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The dress is adorned with pearls on the sleeves and around the neckline, and the fabric shimmers from silvery white to pale gold. The background is earth-brown around her face and deepens to almost black in the corners.",{"_296":438,"_298":439,"_300":440},"https://img.ochreeditions.com/m/1336.jpg?dl=1","/art/mrs-paul-cobb-methuen-nga-1159","/galleries/style/georgian-britain/mrs-paul-cobb-methuen-nga-1159",{"_292":436,"_294":437},{"_226":428,"_125":429,"_286":430},{"_276":425,"_278":426,"_280":427,"_282":410},85.3828125,99,70.3828125,{"_288":226,"_123":434,"_154":435,"_140":97},{"_288":125,"_123":431,"_154":432,"_140":433},{"_288":286,"_123":166,"_154":165,"_140":168},"style/painting-18","More paintings of the 18th century",168,"artist/thomas-gainsborough","More by Thomas Gainsborough","natural","ivory","https://img.ochreeditions.com/a/1336/480.jpg","https://img.ochreeditions.com/a/1336/960.jpg","https://img.ochreeditions.com/a/1336/1920.jpg",{"_312":454,"_314":455},{"_312":452,"_314":453},{"_312":450,"_314":451},{"_312":448,"_314":449},{"_312":446,"_314":447},"#6c6248",0.0752,"#a18f63",0.094,"#cec5a1",0.0952,"#383831",0.1958,"#1f2728",0.5398,"Thomas Gainsborough","thomas-gainsborough","English, 1727–1788","English",1727,"Sudbury","Gainsborough trained in London with the French engraver Hubert Gravelot, then built his career as a portraitist first in Suffolk and later in fashionable Bath before moving to London in 1774.","hannah-presenting-samuel-to-eli-aic-270369","Hannah Presenting Samuel to Eli",{"_42":518,"_223":519,"_326":520,"_328":459,"_330":521,"_332":522,"_334":-5,"_335":-5,"_336":523,"_140":99},"c. 1783","watercolour","Drawing and Watercolor","Pen and black ink and brush and black ink wash, with touches of pen and brown ink, on ivory laid paper","34 × 47 cm (13 7/16 × 18 9/16 in.)",47,34,1.2970566411080882,[503,504,505,506,507],{"_222":499,"_223":500,"_42":501,"_305":502},"Courtesy of the Art Institute of Chicago","2023.3177","John Flaxman painted this in about 1783, aged 28. It is now at the Art Institute of Chicago.","A work made of pen and black ink and brush and black ink wash, with touches of pen and brown ink, on ivory laid paper.",{"_296":496,"_298":497,"_300":498},"https://img.ochreeditions.com/m/434.jpg?dl=1","/art/hannah-presenting-samuel-to-eli-aic-270369","/galleries/style/georgian-britain/hannah-presenting-samuel-to-eli-aic-270369",{"_292":293,"_294":295},{"_226":489,"_125":490,"_286":491},{"_276":409,"_278":487,"_280":471,"_282":488},60.23588863463005,36.23588863463005,{"_288":226,"_123":494,"_154":495,"_140":99},{"_288":125,"_123":492,"_154":493,"_140":53},{"_288":286,"_123":166,"_154":165,"_140":168},"style/watercolour-18","More watercolours of the 18th century","artist/john-flaxman","More by John Flaxman","https://img.ochreeditions.com/a/434/480.jpg","https://img.ochreeditions.com/a/434/960.jpg","https://img.ochreeditions.com/a/434/1920.jpg","aic","art-institute-of-chicago","Art Institute of Chicago","Chicago",{"_312":516,"_314":517},{"_312":514,"_314":515},{"_312":512,"_314":513},{"_312":510,"_314":511},{"_312":508,"_314":509},"#a49483",0.0883,"#c2b09c",0.1626,"#8d7e6f",0.1783,"#ddc8b1",0.2793,"#d1b79b",0.2915,"John Flaxman","john-flaxman","English, 1755–1826",1755,1826,"Flaxman trained at the Royal Academy Schools and first made his name modelling designs