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A freeborn American, Aldridge became the first Black man to play Othello on the London stage in 1833.","source","Text from the Art Institute of Chicago.",{"_308":444,"_310":445},{"_308":442,"_310":443},{"_308":440,"_310":441},{"_308":438,"_310":439},{"_308":436,"_310":437},"#5e4335",0.0677,"#472119",0.0876,"#6e3024",0.1955,"#1b1411",0.2436,"#2f261a",0.4056,"John Philip Simpson","john-philip-simpson","English, 1782–1847","English",1782,1847,"landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151","Landscape with Picnickers and Donkeys by a Gate",{"_42":499,"_219":500,"_373":501,"_375":376,"_377":502,"_379":503,"_381":-5,"_382":-5,"_383":-5,"_140":103},"c. 1830-1880","oil on canvas","overall: 123.2 x 99 cm (48 1/2 x 39 in.)",99,123.2,0.79638671875,[484,485,486,487,488],{"_218":352,"_219":353,"_42":354,"_301":355},"1942.9.14","Joseph Paul painted this in about 1830-1880, aged about 26. It is now at the National Gallery of Art in Washington, DC.","This painting shows a serene pastoral scene with trees, a wooden gate, and foliage extending towards the horizon. Closest to us, there is a low riverbank with some tree branches in the water. Up a grassy dirt hill, two donkeys are visible off to the right, partially hidden by vegetation. On the left, a dirt path leads to the wooden gate. To the left of the gate, two people sit on the grass with a wicker basket between them. The tall trees that rise in the background have leaves in shades of green, yellow, and dark orange. The sky above the scene is yellow with some hints of light blue, and golden light shines down on the landscape.",{"_292":481,"_294":482,"_296":483},"https://img.ochreeditions.com/m/1331.jpg?dl=1","/art/landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151","/galleries/style/georgian-britain/landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151",{"_288":423,"_290":424},{"_222":476,"_125":477,"_282":478},{"_272":473,"_274":474,"_276":475,"_278":459},113.11484375,138.2,98.11484375,{"_284":222,"_123":479,"_154":480,"_140":89},{"_284":125,"_123":418,"_154":419,"_140":420},{"_284":282,"_123":415,"_154":416,"_140":417},"artist/contemporaries-of-joseph-paul","Joseph Paul's contemporaries","https://img.ochreeditions.com/a/1331/480.jpg","https://img.ochreeditions.com/a/1331/960.jpg","https://img.ochreeditions.com/a/1331/1920.jpg",{"_308":497,"_310":498},{"_308":495,"_310":496},{"_308":493,"_310":494},{"_308":491,"_310":492},{"_308":489,"_310":490},"#b4864a",0.1225,"#7f6040",0.1471,"#574a3e",0.2102,"#dcbe7c",0.2589,"#31363a",0.2613,"Joseph Paul","joseph-paul","British, 1804–1887",1804,1887,"saint-john-the-evangelist-nga-54043","Saint John the Evangelist",{"_42":550,"_219":551,"_373":552,"_375":376,"_377":553,"_379":554,"_381":-5,"_382":-5,"_383":-5,"_140":101},"1771","chiaroscuro woodcut in light and dark olive green","sheet: 19.7 × 15.3 cm (7 3/4 × 6 in.) other (text beneath image): 3.2 × 15.2 cm (1 1/4 × 6 in.) mount (irreg.): 43.7 × 31.9 cm (17 3/16 × 12 9/16 in.)",15.3,19.7,0.742431640625,[535,536,537,538,539],{"_218":352,"_219":353,"_42":354,"_301":355},"1973.58.2","John Skippe made this in 1771, aged 29. It is now at the National Gallery of Art in Washington, DC.","This is a drawing of a seated figure on a large bird. The image depicts a classically draped figure seated on a stylized bird. The figure holds an open book and gazes into the distance. The bird has sharp features and spread wings. The background contains swirling clouds. The scene is framed with a border, and there is text at the bottom. The lines are bold and the shades are