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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.","wivenhoe-park-essex-nga-1147","Wivenhoe Park, Essex",{"_42":398,"_218":399,"_320":400,"_322":401,"_324":402,"_326":403,"_328":-5,"_330":-5,"_332":404,"_140":99},"1816",19,"painting","Painting","oil on canvas","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,[383,384,385,386,387],{"_217":379,"_218":380,"_42":381,"_299":382},"Courtesy National Gallery of Art, Washington","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.",{"_290":376,"_292":377,"_294":378},"https://img.ochreeditions.com/m/1327.jpg?dl=1","/art/wivenhoe-park-essex-nga-1147","/galleries/style/georgian-britain/wivenhoe-park-essex-nga-1147",{"_286":374,"_288":375},{"_221":363,"_125":364,"_281":365},{"_272":360,"_274":361,"_276":343,"_278":362},116.2,69.8001953125,54.8001953125,{"_283":221,"_123":372,"_154":373,"_140":99},{"_283":125,"_123":369,"_154":370,"_140":371},{"_283":281,"_123":366,"_154":367,"_140":368},"era/19-britain","19th-century Britain",40,"style/painting-19","More paintings of the 19th century",432,"artist/john-constable","More by John Constable","natural","ivory","https://img.ochreeditions.com/a/1327/480.jpg","https://img.ochreeditions.com/a/1327/960.jpg","https://img.ochreeditions.com/a/1327/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington","Washington, DC",{"_306":396,"_308":397},{"_306":394,"_308":395},{"_306":392,"_308":393},{"_306":390,"_308":391},{"_306":388,"_308":389},"#796b3d",0.0911,"#7c8b94",0.0987,"#4d442a",0.2058,"#322d1a",0.2536,"#837f77",0.3508,"John Constable","john-constable","English, 1776–1837","English",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.","saint-john-the-evangelist-nga-54043","Saint John the Evangelist",{"_42":458,"_218":459,"_320":460,"_322":323,"_324":461,"_326":462,"_328":-5,"_330":-5,"_332":-5,"_140":101},"1771","print","Print","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,[443,444,445,446,447],{"_217":379,"_218":380,"_42":381,"_299":382},"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.",{"_290":440,"_292":441,"_294":442},"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",{"_286":287,"_288":289},{"_221":432,"_125":433,"_281":434},{"_272":428,"_274":429,"_276":430,"_278":431},42.560791015625,49,18.560791015625,25,{"_283":221,"_123":438,"_154":439,"_140":89},{"_283":125,"_123":435,"_154":436,"_140":437},{"_283":281,"_123":166,"_154":165,"_140":168},"style/print-18","More prints of the 18th century",129,"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",{"_306":456,"_308":457},{"_306":454,"_308":455},{"_306":452,"_308":453},{"_306":450,"_308":451},{"_306":448,"_308":449},"#b69e75",0.1243,"#877257",0.1513,"#9a8362",0.1745,"#cab68c",0.2161,"#d5c39a",0.3338,"John Skippe","john-skippe","British, 1742–1812",1742,1811,"wooded-landscape-with-village-scene-aic-186081","Wooded Landscape with Village Scene",{"_42":511,"_218":512,"_320":513,"_322":401,"_324":514,"_326":515,"_328":516,"_330":331,"_332":517,"_140":97},"early 1770s (not later than 