for Josiah Wedgwood’s jasperware.","joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865","Joshua Commanding the Sun to Stand Still upon Gibeon",{"_42":577,"_223":578,"_326":579,"_328":397,"_330":580,"_332":581,"_334":-5,"_335":-5,"_336":-5,"_140":103},"1816",19,"overall: 150 x 231 cm (59 1/16 x 90 15/16 in.)",231,150,1.522110739502044,[562,563,564,565,566],{"_222":302,"_223":303,"_42":304,"_305":306},"2004.64.1","John Martin painted this in 1816, aged 27. It is now at the National Gallery of Art in Washington, DC.","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.”",{"_296":559,"_298":560,"_300":561},"https://img.ochreeditions.com/m/1655.jpg?dl=1","/art/joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865","/galleries/style/georgian-britain/joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865",{"_292":436,"_294":437},{"_226":548,"_125":549,"_286":550},{"_276":545,"_278":546,"_280":530,"_282":547},246,166.762939453125,151.762939453125,{"_288":226,"_123":557,"_154":558,"_140":89},{"_288":125,"_123":554,"_154":555,"_140":556},{"_288":286,"_123":551,"_154":552,"_140":553},"era/19-britain","19th-century Britain",40,"style/painting-19","More paintings of the 19th century",432,"artist/contemporaries-of-john-martin","John Martin's contemporaries","https://img.ochreeditions.com/a/1655/480.jpg","https://img.ochreeditions.com/a/1655/960.jpg","https://img.ochreeditions.com/a/1655/1920.jpg",{"_312":575,"_314":576},{"_312":573,"_314":574},{"_312":571,"_314":572},{"_312":569,"_314":570},{"_312":567,"_314":568},"#adaa9f",0.1053,"#7c756a",0.1295,"#1a1609",0.2377,"#4e4a3c",0.2526,"#342a17",0.2749,"John Martin","john-martin","British, 1789–1854",1789,1854,"francis-charles-seymour-conway-3rd-marquess-of-hertford-nga-50851","Francis Charles Seymour-Conway, 3rd Marquess of Hertford",{"_42":628,"_223":629,"_326":630,"_328":397,"_330":631,"_332":632,"_334":633,"_335":400,"_336":634,"_140":91},"c. 1822/1823","overall: 128.5 x 102.2 cm (50 9/16 x 40 1/4 in.) framed: 151.8 x 126.4 cm (59 3/4 x 49 3/4 in.)",102.2,128.5,0.791259765625,[614,615,616,617,618],{"_222":302,"_223":303,"_42":304,"_305":306},"1968.6.2","Thomas Lawrence painted this in about 1822/1823, aged about 53. It is now at the National Gallery of Art in Washington, DC.","Francis Charles Seymour-Conway, third Marquess of Hertford, is shown half-length in a dark double-breasted coat, a decoration on his chest, gazing calmly into the distance against a plain brown background.","The image displays a man in a portrait from the waist up, in a three-quarter view. He is facing slightly to the right and looking into the distance with a calm expression. The man has fair skin, light reddish-brown hair, sideburns, a defined nose, and a slightly upturned chin. He is wearing a black double-breasted coat with a high collar, a dark waistcoat, a white shirt, and a medal on his chest with an insignia and ribbon. The background is plain and deep brown.",{"_296":611,"_298":612,"_300":613},"https://img.ochreeditions.com/m/1537.jpg?dl=1","/art/francis-charles-seymour-conway-3rd-marquess-of-hertford-nga-50851","/galleries/style/georgian-britain/francis-charles-seymour-conway-3rd-marquess-of-hertford-nga-50851",{"_292":436,"_294":437},{"_226":606,"_125":607,"_286":608},{"_276":603,"_278":604,"_280":605,"_282":588},116.6768798828125,143.5,101.6768798828125,{"_288":226,"_123":609,"_154":610,"_140":91},{"_288":125,"_123":554,"_154":555,"_140":556},{"_288":286,"_123":551,"_154":552,"_140":553},"artist/thomas-lawrence","More