muted.",{"_292":532,"_294":533,"_296":534},"https://img.ochreeditions.com/m/1571.jpg?dl=1","/art/saint-john-the-evangelist-nga-54043","/galleries/style/georgian-britain/saint-john-the-evangelist-nga-54043",{"_288":289,"_290":291},{"_222":527,"_125":528,"_282":529},{"_272":525,"_274":273,"_276":526,"_278":277},42.560791015625,18.560791015625,{"_284":222,"_123":530,"_154":531,"_140":89},{"_284":125,"_123":285,"_154":286,"_140":287},{"_284":282,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-john-skippe","John Skippe's contemporaries","https://img.ochreeditions.com/a/1571/480.jpg","https://img.ochreeditions.com/a/1571/960.jpg","https://img.ochreeditions.com/a/1571/1920.jpg",{"_308":548,"_310":549},{"_308":546,"_310":547},{"_308":544,"_310":545},{"_308":542,"_310":543},{"_308":540,"_310":541},"#b69e75",0.1243,"#877257",0.1513,"#9a8362",0.1745,"#cab68c",0.2161,"#d5c39a",0.3338,"John Skippe","john-skippe","British, 1742–1812",1742,1811,"portrait-of-the-ladies-amabel-and-mary-jemima-yorke-cma-122349","Portrait of the Ladies Amabel and Mary Jemima Yorke",{"_42":612,"_219":613,"_373":614,"_375":376,"_377":615,"_379":616,"_381":617,"_382":618,"_383":619,"_140":95},"c. 1761","Framed: 224.5 x 201.3 x 11.4 cm (88 3/8 x 79 1/4 x 4 1/2 in.); Unframed: 196 x 170 cm (77 3/16 x 66 15/16 in.); Former: 223.5 x 198 x 9 cm (88 x 77 15/16 x 3 9/16 in.)",170,196,0.8705882352941177,[597,598,599,600,601],{"_218":593,"_219":594,"_42":595,"_301":596},"Courtesy of the Cleveland Museum of Art","1942.645","Joshua Reynolds painted this in about 1761, aged about 33. It is now at the Cleveland Museum of Art.",{"_118":591,"_429":592},"Portrait of the Ladies Amabel and Mary Jemima Yorke, by Joshua Reynolds, c. 1761",{"_292":588,"_294":589,"_296":590},"https://img.ochreeditions.com/m/557.jpg?dl=1","/art/portrait-of-the-ladies-amabel-and-mary-jemima-yorke-cma-122349","/galleries/style/georgian-britain/portrait-of-the-ladies-amabel-and-mary-jemima-yorke-cma-122349",{"_288":423,"_290":424},{"_222":580,"_125":581,"_282":582},{"_272":577,"_274":578,"_276":579,"_278":561},185.63529411764705,211,170.63529411764705,{"_284":222,"_123":586,"_154":587,"_140":95},{"_284":125,"_123":583,"_154":584,"_140":585},{"_284":282,"_123":167,"_154":166,"_140":169},"style/painting-18","More paintings of the 18th century",168,"artist/joshua-reynolds","More by Joshua Reynolds","https://img.ochreeditions.com/a/557/480.jpg","https://img.ochreeditions.com/a/557/960.jpg","https://img.ochreeditions.com/a/557/1920.jpg","Sisters Amabel (left) and Mary Jemima are shown playing on the grounds of their family’s country estate outside London. They wear loose, flowing garments invented specifically for the portrait rather than their usual outdoor dresses.","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_308":610,"_310":611},{"_308":608,"_310":609},{"_308":606,"_310":607},{"_308":604,"_310":605},{"_308":602,"_310":603},"#aa9c7e",0.0806,"#7a6c4b",0.1057,"#58472b",0.1484,"#352917",0.2422,"#1d180f",0.4231,"Joshua Reynolds","joshua-reynolds","English, 1723–1792",1723,1792,"Plympton","London","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.","phasianus-versicolor-nga-53855","Phasianus Versicolor",{"_42":665,"_219":666,"_373":667,"_375":668,"_377":669,"_379":670,"_381":-5,"_382":-5,"_383":-5,"_140":101},"hand-colored etching","sheet: 10.8 × 17 cm (4 1/4 × 6 11/16 in.)",17,10.8,1.593774319066148,[650,651,652,653,654],{"_218":352,"_219":353,"_42":354,"_301":355},"1973.26.28","William Home Lizars made this. It is now at the National Gallery of Art in Washington, DC.","The image shows a pheasant with vivid green and blue plumage