#english painter

[galleryofart]

Liverpool Quay by Moonlight

Artist: Atkinson Grimshaw (English, 1836–1893)

Date: 1887

Medium: Oil paint on canvas

Collection: Tate Britain, London, United Kingdom

Description

Grimshaw was famous for his night scenes, in particular for his views of the docks at Liverpool, Glasgow and Hull. Here he concentrates on the golden glow cast from shop fronts through fog, and reflected on wet cobbles. The omnibus receding from the viewer down a perfectly straight street is a characteristic and effective device, which the artist repeated many times. He was entirely self-taught, and had begun life as a railway clerk. He was much influenced by the Pre-Raphaelites, but gradually moved towards a more ethereal evocation of light and atmosphere reminiscent of Whistler.

[solcattus]

Perfect Harmony, 1894

By Louis Welden Hawkins

[lepetitdragonvert]

Chilvaric Love

Artist : William Dacres Adams (1864-1951)

[the-cricket-chirps]

J.M.W. Turner, Snow Storm - Steamboat off a Harbour's Mouth, 1842

J.M.W. Turner, Peace - Burial at Sea, 1842

[pen-and-umbra]

Le Pandemonium

(John Martin, 1841)

[myteaplace]

Circe Invidiosa, 1892, John William Waterhouse (1883-1917)

[thepaintedroom]

Jessica Hayllar (British/English, 1858-1940) • Fresh from the Greenhouse • 1885

[artandthebible]

Naomi and Ruth

Artist: Evelyn De Morgan (English, 1855–1919)

Date: 1887

Medium: Oil on Canvas

Naomi and Ruth

The story of Naomi appears in the Bible in the book of Ruth. Naomi lived during the time of the judges. She was the wife of a man named Elimelech, and they lived in Bethlehem with their two sons, Mahlon and Kilion. Naomi’s life illustrates the power of God to bring something good out of bitter circumstances.

When a famine hits Judea, Elimelech and Naomi and their two boys relocate to Moab (Ruth 1:1). There, Mahlon and Kilion marry two Moabite women, Orpah and Ruth. After about ten years, tragedy strikes. Elimelech dies, and both of Naomi’s sons also die, leaving Naomi, Ruth, and Orpah widows (Ruth 1:3–5). Naomi, hearing that the famine in Judea was over, decides to return home (Ruth 1:6). Orpah stays in Moab, but Ruth chooses to move to the land of Israel with Naomi. The book of Ruth is the story of Naomi and Ruth returning to Bethlehem and how Ruth married a man named Boaz and bore a son, Obed, who became the grandfather of David and the ancestor of Jesus Christ.

The name Naomi means “sweet, pleasant,” which gives us an idea of Naomi’s basic character. We see her giving her blessing to Ruth and Orpah when she tells them to return to their mothers’ homes so that they might find new husbands: she kisses them and asks that the Lord deal kindly with them (Ruth 1:8–14). But her heartache in Moab was more than Naomi could bear. When she and Ruth arrive in Bethlehem, the women of the town greet Naomi by name, but she cries, “Don’t call me Naomi... Call me Mara, because the Almighty has made my life very bitter. I went away full, but the Lord has brought me back empty. Why call me Naomi? The Lord has afflicted me; the Almighty has brought misfortune upon me” (Ruth 1:20–21). The name Mara means “bitter.” The cup of affliction is a bitter cup, but Naomi understood that the affliction came from the God who is sovereign in all things. Little did she know that from this bitter sorrow great blessings would come to her, her descendants, and the world through Jesus Christ.

Ruth meets a local landowner, Boaz, who is very kind to her. Naomi again recognizes the providence of God in providing a kinsman-redeemer for Ruth. Naomi declares that the Lord “has not stopped showing his kindness to the living and the dead" (Ruth 2:20) Seeing God’s hand in these events, Naomi encourages Ruth to go to Boaz as he slept in the threshing floor in order to request that he redeem her and her property. Naomi’s concern was for Ruth’s future, that Ruth would gain a husband and provider.