by Thomas Lawrence","https://img.ochreeditions.com/a/1537/480.jpg","https://img.ochreeditions.com/a/1537/960.jpg","https://img.ochreeditions.com/a/1537/1920.jpg",{"_312":626,"_314":627},{"_312":624,"_314":625},{"_312":622,"_314":623},{"_312":621,"_314":620},{"_312":619,"_314":620},"#765636",0.0175,"#ce9972","#33250c",0.2405,"#291d08",0.2684,"#100c07",0.4561,"Thomas Lawrence","thomas-lawrence","English, 1769–1830",1769,1830,"Bristol","Lawrence was a child prodigy in pastel portraiture and largely self-taught. He moved to London as a teenager, exhibited a full-length of Queen Charlotte at the Royal Academy at twenty-one, and succeeded Joshua Reynolds as Painter in Ordinary to George III.","turtur-risorius-nga-53854","Turtur Risorius",{"_42":324,"_223":325,"_326":327,"_328":329,"_330":331,"_332":333,"_334":-5,"_335":-5,"_336":-5,"_140":101},"hand-colored lithograph","sheet: 17 × 10.5 cm (6 11/16 × 4 1/8 in.)",10.5,0.655517578125,[661,662,663,664,665],{"_222":302,"_223":303,"_42":304,"_305":306},"1973.26.27","This is a drawing of a bird perched on a branch. The bird is detailed and identified as \"Turtur Risorius.\" It rests on a green textured branch against a plain background. The bird has a black ring around its neck, soft brown plumage with intricate feather patterns, and light pink legs. Its eye is prominent and outlined within its head design. The branch is minimalist with small buds and thin twigs.",{"_296":658,"_298":659,"_300":660},"https://img.ochreeditions.com/m/1564.jpg?dl=1","/art/turtur-risorius-nga-53854","/galleries/style/georgian-britain/turtur-risorius-nga-53854",{"_292":293,"_294":295},{"_226":655,"_125":656,"_286":657},{"_276":653,"_278":277,"_280":654,"_282":281},40.387939453125,16.387939453125,{"_288":226,"_123":170,"_154":169,"_140":89},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/1564/480.jpg","https://img.ochreeditions.com/a/1564/960.jpg","https://img.ochreeditions.com/a/1564/1920.jpg",{"_312":674,"_314":675},{"_312":672,"_314":673},{"_312":670,"_314":671},{"_312":668,"_314":669},{"_312":666,"_314":667},"#584c40",0.0182,"#967c5f",0.0339,"#76624d",0.0461,"#ba9770",0.0885,"#e3c59a",0.8133,"theophilia-gwatkin-aic-251126","Theophilia Gwatkin",{"_42":723,"_223":724,"_326":725,"_328":397,"_330":726,"_332":727,"_334":728,"_335":400,"_336":729,"_140":95},"1776–81","Oil on canvas","73.7 × 61 cm (29 × 24 in.); Framed: 96.6 × 84.7 × 7 cm (38 × 33 3/8 × 2 3/4 in.)",61,73,0.8375446960667461,[708,709,710,711,712],{"_222":499,"_223":500,"_42":501,"_305":502},"2019.1236","Joshua Reynolds painted this in 1776–81, aged about 53. It is now at the Art Institute of Chicago.","A work made of oil on canvas.",{"_296":705,"_298":706,"_300":707},"https://img.ochreeditions.com/m/389.jpg?dl=1","/art/theophilia-gwatkin-aic-251126","/galleries/style/georgian-britain/theophilia-gwatkin-aic-251126",{"_292":436,"_294":437},{"_226":700,"_125":701,"_286":702},{"_276":697,"_278":698,"_280":699,"_282":683},76.14076281287247,88,61.14076281287247,{"_288":226,"_123":703,"_154":704,"_140":95},{"_288":125,"_123":431,"_154":432,"_140":433},{"_288":286,"_123":166,"_154":165,"_140":168},"artist/joshua-reynolds","More by Joshua