and intricate golden patterns on its wings. The bird has long, patterned tail feathers extended to the right. The background includes palm trees, rocky outcrops, and distant hills.",{"_292":647,"_294":648,"_296":649},"https://img.ochreeditions.com/m/1565.jpg?dl=1","/art/phasianus-versicolor-nga-53855","/galleries/style/georgian-britain/phasianus-versicolor-nga-53855",{"_288":289,"_290":291},{"_222":642,"_125":643,"_282":644},{"_272":273,"_274":640,"_276":277,"_278":641},39.68603515625,15.686035156249998,{"_284":222,"_123":645,"_154":646,"_140":89},{"_284":125,"_123":285,"_154":286,"_140":287},{"_284":282,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-william-home-lizars","William Home Lizars's contemporaries","https://img.ochreeditions.com/a/1565/480.jpg","https://img.ochreeditions.com/a/1565/960.jpg","https://img.ochreeditions.com/a/1565/1920.jpg",{"_308":663,"_310":664},{"_308":661,"_310":662},{"_308":659,"_310":660},{"_308":657,"_310":658},{"_308":655,"_310":656},"#294d6a",0.0227,"#666947",0.0414,"#94826b",0.0805,"#c2b295",0.216,"#e5d4b6",0.6394,"William Home Lizars","william-home-lizars","Scottish, 1788–1859","Scottish",1788,1859,"a-dell-at-helmingham-park-suffolk-nga-119643","A Dell at Helmingham Park, Suffolk",{"_42":721,"_219":722,"_373":723,"_375":376,"_377":724,"_379":725,"_381":726,"_382":618,"_383":727,"_140":97},"1830","mezzotint on laid paper","plate: 17.8 x 22.2 cm (7 x 8 3/4 in.) sheet: 26 x 31 cm (10 1/4 x 12 3/16 in.)",22.2,17.8,1.2397094430992737,[706,707,708,709,710],{"_218":352,"_219":353,"_42":354,"_301":355},"2001.118.21","David Lucas made this in 1830, aged 28. It is now at the National Gallery of Art in Washington, DC.","A rough wooden footbridge crosses a shadowy ravine in the old woodland of Helmingham Park in Suffolk, with light filtering through the canopy and a path leading on into the trees.","The image shows a landscape scene with a frontal view of a dense forest. A wooden bridge spans across a narrow ravine or creek. The painting features vigorous and textural brushstrokes with dark tones creating a shadowy effect. The color palette includes deep blacks, dark browns, and occasional highlights of light filtering through the canopy. In the distance, lighter areas suggest a path leading further into the woods, surrounded by trees and undergrowth.",{"_292":703,"_294":704,"_296":705},"https://img.ochreeditions.com/m/1651.jpg?dl=1","/art/a-dell-at-helmingham-park-suffolk-nga-119643","/galleries/style/georgian-britain/a-dell-at-helmingham-park-suffolk-nga-119643",{"_288":289,"_290":291},{"_222":695,"_125":696,"_282":697},{"_272":273,"_274":693,"_276":277,"_278":694},44.166015625,20.166015625,{"_284":222,"_123":701,"_154":702,"_140":97},{"_284":125,"_123":698,"_154":699,"_140":700},{"_284":282,"_123":415,"_154":416,"_140":417},"style/print-19","More prints of the 19th century",159,"artist/david-lucas","More by David Lucas","https://img.ochreeditions.com/a/1651/480.jpg","https://img.ochreeditions.com/a/1651/960.jpg","https://img.ochreeditions.com/a/1651/1920.jpg",{"_308":719,"_310":720},{"_308":717,"_310":718},{"_308":715,"_310":716},{"_308":713,"_310":714},{"_308":711,"_310":712},"#cbb99e",0.0447,"#807262",0.0496,"#574d44",0.1716,"#e9d5b8",0.2987,"#403936",0.4354,"David Lucas","david-lucas","British, 1802–1881",1802,1881,"Geddington Chase, Northamptonshire","Lucas was a mezzotint engraver best known for his long collaboration with John Constable.","peamore-devon-nga-137152","Peamore, Devon",{"_42":780,"_219":781,"_373":782,"_375":376,"_377":783,"_379":784,"_381":-5,"_382":-5,"_383":-5,"_140":103},"1799","drawing","Drawing","wash and