1772)","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,[496,497,498,499,500],{"_217":296,"_218":297,"_42":298,"_299":300},"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.",{"_290":493,"_292":494,"_294":495},"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",{"_286":287,"_288":289},{"_221":488,"_125":489,"_281":490},{"_272":485,"_274":486,"_276":469,"_278":487},79,66.1776611694153,42.177661169415295,{"_283":221,"_123":491,"_154":492,"_140":97},{"_283":125,"_123":284,"_154":285,"_140":53},{"_283":281,"_123":166,"_154":165,"_140":168},"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",{"_306":509,"_308":510},{"_306":507,"_308":508},{"_306":505,"_308":506},{"_306":503,"_308":504},{"_306":501,"_308":502},"#75643b",0.1438,"#483b21",0.1553,"#907e51",0.1811,"#ad9d6c",0.2414,"#5c4e2c",0.2784,"Thomas Gainsborough","thomas-gainsborough","English, 1727–1788",1727,1788,"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.","a-hero-born-on-a-bier-from-the-master-of-giants-portfolio-aic-270368","A Hero Born on a Bier, from The Master of Giants Portfolio",{"_42":565,"_218":566,"_320":567,"_322":323,"_324":568,"_326":569,"_328":-5,"_330":-5,"_332":-5,"_140":103},"1779","Brush and black ink wash, with pen and black ink and opaque white and gray watercolor, on cream laid paper","38 × 56.5 cm (15 × 22 1/4 in.)",56,38,1.4658835950904052,[550,551,552,553,554],{"_217":296,"_218":297,"_42":298,"_299":300},"2023.3179","Prince Hoare painted this in 1779, aged 24. It is now at the Art Institute of Chicago.","A work made of brush and black ink wash, with pen and black ink and opaque white and gray watercolor, on cream laid paper.",{"_290":547,"_292":548,"_294":549},"https://img.ochreeditions.com/m/433.jpg?dl=1","/art/a-hero-born-on-a-bier-from-the-master-of-giants-portfolio-aic-270368","/galleries/style/georgian-britain/a-hero-born-on-a-bier-from-the-master-of-giants-portfolio-aic-270368",{"_286":287,"_288":289},{"_221":542,"_125":543,"_281":544},{"_272":539,"_274":540,"_276":524,"_278":541},80,62.20221481948321,38.20221481948321,{"_283":221,"_123":545,"_154":546,"_140":89},{"_283":125,"_123":284,"_154":285,"_140":53},{"_283":281,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-prince-hoare","Prince Hoare's contemporaries","https://img.ochreeditions.com/a/433/480.jpg","https://img.ochreeditions.com/a/433/960.jpg","https://img.ochreeditions.com/a/433/1920.jpg",{"_306":563,"_308":564},{"_306":561,"_308":562},{"_306":559,"_308":560},{"_306":557,"_308":558},{"_306":555,"_308":556},"#585149",0.103,"#796e63",0.1939,"#b5a28f",0.2006,"#dcc5ae",0.2319,"#938576",0.2706,"Prince Hoare","prince-hoare","British, 1755–1834",1755,1834,"the-hall-levens-westmoreland-aic-39249","The Hall, Levens, Westmoreland",{"_42":619,"_218":620,"_320":621,"_322":401,"_324":622,"_326":623,"_328":-5,"_330":-5,"_332":-5,"_140":101},"n.d.","Watercolor and gouache, heightened with white gouache, over graphite selectively gum varnished on cream wove card","32.8 × 46.9 cm (12 15/16 × 18 1/2 in.)",46,32,1.4286762009534286,[604,605,606,607,608],{"_217":296,"_218":297,"_42":298,"_299":300},"1940.915","Joseph Nash painted this (n.d.), aged about 20. It is now at the Art Institute of Chicago.","A work made of watercolor and gouache, heightened with white gouache, over graphite selectively gum varnished on cream wove card.",{"_290":601,"_292":602,"_294":603},"https://img.ochreeditions.com/m/141.jpg?dl=1","/art/the-hall-levens-westmoreland-aic-39249","/galleries/style/georgian-britain/the-hall-levens-westmoreland-aic-39249",{"_286":287,"_288":289},{"_221":594,"_125":595,"_281":596},{"_272":591,"_274":592,"_276":576,"_278":593},70,56.1976386036961,32.1976386036961,{"_283":221,"_123":599,"_154":600,"_140":89},{"_283":125,"_123":597,"_154":598,"_140":368},{"_283":281,"_123":366,"_154":367,"_140":368},"style/watercolour-19","More