Reynolds","https://img.ochreeditions.com/a/389/480.jpg","https://img.ochreeditions.com/a/389/960.jpg","https://img.ochreeditions.com/a/389/1920.jpg",{"_312":721,"_314":722},{"_312":719,"_314":720},{"_312":717,"_314":718},{"_312":715,"_314":716},{"_312":713,"_314":714},"#78623f",0.068,"#a08052",0.0868,"#50442f",0.0897,"#221f1a",0.2844,"#322a1a",0.4711,"Joshua Reynolds","joshua-reynolds","English, 1723–1792",1723,1792,"Plympton","Reynolds trained in London under Thomas Hudson, then spent two years in Italy studying the old masters, an experience that shaped his ambition to raise portraiture to the dignity of history painting.","wivenhoe-park-essex-nga-1147","Wivenhoe Park, Essex",{"_42":776,"_223":777,"_326":778,"_328":459,"_330":779,"_332":780,"_334":-5,"_335":-5,"_336":781,"_140":99},"overall: 56.1 x 101.2 cm (22 1/16 x 39 13/16 in.) framed: 77.8 x 122.5 x 8.8 cm (30 5/8 x 48 1/4 x 3 7/16 in.)",101.2,56.1,1.8467087466185752,[761,762,763,764,765],{"_222":302,"_223":303,"_42":304,"_305":306},"1942.9.10","John Constable painted this in 1816, aged 40. It is now at the National Gallery of Art in Washington, DC.","Black and white cows graze beyond a fence, two men haul in a net from a boat near a pair of swans, and a donkey cart crosses a distant bridge, while the brick house of Wivenhoe Park appears through the trees beneath towering summer clouds.","We look out onto a landscape with low, grassy hills to the left, a lake to the right, and a brick building in the center distance below a sky filled with towering white clouds in this horizontal painting. A wooden fence closer to us crosses the landscape from the lower left corner and disappears where the land slopes down to meet the water at the center of the painting. Several black and white cows graze in the field beyond the fence to our left. Two men in a wooden boat pull in nets on the lake to our right near a pair of swans. The lake crosses the composition in the near distance, disappearing into a culvert farther back. A donkey pulls a small carriage with two people near a bridge that crosses the lake in the distance to our left. The brick manor house is visible through a break in the full, deep green trees that line the horizon, which comes halfway up the composition. The clouds cast noticeable shadows in the brightly sunlit scene.",{"_296":758,"_298":759,"_300":760},"https://img.ochreeditions.com/m/1327.jpg?dl=1","/art/wivenhoe-park-essex-nga-1147","/galleries/style/georgian-britain/wivenhoe-park-essex-nga-1147",{"_292":436,"_294":437},{"_226":753,"_125":754,"_286":755},{"_276":750,"_278":751,"_280":734,"_282":752},116.2,69.8001953125,54.8001953125,{"_288":226,"_123":756,"_154":757,"_140":99},{"_288":125,"_123":554,"_154":555,"_140":556},{"_288":286,"_123":551,"_154":552,"_140":553},"artist/john-constable","More by John Constable","https://img.ochreeditions.com/a/1327/480.jpg","https://img.ochreeditions.com/a/1327/960.jpg","https://img.ochreeditions.com/a/1327/1920.jpg",{"_312":774,"_314":775},{"_312":772,"_314":773},{"_312":770,"_314":771},{"_312":768,"_314":769},{"_312":766,"_314":767},"#796b3d",0.0911,"#7c8b94",0.0987,"#4d442a",0.2058,"#322d1a",0.2536,"#837f77",0.3508,"John Constable","john-constable","English, 1776–1837",1776,1837,"Constable painted the countryside of his native Suffolk, especially the Stour valley around his father’s mills, with an attention to weather and light new to English art.","fishing-boats-with-hucksters-bargaining-for-fish-aic-4796","Fishing