British Painter. 1816-1879 His parents encouraged his early interest in art. He was sent to a number of art schools, including that of John Cawse (1779-1862), before gaining entry to the Royal Academy Schools in 1835. He first exhibited at the Royal Academy in 1834 with Adelphi Smith as Don Quixote (untraced). In 1836 he went abroad for further study, visiting Paris and Venice on the way to Rome, where he spent three years. His first work of any consequence was Cimabue and Giotto (untraced), which he sent back to the Royal Academy show of 1839. On the way back to England at the end of that year Ward visited Munich to learn the technique of modern fresco painting in order to take part in the competition to decorate the Palace of Westminster, but his cartoon, Boadicea (1843; untraced), was unsuccessful. However, in 1852 he was commissioned to produce eight pictures for the Palace of Westminster, on subjects drawn from the English Civil War, the best of which is the Last Sleep of Argyll (1860s) in the Commons Corridor of the Houses of Parliament   Related Paintings of Edward Matthew Ward :. | Dr. Johnson in the ante-room of Lord Chesterfield in Chesterfield House, Westminster. | The Investiture of Napoleon III with the Order of the Garter 18 April 1855 (mk25) | Hogarthian image of the South Sea Bubble | Leicester and Amy Robsart at Cumnor Hall | The Figurantes |
Related Artists:
WTEWAEL, Joachim
Dutch painter (b. 1566, Utrecht, d. 1638, Utrecht). Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest ('from the imagination') and naer 't leven ('after life'). Wtewael's activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate;
Marmion, Simon
French-born Flemish Northern Renaissance Painter, ca.1425-1489 French illuminator and painter. He was trained in Amiens and established a productive workshop in Valenciennes, but at the end of his career appears to have had connections with manuscript painting in the southern Netherlands. Although no signed or documented works survive, many illuminated manuscripts and some panel paintings have been convincingly attributed to him and his workshop. On the basis of these he has been recognized as an important figure in the development of both French and Netherlandish painting.
William Henry Hunt,OWS
1790-1864 was an English watercolour painter. He was born near Long Acre, London, and was apprenticed in about 1805 to John Varley, the landscape-painter, with whom he remained five or six years. He exhibited three oil pictures at the Royal Academy in 1807. He became connected with the Society of Painters in Water Colours at its beginning, and was elected an associate in 1824 and a full member in 1827. Until the year of his death, he was one of the most prolific contributors to the Society's exhibitions. Many years of Hunt's uneventful but industrious life were spent at Hastings. He died of apoplexy. Hunt was one of the creators of the English school of water-color painting. His subjects, especially those of his later life, are extremely simple; but, by the delicacy, humor and fine power of their treatment, they rank second to works of the highest art only. Considered technically, his works exhibit all the resources of the water-color painter's craft, from the purest transparent tinting to the boldest use of gouache, rough paper and scraping for texture. His sense of color is perhaps as true as that of any English artist. He was, says John Ruskin, all in all, the finest ever painter of still life. Several characteristic examples of Hunt's work, as the "Boy and Goat," "Brown Study and Plums," "Primroses and Birds' Nests" are in the Victoria and Albert Museum.