watercolours of the 19th century","artist/contemporaries-of-joseph-nash","Joseph Nash's contemporaries","https://img.ochreeditions.com/a/141/480.jpg","https://img.ochreeditions.com/a/141/960.jpg","https://img.ochreeditions.com/a/141/1920.jpg",{"_306":617,"_308":618},{"_306":615,"_308":616},{"_306":613,"_308":614},{"_306":611,"_308":612},{"_306":609,"_308":610},"#a27e51",0.1003,"#453c36",0.134,"#69523d",0.2448,"#b0a083",0.2514,"#887860",0.2695,"Joseph Nash","joseph-nash","English, 1808–1878",1808,1878,"bray-church-yard-cma-119729","Bray Church Yard",{"_42":685,"_218":686,"_320":687,"_322":323,"_324":688,"_326":689,"_328":-5,"_330":-5,"_332":-5,"_140":103},"1807","drawing","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,[670,671,672,673,674],{"_217":666,"_218":667,"_42":668,"_299":669},"Courtesy of the Cleveland Museum of Art","1940.564","John Varley painted this in 1807, aged 29. It is now at the Cleveland Museum of Art.",{"_118":663,"_664":665},"Bray Church Yard, by John Varley, 1807",{"_290":660,"_292":661,"_294":662},"https://img.ochreeditions.com/m/542.jpg?dl=1","/art/bray-church-yard-cma-119729","/galleries/style/georgian-britain/bray-church-yard-cma-119729",{"_286":287,"_288":289},{"_221":652,"_125":653,"_281":654},{"_272":649,"_274":650,"_276":632,"_278":651},60.9,48.95091176470588,24.950911764705882,{"_283":221,"_123":658,"_154":659,"_140":89},{"_283":125,"_123":655,"_154":656,"_140":657},{"_283":281,"_123":366,"_154":367,"_140":368},"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.","source","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_306":683,"_308":684},{"_306":681,"_308":682},{"_306":679,"_308":680},{"_306":677,"_308":678},{"_306":675,"_308":676},"#a69885",0.0422,"#9b8066",0.0836,"#ba9d7e",0.1977,"#ccb293",0.2307,"#ddc6a5",0.4458,"John Varley","john-varley","British, 1778–1842",1778,1842,"may-from-twelve-months-of-flowers-aic-127984","May, from Twelve Months of Flowers",{"_42":736,"_218":737,"_320":738,"_322":401,"_324":739,"_326":740,"_328":-5,"_330":-5,"_332":-5,"_140":99},"Engraving in black ink with opaque and translucent watercolor on cream laid paper","Image: 40.5 × 30.5 cm (16 × 12 1/16 in.); Sheet: 60 × 46.5 cm (23 5/8 × 18 5/16 in.)",30,0.7948175568482284,[721,722,723,724,725],{"_217":296,"_218":297,"_42":298,"_299":300},"1946.402","Henry Fletcher painted this (n.d.), aged about 20. It is now at the Art Institute of Chicago.","A lavish bouquet of the flowers that bloom in May fills this hand-coloured engraving, each blossom numbered and keyed to a list of names. It comes from Twelve Months of Flowers, published in 1730 by Robert Furber, a nurseryman in Kensington, who used the series as an illustrated catalogue of the plants he sold.","A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.",{"_290":718,"_292":719,"_294":720},"https://img.ochreeditions.com/m/308.jpg?dl=1","/art/may-from-twelve-months-of-flowers-aic-127984","/galleries/style/georgian-britain/may-from-twelve-months-of-flowers-aic-127984",{"_286":287,"_288":289},{"_221":713,"_125":714,"_281":715},{"_272":710,"_274":711,"_276":712,"_278":368},55.79270227392914,64,31.792702273929137,{"_283":221,"_123":716,"_154":717,"_140":99},{"_283":125,"_123":435,"_154":436,"_140":437},{"_283":281,"_123":166,"_154":165,"_140":168},"artist/henry-fletcher","More by Henry