Naomi’s bitterness is turned to joy. In the end, she gains a son-in-law who would provide for both her and Ruth. She also becomes a grandmother to Ruth’s son, Obed. Then the women of Bethlehem say to Naomi, “Praise be to the Lord, who this day has not left you without a guardian-redeemer. May he become famous throughout Israel! He will renew your life and sustain you in your old age. For your daughter-in-law, who loves you and who is better to you than seven sons, has given him birth” (Ruth 4:14–15). Naomi was no longer Mara. Her life again became sweet and pleasant, blessed by God.

[royalty-nobility]

Queen Elizabeth of Hungary and the Court Painter

Artist: James Dromgole Linton (English, 1840–1916)

Date: c. 1910

Medium: Oil on canvas

Collection: Sheffield Museums, United Kingdom

Elizabeth of Hungary

Elizabeth of Hungary (7 July 1207 – 17 November 1231), also known as Elisabeth of Thuringia, was a princess of the Kingdom of Hungary and the landgravine of Thuringia.

Elizabeth was married at the age of 14, and widowed at 20. After her husband's death, she regained her dowry, using the money to build a hospital where she herself served the sick. She became a symbol of Christian charity after her death in 1231 at the age of 24 and was canonized on 25 May 1235. She is venerated as a saint by the Catholic Church. She was an early member of the Third Order of St. Francis, and is today honored as its patroness.

[mythologypaintings]

The Return of Ulysses

Artist: Frederick Trevelyan Goodall (English, 1848-1871)

Date: 1869

Medium: Oil on canvas

Collection: Art Gallery of New South Wales, Sydney, Australia

Description

The Return of Ulysses is the story of Odysseus's return home from the Trojan War in Homer's Odyssey. The story is about Odysseus' struggles to return home, his reunion with his family, and his revenge against his wife's suitors

[20thcenturypaintings]

An Apple Orchard in Brittany

Artist: Charles Conder (English, 1868-1909)

Date: 1902

Medium: Oil on canvas

Collection: Art Gallery of New South Wales, Sydney, Australia

[galleryofart]

A Garden

Artist: Albert Moore (English, 1841–1893)

Date: 1869

Medium: OIl on Canvas

Collection: TATE Britain

Description

Albert Moore was influenced by Japanese art. He produced decorative and subtly coloured pictures. He focuses on the colour, texture and movement of draped fabric on the woman’s costume. Art critic Sidney Colvin said Moore’s subjects were ‘merely a mechanism for getting beautiful people into beautiful situations.’ Moore used the flower-like symbol at the bottom of the picture as a signature.

[solcattus]

Gwendolen Gascoyne-Cecil, 1895

By Edward Burne-Jones

[lepetitdragonvert]

Arctic Encounter

Artist : Arthur Wardle (1864-1949)

[the-cricket-chirps]

Gerald Leslie Brockhurst, (1890-1978) The War Widow, c. 1923

[artemlegere]

'The Triumph of Mercy,' from Collins' 'Ode To Mercy'

Artist: William Artaud (English, 1763–1823) Formerly attributed to George Romney (English, 1734–1802)

Date: 1788 to 1790

Medium: Oil on canvas

Collection: Yale Center for British Art, New Haven, CT, United States

Ode To Mercy by William Collins

STROPHE

O Thou, who sitt'st a smiling bride By Valour's arm'd and awful side, Gentlest of sky-born forms, and best adored; Who oft with songs, divine to hear, Winn'st from his fatal grasp the spear, And hidest in wreaths of flowers his bloodless sword! Thou who, amidst the deathful field, By godlike chiefs alone beheld, Oft with thy bosom bare art found, Pleading for him the youth who sinks to ground: See, Mercy, see, with pure and loaded hands, Before thy shrine my country's genius stands, And decks thy altar still, though pierced with many a wound.

ANTISTROPHE

When he whom even our joys provoke, The fiend of nature join'd his yoke, And rush'd in wrath to make our isle his prey; Thy form, from out thy sweet abode, O'ertook him on his blasted road, And stopp'd his wheels, and look'd his rage away. I see recoil his sable steeds, That bore him swift to salvage deeds, Thy tender melting eyes they own; O maid, for all thy love to Britain shown, Where Justice bars her iron tower, To thee we build a roseate bower; Thou, thou shalt rule our queen, and share our monarch's throne!