watercolor with pen and black ink over graphite on eight joined sheets of laid paper, on the artist's original mount","image: 45.2 x 57.3 cm (17 13/16 x 22 9/16 in.)",57.3,45.2,1.2337349397590363,[765,766,767,768,769],{"_218":352,"_219":353,"_42":354,"_301":355},"2007.16.1","John White Abbott painted this in 1799, aged 36. It is now at the National Gallery of Art in Washington, DC.","The image shows a forest by a serene, tree-lined body of water. The horizon is high with tall trees extending close to it, creating a sense of depth. The brushstrokes and watercolor application are delicate, capturing textures of leaves and water gently. The color palette includes muted greens, soft browns, and hints of blue and cream. Closest to us is a dense cluster of trees on the right, curving over the water. Across the water, other tree clusters and shrubs recede into the misty background towards the left.",{"_292":762,"_294":763,"_296":764},"https://img.ochreeditions.com/m/1666.jpg?dl=1","/art/peamore-devon-nga-137152","/galleries/style/georgian-britain/peamore-devon-nga-137152",{"_288":289,"_290":291},{"_222":754,"_125":755,"_282":756},{"_272":751,"_274":752,"_276":736,"_278":753},81.3,70.4443359375,46.44433593749999,{"_284":222,"_123":760,"_154":761,"_140":89},{"_284":125,"_123":757,"_154":758,"_140":759},{"_284":282,"_123":167,"_154":166,"_140":169},"style/drawing-18","More drawings of the 18th century",31,"artist/contemporaries-of-john-white-abbott","John White Abbott's contemporaries","https://img.ochreeditions.com/a/1666/480.jpg","https://img.ochreeditions.com/a/1666/960.jpg","https://img.ochreeditions.com/a/1666/1920.jpg",{"_308":778,"_310":779},{"_308":776,"_310":777},{"_308":774,"_310":775},{"_308":772,"_310":773},{"_308":770,"_310":771},"#afad94",0.085,"#ab9571",0.1157,"#6f624e",0.1563,"#8a7c62",0.2097,"#d9c9b1",0.4333,"John White Abbott","john-white-abbott","British, 1763–1851",1763,1851,"wooded-landscape-with-village-scene-aic-186081","Wooded Landscape with Village Scene",{"_42":837,"_219":838,"_373":839,"_375":449,"_377":840,"_379":669,"_381":841,"_382":618,"_383":842,"_140":97},"early 1770s (not later than 1772)","watercolour","Drawing and Watercolor","Varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again","43.5 × 55.9 cm (17 3/16 × 22 1/16 in.)",55,43,1.3040078201368523,[822,823,824,825,826],{"_218":298,"_219":299,"_42":300,"_301":302},"2012.80","Thomas Gainsborough painted this in the early 1770s (not later than 1772), aged about 43. It is now at the Art Institute of Chicago.","A village nestles among dense woodland in this landscape by Thomas Gainsborough, made not in oil but in gouache over black and red chalk, then varnished and mounted on canvas to give it the depth and glow of a painting.","A work made of varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again.",{"_292":819,"_294":820,"_296":821},"https://img.ochreeditions.com/m/345.jpg?dl=1","/art/wooded-landscape-with-village-scene-aic-186081","/galleries/style/georgian-britain/wooded-landscape-with-village-scene-aic-186081",{"_288":289,"_290":291},{"_222":812,"_125":813,"_282":814},{"_272":809,"_274":810,"_276":793,"_278":811},79,66.1776611694153,42.177661169415295,{"_284":222,"_123":817,"_154":818,"_140":97},{"_284":125,"_123":815,"_154":816,"_140":53},{"_284":282,"_123":167,"_154":166,"_140":169},"style/watercolour-18","More watercolours of the 18th century","artist/thomas-gainsborough","More by Thomas Gainsborough","https://img.ochreeditions.com/a/345/480.jpg","https://img.ochreeditions.com/a/345/960.jpg","https://img.ochreeditions.com/a/345/1920.jpg",{"_308":835,"_310":836},{"_308":833,"_310":834},{"_308":831,"_310":832},{"_308":829,"_310":830},{"_308":827,"_310":828},"#75643b",0.1438,"#483b21",0.1553,"#907e51",0.1811,"#ad9d6c",0.2414,"#5c4e2c",0.2784,"Thomas