1893)

Ferry," and " Philip in See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church," which gained a See also:

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

medal in the 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 See also:

• INTERNATIONAL, THE

International See also:

• EXHIBITION

Exhibition of 1867 . He was elected an See also:

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

associate of the Society of Painters in Water Colours in 1864 and a full member in 1866; and in 1871 he became an associate of the Royal Academy . In this same See also:

• YEAR

year he was made an honorary member of the Belgian Society of Painters in Water Colours . His first oil picture, " The Lost Path," was exhibited in the Royal Academy in 1863, where it was followed in 1867 by " The Bathers," one of the artist's finest works, in 1868 by " The Vagrants," now in the See also:

• NATIONAL

National See also:

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

Gallery of British See also:

• ART

Art, in 1869 by " The Old See also:

• GATE

Gate," and in 18so by " The Plough," a powerful and impressive rendering of ruddy evening See also:

• LIGHT

light, of which the landscape was studied in See also:

• SOMERSET, EARLS AND DUKES OF
• SOMERSET, EDMUND BEAUFORT, DUKE OF (c. 1404–1455)
• SOMERSET, EDWARD SEYMOUR, DUKE OF (c. 1506–1552)
• SOMERSET, LORD ROBERT EDWARD HENRY (1776-1842)
• SOMERSET, ROBERT CARR (or KER), EARL OF (e. 1590-1645)

Somerset . In 1871 he exhibited his tragic life-sized figure of " A See also:

• FEMALE

Female Prisoner at the See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

Bar," a subject which now exists only in a finished oil study, for the painter afterwards effaced the head, with which he was dissatisfied, but was prevented by See also:

• DEATH

death from again completing the picture . The last of his fully successful works was " A See also:

• HARBOUR (from M.E. hereberge, here, an army; cf. Ger. Heer and -beorg, protection or shelter. Other early forms in English were herberwe and haiborow, as seen in various place names, such as Market Harborough.. The French auberge, an inn, derived through

Harbour of See also:

• REFUGE

Refuge," shown in 1872 (also in the National Gallery of British Art); for " The Right of Way," exhibited in 1875, bears evident signs of the artist's failing strength . He-WALKER, G . .27J had suffered indeed for some years from a consumptive tendency; in 1868 he made a See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea voyage, for his See also:

• HEALTH

health's See also:

• SAKE

sake, to See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice; where he stayed with See also:

• ORCHARDSON, SIR WILLIAM QUILLER (1835-1910)

Orchardson and Birket See also:

• FOSTER, GEORGE EULAS (1847– )
• FOSTER, JOHN (177o-1843)
• FOSTER, MYLES BIRKET (1825-1899)
• FOSTER, SIR CLEMENT LE NEVE (1841-1904)
• FOSTER, SIR MICHAEL (1836-r9o7)
• FOSTER, STEPHEN COLLINS (1826-1864)

Foster, and at the end of 1873 he went for a while to See also:

• ALGIERS (Fr. Alger, Arab. Jezair, i.e. The Islands)

Algiers with J . W . See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North, in the See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope that he might derive benefit from a 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 See also:

• CLIMATE

climate . But, returning in the See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter English spring, he was again prostrated; and on the 5th of See also:

• JUNE

June 1875 he died of See also:

• CONSUMPTION (Lat. consumere)

consumption at St See also:

• FILLAN, SAINT, or FAELAN

Fillan's, See also:

• PERTHSHIRE

Perthshire . The works of See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick Walker are thoroughly See also:

• ORIGINAL

original and individual, both in the quality of their colour and handling and in their view of nature and humanity .

His colour, especially in his water-colours, is distinctive, powerful and full of delicate gradations . He had an admirable sense of See also:

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

design, and the figures of his peasants at their daily toil show a See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and sweeping largeness of See also:

• LINE

line in which can be plainly traced the effect produced upon his See also:

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

taste by his See also:

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

early study of the antique; at the same 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 the sentiment of his subjects is unfailingly refined and poetic . His vigour of design may be seen in his See also:

• POSTER

poster for See also:

• WILKIE, SIR DAVID (1785–1841)

Wilkie See also:

• COLLINS, ANTHONY (1676-1729)
• COLLINS, JOHN CHURTON (1848-1908)
• COLLINS, MORTIMER (1827-1876)
• COLLINS, WILLIAM (1721-1759)
• COLLINS, WILLIAM (1787–1847)
• COLLINS, WILLIAM WILKIE (1824–1889)

Collins's The Woman in White, now in the National Gallery of British Art . See Life and Letters of Frederick Walker, A.R.A., by See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

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

George Marks (1896), a full See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography of a See also:

• PERSONAL

personal rather than a See also:

• CRITICAL (in alphabetical order of authors)

critical See also:

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

kind . Frederick Walker and his Works, by See also:

• CLAUDE, JEAN (1619-1687)

Claude See also:

• PHILLIPS
• PHILLIPS, ADELAIDE (1833-1882)
• PHILLIPS, EDWARD (163o-1696)
• PHILLIPS, JOHN (1800—1874)
• PHILLIPS, SAMUEL (1814—1854)
• PHILLIPS, STEPHEN (1868– )
• PHILLIPS, THOMAS (1770-1845)
• PHILLIPS, WENDELL (1811-1884)

Phillips (1897), should be consulted as an excellent critical supplement to the larger See also:

• VOLUME

volume . See also Essays on Art, by J . Comyns Carr, which includes a judicious See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay on Walker .