Boats with Hucksters Bargaining for Fish",{"_42":829,"_223":830,"_326":831,"_328":459,"_330":832,"_332":833,"_334":400,"_335":400,"_336":834,"_140":97},"1837–38","174.5 × 224.9 cm (68 3/4 × 88 1/2 in.); Framed: 216.6 × 268 cm (85 1/4 × 105 1/2 in.)",224,174,1.2940322346449833,[814,815,816,817,818],{"_222":499,"_223":500,"_42":501,"_305":502},"1922.4472","Joseph Mallord William Turner painted this in 1837–38, aged about 57. It is now at the Art Institute of Chicago.","Fishing boats pitch on rough water under a sky of piled storm cloud, while hucksters, the dealers who bought the catch at sea, bargain with the fishermen.","Large marine landscape of boats on rough waves, storm clouds.",{"_296":811,"_298":812,"_300":813},"https://img.ochreeditions.com/m/9.jpg?dl=1","/art/fishing-boats-with-hucksters-bargaining-for-fish-aic-4796","/galleries/style/georgian-britain/fishing-boats-with-hucksters-bargaining-for-fish-aic-4796",{"_292":436,"_294":437},{"_226":806,"_125":807,"_286":808},{"_276":803,"_278":804,"_280":787,"_282":805},239,188.10233393177737,173.10233393177737,{"_288":226,"_123":809,"_154":810,"_140":97},{"_288":125,"_123":554,"_154":555,"_140":556},{"_288":286,"_123":551,"_154":552,"_140":553},"artist/joseph-mallord-william-turner","More by Joseph Mallord William Turner","https://img.ochreeditions.com/a/9/480.jpg","https://img.ochreeditions.com/a/9/960.jpg","https://img.ochreeditions.com/a/9/1920.jpg",{"_312":827,"_314":828},{"_312":825,"_314":826},{"_312":823,"_314":824},{"_312":821,"_314":822},{"_312":819,"_314":820},"#8e979a",0.1084,"#c6ac89",0.1668,"#4c4438",0.2133,"#736551",0.2481,"#9e886b",0.2634,"Joseph Mallord William Turner","joseph-mallord-william-turner","English, 1775–1851",1775,1851,"Turner, a London barber’s son, entered the Royal Academy Schools at fourteen and was elected a full Academician at twenty-six. Travelling constantly in Britain and on the Continent, he filled hundreds of sketchbooks and made thousands of watercolours.","portrait-of-colonel-charles-heathcote-cma-302209","Portrait of Colonel Charles Heathcote",{"_42":889,"_223":890,"_326":891,"_328":459,"_330":892,"_332":893,"_334":894,"_335":894,"_336":895,"_140":99},"c. 1771–72","127 x 100 cm (50 x 39 3/8 in.)",100,127,0.7991176470588235,[875,876,877,878,879],{"_222":871,"_223":872,"_42":873,"_305":874},"Courtesy of the Cleveland Museum of Art","2017.100","Joseph Wright of Derby painted this in about 1771–72, aged about 37. It is now at the Cleveland Museum of Art.",{"_118":868,"_869":870},"Portrait of Colonel Charles Heathcote, by Joseph Wright of Derby, c. 1771–72",{"_296":865,"_298":866,"_300":867},"https://img.ochreeditions.com/m/784.jpg?dl=1","/art/portrait-of-colonel-charles-heathcote-cma-302209","/galleries/style/georgian-britain/portrait-of-colonel-charles-heathcote-cma-302209",{"_292":436,"_294":437},{"_226":860,"_125":861,"_286":862},{"_276":857,"_278":858,"_280":859,"_282":841},116.48794117647058,142,101.48794117647058,{"_288":226,"_123":863,"_154":864,"_140":99},{"_288":125,"_123":431,"_154":432,"_140":433},{"_288":286,"_123":166,"_154":165,"_140":168},"artist/joseph-wright-of-derby","More by Joseph Wright of Derby","https://img.ochreeditions.com/a/784/480.jpg","https://img.ochreeditions.com/a/784/960.jpg","https://img.ochreeditions.com/a/784/1920.jpg","Assuming a relaxed but commanding pose, Colonel Charles Heathcote (1734–1797) stands beside