Fletcher","https://img.ochreeditions.com/a/308/480.jpg","https://img.ochreeditions.com/a/308/960.jpg","https://img.ochreeditions.com/a/308/1920.jpg",{"_306":734,"_308":735},{"_306":732,"_308":733},{"_306":730,"_308":731},{"_306":728,"_308":729},{"_306":726,"_308":727},"#895543",0.0153,"#625c4c",0.095,"#8b7f66",0.1544,"#b3a895",0.1556,"#d9d0bf",0.5797,"Henry Fletcher","henry-fletcher","English, 1710–1750",1710,1750,"mrs-paul-cobb-methuen-nga-1159","Mrs. Paul Cobb Methuen",{"_42":511,"_218":512,"_320":513,"_322":401,"_324":514,"_326":515,"_328":516,"_330":331,"_332":517,"_140":97},"c. 1776/1777","overall: 84 x 71 cm (33 1/16 x 27 15/16 in.)",71,84,0.837890625,[774,775,776,777,778],{"_217":379,"_218":380,"_42":381,"_299":382},"1942.9.20","Thomas Gainsborough painted this in about 1776/1777, aged about 49. It is now at the National Gallery of Art in Washington, DC.","Mrs. Paul Cobb Methuen, her powdered hair piled high beneath a bank of white feathers and sparkling ornaments, glances sideways out of a dark background, her white dress trimmed with pearls and shimmering from silver to pale gold.","Shown from the waist up, a young, pale-skinned woman with her gray hair piled high atop her head is lit starkly against a dark background in this vertical portrait painting. The woman’s shoulders are angled to our left. Her face is square to us, but she looks off to our right from the corners of her eyes, which are gray rimmed with golden brown around the pupils. She has a thin face, smooth cheeks, a bow-shaped pink mouth, and a narrow chin. Her hair is mostly swept up high under a bank of pearl-white feathers and some sparkling ornaments. A few ringlets hang down the back of her neck. The bodice of her white dress scoops low across her chest and sits just above her sloping shoulders. 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.",{"_290":771,"_292":772,"_294":773},"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",{"_286":374,"_288":375},{"_221":765,"_125":766,"_281":767},{"_272":762,"_274":763,"_276":764,"_278":747},85.3828125,99,70.3828125,{"_283":221,"_123":491,"_154":492,"_140":97},{"_283":125,"_123":768,"_154":769,"_140":770},{"_283":281,"_123":166,"_154":165,"_140":168},"style/painting-18","More paintings of the 18th century",168,"https://img.ochreeditions.com/a/1336/480.jpg","https://img.ochreeditions.com/a/1336/960.jpg","https://img.ochreeditions.com/a/1336/1920.jpg",{"_306":787,"_308":788},{"_306":785,"_308":786},{"_306":783,"_308":784},{"_306":781,"_308":782},{"_306":779,"_308":780},"#6c6248",0.0752,"#a18f63",0.094,"#cec5a1",0.0952,"#383831",0.1958,"#1f2728",0.5398,"stoke-by-neyland-nga-119641","Stoke-by-Neyland",{"_42":840,"_218":841,"_320":842,"_322":323,"_324":843,"_326":844,"_328":845,"_330":331,"_332":846,"_140":97},"1830","mezzotint on laid paper [proof]","plate: 18.5 x 25.2 cm (7 5/16 x 9 15/16 in.) sheet: 19.3 x 30.6 cm (7 5/8 x 12 1/16 in.)",25.2,18.5,1.4041823791566679,[825,826,827,828,829],{"_217":379,"_218":380,"_42":381,"_299":382},"2001.118.27","David Lucas made this in 1830, aged 28. It is now at the National Gallery of Art in Washington, DC.","The tower of the church at Stoke-by-Nayland, a Suffolk village near John Constable’s birthplace, rises among trees beneath a sky of heavy, expressive cloud, while two figures work and walk along a winding road.","The image displays a landscape with a high vantage point. The horizon is low, with a row of trees. A church tower is off-center to the left. The church is surrounded