Gainsborough","thomas-gainsborough","English, 1727–1788",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.","william-pitt-nga-52264","William Pitt",{"_42":890,"_219":891,"_373":892,"_375":376,"_377":893,"_379":894,"_381":-5,"_382":-5,"_383":895,"_140":99},"1787/1796","oil on board","overall: 15.5 x 12.4 cm (6 1/8 x 4 7/8 in.) framed: 29.8 x 27.6 x 5 cm (11 3/4 x 10 7/8 x 1 15/16 in.)",12.4,15.5,0.78515625,[875,876,877,878,879],{"_218":352,"_219":353,"_42":354,"_301":355},"1970.17.120","Gainsborough Dupont painted this in 1787/1796, aged about 33. It is now at the National Gallery of Art in Washington, DC.","William Pitt the Younger, who became prime minister in 1783 at the age of twenty-four, is shown half-length in a dark coat with red lapels and brass buttons, his face turned towards us.","The image depicts a portrait of an individual with the upper half of their body visible. The person is facing forward with their head slightly turned to the side, looking directly at the viewer. They have a fair complexion, with distinct facial features, including a rounded face and closed lips. The hair is styled in an 18th-century manner, with curls around the ears. They are wearing a dark coat with red lapels and brass buttons, over a white shirt with ruffled details. There are no visible jewelry or objects in their hands. The background is a textured, earth-toned surface.",{"_292":872,"_294":873,"_296":874},"https://img.ochreeditions.com/m/1551.jpg?dl=1","/art/william-pitt-nga-52264","/galleries/style/georgian-britain/william-pitt-nga-52264",{"_288":423,"_290":424},{"_222":867,"_125":868,"_282":869},{"_272":865,"_274":417,"_276":866,"_278":277},34.62890625,19.62890625,{"_284":222,"_123":870,"_154":871,"_140":99},{"_284":125,"_123":583,"_154":584,"_140":585},{"_284":282,"_123":167,"_154":166,"_140":169},"artist/gainsborough-dupont","More by Gainsborough Dupont","https://img.ochreeditions.com/a/1551/480.jpg","https://img.ochreeditions.com/a/1551/960.jpg","https://img.ochreeditions.com/a/1551/1920.jpg",{"_308":888,"_310":889},{"_308":886,"_310":887},{"_308":884,"_310":885},{"_308":882,"_310":883},{"_308":880,"_310":881},"#85341a",0.0178,"#c4a66d",0.0716,"#584531",0.2222,"#2e302c",0.2272,"#7e663a",0.4612,"Gainsborough Dupont","gainsborough-dupont","British, 1754–1797",1754,1797,"Gainsborough Dupont was the nephew of Thomas Gainsborough and his only known apprentice, trained in his uncle’s studio in Bath and then London, where he absorbed his style closely.","the-burning-of-the-houses-of-lords-and-commons-16-october-18-cma-122351","The Burning of the Houses of Lords and Commons, 16 October 1834",{"_42":942,"_219":943,"_373":944,"_375":449,"_377":945,"_379":784,"_381":618,"_382":618,"_383":946,"_140":97},"1835","Framed: 123.5 x 153.5 x 12 cm (48 5/8 x 60 7/16 x 4 3/4 in.); Unframed: 92 x 123.2 cm (36 1/4 x 48 1/2 in.)",92,1.3465346534653466,[927,928,929,930,931],{"_218":593,"_219":594,"_42":595,"_301":596},"1942.647","Joseph Mallord William Turner painted this in 1835, aged 60. It is now at the Cleveland Museum of Art.",{"_118":926,"_429":592},"The Burning of the Houses of Lords and Commons, 16 October 1834, by Joseph Mallord William Turner, 