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19th-century Britain

Works made in Britain in the 19th century.

40 works · hang 1277 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. The Entombment, by Sir Edward Burne-Jones, 1879
    The EntombmentSir Edward Burne-Jones, 1879Courtesy of The Metropolitan Museum of Art
  2. A work made of oil on canvas.
    The FestivalSir John Edward Poynter, 1875Courtesy of the Art Institute of Chicago
  3. Egypt and Nubia, Volume III, No. 26, Cairo, Looking West, by Louis Haghe, 1848
    Egypt and Nubia, Volume III, No. 26, Cairo, Looking WestLouis Haghe, 1848Courtesy of the Cleveland Museum of Art
  4. Lady Lilith, by Dante Gabriel Rossetti, 1867
    Lady LilithDante Gabriel Rossetti, 1867Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. Serene red-haired woman, framed with allegorical symbols of red bird, sundial.
    Beata BeatrixDante Gabriel Rossetti, 1871–72Courtesy of the Art Institute of Chicago
  2. Armies of men march and battle along a rocky outcropping set among huge rock formations and massive buildings under a stormy sky in this horizontal landscape painting. The people we can see all have pale skin. Sheets of rain fall from flint-gray clouds on our left into a valley, though hints of peach brighten the clouds along the mountainous horizon there. In the right half of the sky, light pours down from a brilliant white sun that breaks through white clouds to reveal topaz-blue patches of sky. The horizon comes about halfway up the composition and is lined with rugged white, pale pink, and olive-green mountains on our left and silvery-white buildings along the right half. These structures include two domed buildings and a colosseum among many others. The buildings are all enclosed within city walls buttressed with towers. The land dips precipitously from the rocky cliffs supporting the buildings, to sweep down toward us. A huge outcropping angles up like a ramp between us and the buildings in the distance. A road runs from the walled town toward us, down along the ridge and in front of the outcropping. Countless warriors march in rows of four or five across on the road past a man wearing a feathered helmet and armored breastplate. This man, Joshua, stands on a rocky precipice facing away from us with his right hand raised. He wears a scarlet-red toga under his breastplate, and a royal-blue cape flutters at his left side. He holds a round, copper-colored shield and a spear in his other hand. Two men with gray beards stand near Joshua with their backs to us. Both gesture up to the sky. One holds a slender staff and the other a curling horn. They and another pair of men, who stoop to hold poles used to carry a chest, all wear long, ivory-white robes, cherry-red drapery, and white turbans. The column of soldiers on foot and horseback pass in front of Joshua to a massive battlefield to our left. The fight takes place in a valley that leads back to a river. A bolt of lightning zigzags from the storm clouds and strikes a city in the deep distance. The artist signed the painting in the lower right, “J. Martin.”
    Joshua Commanding the Sun to Stand Still upon GibeonJohn Martin, 1816Courtesy National Gallery of Art, Washington

Second room, south wall

  1. The painting depicts an equestrian scene with people and horses in a green landscape. There are several people on horseback, and others standing by horses. Some people are also sitting in horse-drawn carriages. The horses are in a variety of colors, and the people wear formal clothing like suit jackets, top hats, vests, or colorful dresses. People fill the middle of the scene and the green hills that rise to the left, while a wide path is marked off on the right, bordered by fences. There are some tall trees around the area, with people gathering below them. In the distance, a large white building with columns and blue roofs can be seen. There is also a white tent partially behind a hill on the left. The sky above is blue and filled with white and gray clouds.
    Heaton Park RacesJohn Ferneley, 1829Courtesy National Gallery of Art, Washington
  2. Large marine landscape of boats on rough waves, storm clouds.
    Fishing Boats with Hucksters Bargaining for FishJoseph Mallord William Turner, 1837–38Courtesy of the Art Institute of Chicago

Second room, north wall

  1. A work made of watercolor and gouache, with touches of brush and black ink, heightened with white gouache, over graphite on cream wove paper.
    Room Leading to the Chapel, Knowle, KentJoseph Nash, 1869Courtesy of the Art Institute of Chicago
  2. Large English country landscape painting, farmers with horses, green trees.
    Stoke-by-NaylandJohn Constable, 1836Courtesy of the Art Institute of Chicago
  3. A work made of brown and black chalks on cream wove paper.
    Study for FestivalSir John Edward Poynter, c. 1875Courtesy of the Art Institute of Chicago

Third room, north wall

  1. Weymouth Bay, by David Lucas, 1830
    Weymouth BayDavid Lucas, 1830Courtesy of The Metropolitan Museum of Art
  2. Loggia of the Ducal Palace, Venice, by John Ruskin, 1849–50
    Loggia of the Ducal Palace, VeniceJohn Ruskin, 1849–50Courtesy of The Metropolitan Museum of Art
  3. A work made of oil on panel.
    The Sand Pits, Hampstead HeathJohn Linnell, 1834Courtesy of the Art Institute of Chicago

Third room, south wall

  1. A work made of oil on canvas.
    The Golden AgeSir John Edward Poynter, 1875Courtesy of the Art Institute of Chicago
  2. Whalers, by Joseph Mallord William Turner, ca. 1845
    WhalersJoseph Mallord William Turner, ca. 1845Courtesy of The Metropolitan Museum of Art