by trees and buildings. A line of trees is on the right side. The sky has large, expressive clouds. A monochromatic palette of gray is used. A path winds through the scene, with two figures: one person working and another walking.",{"_290":822,"_292":823,"_294":824},"https://img.ochreeditions.com/m/1649.jpg?dl=1","/art/stoke-by-neyland-nga-119641","/galleries/style/georgian-britain/stoke-by-neyland-nga-119641",{"_286":287,"_288":289},{"_221":814,"_125":815,"_281":816},{"_272":811,"_274":812,"_276":795,"_278":813},49.2,41.94638671875,17.94638671875,{"_283":221,"_123":820,"_154":821,"_140":97},{"_283":125,"_123":817,"_154":818,"_140":819},{"_283":281,"_123":366,"_154":367,"_140":368},"style/print-19","More prints of the 19th century",159,"artist/david-lucas","More by David Lucas","https://img.ochreeditions.com/a/1649/480.jpg","https://img.ochreeditions.com/a/1649/960.jpg","https://img.ochreeditions.com/a/1649/1920.jpg",{"_306":838,"_308":839},{"_306":836,"_308":837},{"_306":834,"_308":835},{"_306":832,"_308":833},{"_306":830,"_308":831},"#bfac92",0.1024,"#8d7d6c",0.1299,"#62564c",0.1729,"#ddcaaf",0.267,"#3a3431",0.3278,"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.","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":894,"_218":895,"_320":896,"_322":401,"_324":897,"_326":898,"_328":331,"_330":331,"_332":899,"_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.)",123.2,1.3465346534653466,[879,880,881,882,883],{"_217":666,"_218":667,"_42":668,"_299":669},"1942.647","Joseph Mallord William Turner painted this in 1835, aged 60. It is now at the Cleveland Museum of Art.",{"_118":878,"_664":665},"The Burning of the Houses of Lords and Commons, 16 October 1834, by Joseph Mallord William Turner, 1835",{"_290":875,"_292":876,"_294":877},"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",{"_286":374,"_288":375},{"_221":870,"_125":871,"_281":872},{"_272":867,"_274":868,"_276":852,"_278":869},138.2,106.49411764705881,91.49411764705881,{"_283":221,"_123":873,"_154":874,"_140":97},{"_283":125,"_123":369,"_154":370,"_140":371},{"_283":281,"_123":366,"_154":367,"_140":368},"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.",{"_306":892,"_308":893},{"_306":890,"_308":891},{"_306":888,"_308":889},{"_306":886,"_308":887},{"_306":884,"_308":885},"#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",1775,1851,"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.","a-dell-at-helmingham-park-suffolk-nga-119643","A Dell at Helmingham Park, Suffolk",{"_42":840,"_218":841,"_320":842,"_322":323,"_324":843,"_326":844,"_328":845,"_330":331,"_332":846,"_140":97},"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,[928,929,930,931,932],{"_217":379,"_218":380,"_42":381,"_299":382},"2001.118.21","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.",{"_290":925,"_292":926,"_294":927},"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",{"_286":287,"_288":289},{"_221":922,"_125":923,"_281":924},{"_272":429,"_274":920,"_276":431,"_278":921},44.166015625,20.166015625,{"_283":221,"_123":820,"_154":821,"_140":97},{"_283":125,"_123":817,"_154":818,"_140":819},{"_283":281,"_123":366,"_154":367,"_140":368},"https://img.ochreeditions.com/a/1651/480.jpg","https://img.ochreeditions.com/a/1651/960.jpg","https://img.ochreeditions.com/a/1651/1920.jpg",{"_306":941,"_308":942},{"_306":939,"_308":940},{"_306":937,"_308":938},{"_306":935,"_308":936},{"_306":933,"_308":934},"#cbb99e",0.0447,"#807262",0.0496,"#574d44",0.1716,"#e9d5b8",0.2987,"#403936",0.4354,"the-death-of-saint-peter-martyr-nga-33080","The