a large oak tree in the foreground of an expansive landscape. He wears military dress, the single epaulette on his right shoulder designating his rank as colonel.","source","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_312":887,"_314":888},{"_312":885,"_314":886},{"_312":883,"_314":884},{"_312":882,"_314":317},{"_312":880,"_314":881},"#762820",0.0221,"#977d5d","#5f4f37",0.1927,"#2e231d",0.329,"#433524",0.4148,"Joseph Wright of Derby","joseph-wright-of-derby","English, 1734–1797",1734,1797,"Derby","Wright spent most of his career in his native Derby, painting portraits of Midlands gentry and industrialists.","lindisfarne-castle-holy-island-northumberland-met-341793","Lindisfarne Castle, Holy Island, Northumberland",{"_42":943,"_223":944,"_326":945,"_328":397,"_330":832,"_332":946,"_334":400,"_335":400,"_336":-5,"_140":103},"1796–97","Watercolor and bodycolor (gouache)","Sheet: 15 in. × 20 1/2 in. (38.1 × 52 cm)",52,38.1,1.3588621444201312,[928,929,930,931,932],{"_222":375,"_223":376,"_42":377,"_305":378},"06.1051.1","Thomas Girtin painted this in 1796–97, aged about 21. It is now at The Met in New York.","Lindisfarne Castle, Holy Island, Northumberland, by Thomas Girtin, 1796–97",{"_296":925,"_298":926,"_300":927},"https://img.ochreeditions.com/m/1039.jpg?dl=1","/art/lindisfarne-castle-holy-island-northumberland-met-341793","/galleries/style/georgian-britain/lindisfarne-castle-holy-island-northumberland-met-341793",{"_292":293,"_294":295},{"_226":920,"_125":921,"_286":922},{"_276":917,"_278":918,"_280":902,"_282":919},76,62.26731078904992,38.26731078904992,{"_288":226,"_123":923,"_154":924,"_140":89},{"_288":125,"_123":367,"_154":368,"_140":369},{"_288":286,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-thomas-girtin","Thomas Girtin's contemporaries","https://img.ochreeditions.com/a/1039/480.jpg","https://img.ochreeditions.com/a/1039/960.jpg","https://img.ochreeditions.com/a/1039/1920.jpg",{"_312":941,"_314":942},{"_312":939,"_314":940},{"_312":937,"_314":938},{"_312":935,"_314":936},{"_312":933,"_314":934},"#71817e",0.1423,"#827f6a",0.1494,"#d6d0b8",0.1807,"#54554c",0.21,"#adb2a3",0.3176,"Thomas Girtin","thomas-girtin","British, 1775–1802",1802,"john-johnstone-betty-johnstone-and-miss-wedderburn-nga-32580","John Johnstone, Betty Johnstone, and Miss Wedderburn",{"_42":993,"_223":994,"_326":995,"_328":329,"_330":996,"_332":997,"_334":-5,"_335":-5,"_336":-5,"_140":103},"c. 1790/1795","overall: 101.5 x 120 cm (39 15/16 x 47 1/4 in.) framed: 119.4 x 138.4 x 6.4 cm (47 x 54 1/2 x 2 1/2 in.)",120,101.5,1.1770114942528735,[978,979,980,981,982],{"_222":302,"_223":303,"_42":304,"_305":306},"1945.10.3","Sir Henry Raeburn painted this in about 1790/1795, aged about 34. It is now at the National Gallery of Art in Washington, DC.","John Johnstone, Betty Johnstone, and Miss Wedderburn, by Sir Henry Raeburn, c. 1790/1795",{"_296":975,"_298":976,"_300":977},"https://img.ochreeditions.com/m/1465.jpg?dl=1","/art/john-johnstone-betty-johnstone-and-miss-wedderburn-nga-32580","/galleries/style/georgian-britain/john-johnstone-betty-johnstone-and-miss-wedderburn-nga-32580",{"_292":436,"_294":437},{"_226":970,"_125":971,"_286":972},{"_276":967,"_278":968,"_280":952,"_282":969},135,116.953125,101.953125,{"_288":226,"_123":973,"_154":974,"_140":89},{"_288":125,"_123":431,"_154":432,"_140":433},{"_288":286,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-sir-henry-raeburn","Sir