1835",{"_292":923,"_294":924,"_296":925},"https://img.ochreeditions.com/m/558.jpg?dl=1","/art/the-burning-of-the-houses-of-lords-and-commons-16-october-18-cma-122351","/galleries/style/georgian-britain/the-burning-of-the-houses-of-lords-and-commons-16-october-18-cma-122351",{"_288":423,"_290":424},{"_222":918,"_125":919,"_282":920},{"_272":474,"_274":916,"_276":459,"_278":917},106.49411764705881,91.49411764705881,{"_284":222,"_123":921,"_154":922,"_140":97},{"_284":125,"_123":418,"_154":419,"_140":420},{"_284":282,"_123":415,"_154":416,"_140":417},"artist/joseph-mallord-william-turner","More by Joseph Mallord William Turner","https://img.ochreeditions.com/a/558/480.jpg","https://img.ochreeditions.com/a/558/960.jpg","https://img.ochreeditions.com/a/558/1920.jpg","Fire consumed London’s famous Houses of Parliament on the night of October 16, 1834, and people gathered along the banks of the river Thames to gaze in awe at the horrifying spectacle. Initially, a low tide made it difficult to pump water to land and hampered steamers towing firefighting equipment along the river.",{"_308":940,"_310":941},{"_308":938,"_310":939},{"_308":936,"_310":937},{"_308":934,"_310":935},{"_308":932,"_310":933},"#bd914f",0.1004,"#41341e",0.1124,"#8f5f31",0.13,"#978664",0.2766,"#6d6853",0.3806,"Joseph Mallord William Turner","joseph-mallord-william-turner","English, 1775–1851",1775,"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.","lindisfarne-castle-holy-island-northumberland-met-341793","Lindisfarne Castle, Holy Island, Northumberland",{"_42":1000,"_219":1001,"_373":1002,"_375":376,"_377":945,"_379":724,"_381":618,"_382":618,"_383":-5,"_140":103},"1796–97","Drawings","Watercolor and bodycolor (gouache)","Sheet: 15 in. × 20 1/2 in. (38.1 × 52 cm)",52,38.1,1.3588621444201312,[985,986,987,988,989],{"_218":981,"_219":982,"_42":983,"_301":984},"Courtesy of The Metropolitan Museum of Art","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",{"_292":978,"_294":979,"_296":980},"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",{"_288":289,"_290":291},{"_222":973,"_125":974,"_282":975},{"_272":970,"_274":971,"_276":954,"_278":972},76,62.26731078904992,38.26731078904992,{"_284":222,"_123":976,"_154":977,"_140":89},{"_284":125,"_123":757,"_154":758,"_140":759},{"_284":282,"_123":167,"_154":166,"_140":169},"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","met","the-met","The Metropolitan Museum of Art","New York",{"_308":998,"_310":999},{"_308":996,"_310":997},{"_308":994,"_310":995},{"_308":992,"_310":993},{"_308":990,"_310":991},"#71817e",0.1423,"#827f6a",0.1494,"#d6d0b8",0.1807,"#54554c",0.21,"#adb2a3",0.3176,"Thomas Girtin","thomas-girtin","British, 1775–1802","angel-of-the-revelation-book-of-revelation-chapter-10-met-340852","Angel of the Revelation (Book of Revelation, chapter 10)",{"_42":1050,"_219":1051,"_373":1052,"_375":376,"_377":1053,"_379":1054,"_381":618,"_382":618,"_383":-5,"_140":103},"ca. 1803–5","Watercolor, pen and black ink, brush and wash, over traces of graphite","Sheet: 15 7/16 × 10 1/4 in. (39.2 × 26 cm)",26,39.2,0.6700689655172414,[1035,1036,1037,1038,1039],{"_218":981,"_219":982,"_42":983,"_301":984},"14.81.1","William Blake painted this in about 1803–5, aged about 41. It is now at The Met in New York.","Angel of the Revelation (Book of Revelation, chapter 10), by William Blake, ca. 1803–5",{"_292":1032,"_294":1033,"_296":1034},"https://img.ochreeditions.com/m/1037.jpg?dl=1","/art/angel-of-the-revelation-book-of-revelation-chapter-10-met-340852","/galleries/style/georgian-britain/angel-of-the-revelation-book-of-revelation-chapter-10-met-340852",{"_288":289,"_290":291},{"_222":1027,"_125":1028,"_282":1029},{"_272":1024,"_274":1025,"_276":1026,"_278":1010},50.26670344827586,63.2,26.266703448275862,{"_284":222,"_123":1030,"_154":1031,"_140":89},{"_284":125,"_123":757,"_154":758,"_140":759},{"_284":282,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-william-blake","William