Death of Saint Peter Martyr",{"_42":990,"_218":991,"_320":992,"_322":323,"_324":993,"_326":994,"_328":-5,"_330":-5,"_332":-5,"_140":101},"1739","chiaroscuro woodcut in black [trial proof]","sheet: 53.4 × 35.5 cm (21 × 14 in.)",35.5,53.4,0.667236328125,[975,976,977,978,979],{"_217":379,"_218":380,"_42":381,"_299":382},"1946.11.72","John Baptist Jackson made this in 1739, aged 38. It is now at the National Gallery of Art in Washington, DC.","This drawing depicts multiple figures in a forest setting. An angelic figure hovers at the top with wings outstretched. The forest below is filled with intricately detailed trees. Figures on the ground are in dynamic poses, one showing surprise or fear, and another reaching upwards. The composition is detailed with flowing garments and textured foliage, evoking tension and animation.",{"_290":972,"_292":973,"_294":974},"https://img.ochreeditions.com/m/1484.jpg?dl=1","/art/the-death-of-saint-peter-martyr-nga-33080","/galleries/style/georgian-britain/the-death-of-saint-peter-martyr-nga-33080",{"_286":287,"_288":289},{"_221":967,"_125":968,"_281":969},{"_272":964,"_274":965,"_276":966,"_278":950},59.630419921874996,77.4,35.630419921874996,{"_283":221,"_123":970,"_154":971,"_140":89},{"_283":125,"_123":435,"_154":436,"_140":437},{"_283":281,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-john-baptist-jackson","John Baptist Jackson's contemporaries","https://img.ochreeditions.com/a/1484/480.jpg","https://img.ochreeditions.com/a/1484/960.jpg","https://img.ochreeditions.com/a/1484/1920.jpg",{"_306":988,"_308":989},{"_306":986,"_308":987},{"_306":984,"_308":985},{"_306":982,"_308":983},{"_306":980,"_308":981},"#e7d7bb",0.1183,"#827567",0.1749,"#c7b79d",0.2054,"#afa08a",0.24,"#998b79",0.2614,"John Baptist Jackson","john-baptist-jackson","British, 1701–1780",1701,1780,"self-portrait-aic-11706","Self-Portrait",{"_42":1042,"_218":1043,"_320":1044,"_322":401,"_324":568,"_326":1045,"_328":-5,"_330":-5,"_332":1046,"_140":99},"c. 1779","Red chalk on cream laid paper","30.6 × 17.5 cm (12 1/16 × 6 15/16 in.)",17,0.5697549441100602,[1027,1028,1029,1030,1031],{"_217":296,"_218":297,"_42":298,"_299":300},"1924.122","John Flaxman painted this in about 1779, aged about 20. It is now at the Art Institute of Chicago.","John Flaxman drew himself in red chalk around 1779, in his mid-twenties, when he was designing reliefs and portrait medallions for Josiah Wedgwood’s pottery.","A work made of red chalk on cream laid paper.",{"_290":1024,"_292":1025,"_294":1026},"https://img.ochreeditions.com/m/22.jpg?dl=1","/art/self-portrait-aic-11706","/galleries/style/georgian-britain/self-portrait-aic-11706",{"_286":287,"_288":289},{"_221":1019,"_125":1020,"_281":1021},{"_272":1016,"_274":1017,"_276":1018,"_278":695},41.0926483233018,54,17.092648323301805,{"_283":221,"_123":1022,"_154":1023,"_140":99},{"_283":125,"_123":284,"_154":285,"_140":53},{"_283":281,"_123":166,"_154":165,"_140":168},"artist/john-flaxman","More by John Flaxman","https://img.ochreeditions.com/a/22/480.jpg","https://img.ochreeditions.com/a/22/960.jpg","https://img.ochreeditions.com/a/22/1920.jpg",{"_306":1040,"_308":1041},{"_306":1038,"_308":1039},{"_306":1036,"_308":1037},{"_306":1034,"_308":1035},{"_306":1032,"_308":1033},"#d9ae94",0.0642,"#bcb3aa",0.0688,"#ca8a70",0.0739,"#e1cbb5",0.182,"#e1d0be",0.6111,"John