Henry Raeburn's contemporaries","https://img.ochreeditions.com/a/1465/480.jpg","https://img.ochreeditions.com/a/1465/960.jpg","https://img.ochreeditions.com/a/1465/1920.jpg",{"_312":991,"_314":992},{"_312":989,"_314":990},{"_312":987,"_314":988},{"_312":985,"_314":986},{"_312":983,"_314":984},"#7d6b5b",0.1424,"#281e17",0.1719,"#b8a08b",0.1936,"#dad3c9",0.2023,"#512f24",0.2898,"Sir Henry Raeburn","sir-henry-raeburn","Scottish, 1756–1823",1756,1823,"bray-church-yard-cma-119729","Bray Church Yard",{"_42":1051,"_223":1052,"_326":1053,"_328":397,"_330":1054,"_332":1055,"_334":-5,"_335":-5,"_336":-5,"_140":103},"1807","Drawing","watercolor and graphite","Sheet: 24.9 x 36.9 cm (9 13/16 x 14 1/2 in.)",36.9,24.9,1.4789038712483689,[1036,1037,1038,1039,1040],{"_222":871,"_223":872,"_42":873,"_305":874},"1940.564","John Varley painted this in 1807, aged 29. It is now at the Cleveland Museum of Art.",{"_118":1035,"_869":870},"Bray Church Yard, by John Varley, 1807",{"_296":1032,"_298":1033,"_300":1034},"https://img.ochreeditions.com/m/542.jpg?dl=1","/art/bray-church-yard-cma-119729","/galleries/style/georgian-britain/bray-church-yard-cma-119729",{"_292":293,"_294":295},{"_226":1024,"_125":1025,"_286":1026},{"_276":1021,"_278":1022,"_280":1005,"_282":1023},60.9,48.95091176470588,24.950911764705882,{"_288":226,"_123":1030,"_154":1031,"_140":89},{"_288":125,"_123":1027,"_154":1028,"_140":1029},{"_288":286,"_123":551,"_154":552,"_140":553},"style/drawing-19","More drawings of the 19th century",92,"artist/contemporaries-of-john-varley","John Varley's contemporaries","https://img.ochreeditions.com/a/542/480.jpg","https://img.ochreeditions.com/a/542/960.jpg","https://img.ochreeditions.com/a/542/1920.jpg","The inscription on the reverse of this drawing, \"Bray Church Yard-1807,\" likely refers to St. Michael’s, the parish church in the village of Bray on the banks of the Thames in the county of Berkshire. The banks of the lower Thames Valley provided the subject matter for many of John Varley’s early watercolors.",{"_312":1049,"_314":1050},{"_312":1047,"_314":1048},{"_312":1045,"_314":1046},{"_312":1043,"_314":1044},{"_312":1041,"_314":1042},"#a69885",0.0422,"#9b8066",0.0836,"#ba9d7e",0.1977,"#ccb293",0.2307,"#ddc6a5",0.4458,"John Varley","john-varley","British, 1778–1842",1778,1842,"the-captive-slave-ira-aldridge-aic-193664","The Captive Slave (Ira Aldridge)",{"_42":1103,"_223":1104,"_326":1105,"_328":459,"_330":1106,"_332":1107,"_334":-5,"_335":-5,"_336":-5,"_140":103},"1827","127 × 101.5 cm (50 × 40 in.); Framed: 167.1 × 141.7 cm (65 3/4 × 55 3/4 in.)",101,0.7940150839347985,[1088,1089,1090,1091,1092],{"_222":499,"_223":500,"_42":501,"_305":502},"2008.188","John Philip Simpson painted this in 1827, aged 45. It is now at the Art Institute of Chicago.",{"_118":1086,"_869":1087},"Painting of a dark-skinned man seated and wearing a red open-necked tunic. He looks up to the right. His wrists are shackled and a large chain rests at his right, running down the bench he sits upon.",{"_296":1083,"_298":1084,"_300":1085},"https://img.ochreeditions.com/m/347.jpg?dl=1","/art/the-captive-slave-ira-aldridge-aic-193664","/galleries/style/georgian-britain/the-captive-slave-ira-aldridge-aic-193664",{"_292":436,"_294":437},{"_226":1078,"_125":1079,"_286":1080},{"_276":1076,"_278":858,"_280":1077,"_282":841},115.83991565971941,100.83991565971941,{"_288":226,"_123":1081,"_154":1082,"_140":89},{"_288":125,"_123":554,"_154":555,"_140":556},{"_288":286,"_123":551,"_154":552,"_140":553},"artist/contemporaries-of-john-philip-simpson","John