Blake's contemporaries","https://img.ochreeditions.com/a/1037/480.jpg","https://img.ochreeditions.com/a/1037/960.jpg","https://img.ochreeditions.com/a/1037/1920.jpg",{"_308":1048,"_310":1049},{"_308":1046,"_310":1047},{"_308":1044,"_310":1045},{"_308":1042,"_310":1043},{"_308":1040,"_310":1041},"#56534e",0.1228,"#9d937f",0.2009,"#7d7669",0.2195,"#c1b095",0.2267,"#e6c69f",0.2301,"William Blake","william-blake","British, 1757–1827",1757,1827,"hannah-presenting-samuel-to-eli-aic-270369","Hannah Presenting Samuel to Eli",{"_42":1102,"_219":1103,"_373":1104,"_375":449,"_377":1105,"_379":1106,"_381":-5,"_382":-5,"_383":1107,"_140":99},"c. 1783","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,[1087,1088,1089,1090,1091],{"_218":298,"_219":299,"_42":300,"_301":302},"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.",{"_292":1084,"_294":1085,"_296":1086},"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",{"_288":289,"_290":291},{"_222":1079,"_125":1080,"_282":1081},{"_272":1076,"_274":1077,"_276":1061,"_278":1078},71,60.23588863463005,36.23588863463005,{"_284":222,"_123":1082,"_154":1083,"_140":99},{"_284":125,"_123":815,"_154":816,"_140":53},{"_284":282,"_123":167,"_154":166,"_140":169},"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",{"_308":1100,"_310":1101},{"_308":1098,"_310":1099},{"_308":1096,"_310":1097},{"_308":1094,"_310":1095},{"_308":1092,"_310":1093},"#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.","two-studies-of-a-right-hand-aic-249662","Two Studies of a Right Hand",{"_42":1155,"_219":1156,"_373":1157,"_375":376,"_377":1158,"_379":1159,"_381":1160,"_382":618,"_383":1161,"_140":91},"July 26, 1800","Red and black chalk on gray wove paper","35 × 24 cm (13 13/16 × 9 1/2 in.)",24,35,0.6863089606703608,[1140,1141,1142,1143,1144],{"_218":298,"_219":299,"_42":300,"_301":302},"2019.759","Thomas Lawrence painted this (July 26, 1800), aged 31. It is now at the Art Institute of Chicago.","A work made of red and black chalk on gray wove paper.",{"_292":1137,"_294":1138,"_296":1139},"https://img.ochreeditions.com/m/380.jpg?dl=1","/art/two-studies-of-a-right-hand-aic-249662","/galleries/style/georgian-britain/two-studies-of-a-right-hand-aic-249662",{"_288":289,"_290":291},{"_222":1132,"_125":1133,"_282":1134},{"_272":1129,"_274":1130,"_276":1131,"_278":1115},48.02081362346263,59,24.02081362346263,{"_284":222,"_123":1135,"_154":1136,"_140":91},{"_284":125,"_123":815,"_154":816,"_140":53},{"_284":282,"_123":167,"_154":166,"_140":169},"artist/thomas-lawrence","More by Thomas Lawrence","https://img.ochreeditions.com/a/380/480.jpg","https://img.ochreeditions.com/a/380/960.jpg","https://img.ochreeditions.com/a/380/1920.jpg",{"_308":1153,"_310":1154},{"_308":1151,"_310":1152},{"_308":1149,"_310":1150},{"_308":1147,"_310":1148},{"_308":1145,"_310":1146},"#a7907b",0.0792,"#c6aa92",0.1158,"#f8e0c6",0.1662,"#cdbba7",0.2354,"#d9ccba",0.4034,"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.",{"_1163":-5,"_1164":1165,"_1166":1167,"_1168":8,"_1169":1170,"_1171":8},"user","csrf","2cd301a68edd6b89e170b11385b058778f77a401","cartCount",0,"dropLive","legal",[1172,1173,1174,1175,1176,1177,1178,1179,1180,1181,1182,1183],"uploadsEnabled",{"_219":1206,"_20":1207},{"_219":1204,"_20":1205},{"_219":1202,"_20":1203},{"_219":1200,"_20":1201},{"_219":1198,"_20":1199},{"_219":1196,"_20":1197},{"_219":1194,"_20":1195},{"_219":1192,"_20":1193},{"_219":1190,"_20":1191},{"_219":1188,"_20":1189},{"_219":1186,"_20":1187},{"_219":1184,"_20":1185},"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"]