Philip Simpson's contemporaries","https://img.ochreeditions.com/a/347/480.jpg","https://img.ochreeditions.com/a/347/960.jpg","https://img.ochreeditions.com/a/347/1920.jpg","This painting by John Philip Simpson is both a powerful abolitionist statement and a striking portrait of the celebrated Shakespearean actor Ira Aldridge. A freeborn American, Aldridge became the first Black man to play Othello on the London stage in 1833.","Text from the Art Institute of Chicago.",{"_312":1101,"_314":1102},{"_312":1099,"_314":1100},{"_312":1097,"_314":1098},{"_312":1095,"_314":1096},{"_312":1093,"_314":1094},"#5e4335",0.0677,"#472119",0.0876,"#6e3024",0.1955,"#1b1411",0.2436,"#2f261a",0.4056,"John Philip Simpson","john-philip-simpson","English, 1782–1847",1782,1847,"portrait-of-mrs-george-collier-cma-101852","Portrait of Mrs. George Collier",{"_42":723,"_223":724,"_326":725,"_328":397,"_330":726,"_332":727,"_334":728,"_335":400,"_336":729,"_140":95},"18th century","Framed: 112 x 101 x 12 cm (44 1/8 x 39 3/4 x 4 3/4 in.); Unframed: 80 x 67.3 cm (31 1/2 x 26 1/2 in.)",67.3,80,0.8194117647058824,[1144,1145,1146,1147,1148],{"_222":871,"_223":872,"_42":873,"_305":874},"1920.514","Joshua Reynolds painted this in 18th century. It is now at the Cleveland Museum of Art.",{"_118":1143,"_869":870},"Portrait of Mrs. George Collier, by Joshua Reynolds, 18th century",{"_296":1140,"_298":1141,"_300":1142},"https://img.ochreeditions.com/m/498.jpg?dl=1","/art/portrait-of-mrs-george-collier-cma-101852","/galleries/style/georgian-britain/portrait-of-mrs-george-collier-cma-101852",{"_292":436,"_294":437},{"_226":1132,"_125":1133,"_286":1134},{"_276":1129,"_278":1130,"_280":1131,"_282":1114},80.5529411764706,95,65.5529411764706,{"_288":226,"_123":703,"_154":704,"_140":95},{"_288":125,"_123":1138,"_154":1139,"_140":433},{"_288":286,"_123":1135,"_154":1136,"_140":1137},"era/17","The 17th century",266,"style/painting-17","More paintings of the 17th century","https://img.ochreeditions.com/a/498/480.jpg","https://img.ochreeditions.com/a/498/960.jpg","https://img.ochreeditions.com/a/498/1920.jpg","Given to the Cleveland Museum in 1920 by the collector Jeptha H. Wade, this painting was thought to be an authentic work by Joshua Reynolds. However, after considerable study, the museum attributed it to a follower of Reynolds working in a similar style around the same time.",{"_312":1157,"_314":1158},{"_312":1155,"_314":1156},{"_312":1153,"_314":1154},{"_312":1151,"_314":1152},{"_312":1149,"_314":1150},"#dbae62",0.0772,"#543416",0.0793,"#a17433",0.0962,"#784818",0.1532,"#312311",0.5941,{"_1160":-5,"_1161":1162,"_1163":1164,"_1165":8,"_1166":1167,"_1168":8},"user","csrf","89d667a3b97fba4874841f9c6541e440f58169b9","cartCount",0,"dropLive","legal",[1169,1170,1171,1172,1173,1174,1175,1176,1177,1178,1179,1180],"uploadsEnabled",{"_223":1203,"_20":1204},{"_223":1201,"_20":1202},{"_223":1199,"_20":1200},{"_223":1197,"_20":1198},{"_223":1195,"_20":1196},{"_223":1193,"_20":1194},{"_223":1191,"_20":1192},{"_223":1189,"_20":1190},{"_223":1187,"_20":1188},{"_223":1185,"_20":1186},{"_223":1183,"_20":1184},{"_223":1181,"_20":1182},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]