Flaxman","john-flaxman","English, 1755–1826",1826,"Flaxman trained at the Royal Academy Schools and first made his name modelling designs for Josiah Wedgwood’s jasperware.","the-captive-slave-ira-aldridge-aic-193664","The Captive Slave (Ira Aldridge)",{"_42":1097,"_218":1098,"_320":1099,"_322":401,"_324":1100,"_326":1101,"_328":-5,"_330":-5,"_332":-5,"_140":103},"1827","Oil on canvas","127 × 101.5 cm (50 × 40 in.); Framed: 167.1 × 141.7 cm (65 3/4 × 55 3/4 in.)",101,127,0.7940150839347985,[1082,1083,1084,1085,1086],{"_217":296,"_218":297,"_42":298,"_299":300},"2008.188","John Philip Simpson painted this in 1827, aged 45. It is now at the Art Institute of Chicago.",{"_118":1080,"_664":1081},"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.",{"_290":1077,"_292":1078,"_294":1079},"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",{"_286":374,"_288":375},{"_221":1072,"_125":1073,"_281":1074},{"_272":1069,"_274":1070,"_276":1071,"_278":1054},115.83991565971941,142,100.83991565971941,{"_283":221,"_123":1075,"_154":1076,"_140":89},{"_283":125,"_123":369,"_154":370,"_140":371},{"_283":281,"_123":366,"_154":367,"_140":368},"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.",{"_306":1095,"_308":1096},{"_306":1093,"_308":1094},{"_306":1091,"_308":1092},{"_306":1089,"_308":1090},{"_306":1087,"_308":1088},"#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,"mr-quick-as-vellum-in-addison-s-drummer-aic-256186","Mr. Quick as Vellum in Addison's Drummer",{"_42":1147,"_218":1148,"_320":1149,"_322":401,"_324":1150,"_326":1151,"_328":-5,"_330":-5,"_332":-5,"_140":103},"1792","36.8 × 27.9 cm (14 1/2 × 11 in.); Framed: 46.4 × 38.1 × 6 cm (18 1/4 × 15 × 2 3/8 in.)",27,36,0.7591623036649214,[1133,1134,1135,1136,1137],{"_217":296,"_218":297,"_42":298,"_299":300},"2020.59","Samuel De Wilde painted this in 1792, aged 44. It is now at the Art Institute of Chicago.","A work made of oil on canvas.",{"_290":1130,"_292":1131,"_294":1132},"https://img.ochreeditions.com/m/391.jpg?dl=1","/art/mr-quick-as-vellum-in-addison-s-drummer-aic-256186","/galleries/style/georgian-britain/mr-quick-as-vellum-in-addison-s-drummer-aic-256186",{"_286":374,"_288":375},{"_221":1125,"_125":1126,"_281":1127},{"_272":1122,"_274":1123,"_276":1124,"_278":1108},42.32984293193717,51,27.329842931937172,{"_283":221,"_123":1128,"_154":1129,"_140":89},{"_283":125,"_123":768,"_154":769,"_140":770},{"_283":281,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-samuel-de-wilde","Samuel De Wilde's contemporaries","https://img.ochreeditions.com/a/391/480.jpg","https://img.ochreeditions.com/a/391/960.jpg","https://img.ochreeditions.com/a/391/1920.jpg",{"_306":1145,"_308":1146},{"_306":1143,"_308":1144},{"_306":1142,"_308":453},{"_306":1140,"_308":1141},{"_306":1138,"_308":1139},"#89694e",0.141,"#26261b",0.1523,"#351e16","#553e2e",0.1862,"#4a4b3c",0.346,"Samuel De Wilde","samuel-de-wilde","English, 1748–1832",1748,1832,{"_1153":-5,"_1154":1155,"_1156":1157,"_1158":8,"_1159":1160,"_1161":8},"user","csrf","b04d3261fde53f9c820d59337a09d21f060653d2","cartCount",0,"dropLive","legal",[1162,1163,1164,1165,1166,1167,1168,1169,1170,1171,1172,1173],"uploadsEnabled",{"_218":1196,"_20":1197},{"_218":1194,"_20":1195},{"_218":1192,"_20":1193},{"_218":1190,"_20":1191},{"_218":1188,"_20":1189},{"_218":1186,"_20":1187},{"_218":1184,"_20":1185},{"_218":1182,"_20":1183},{"_218":1180,"_20":1181},{"_218":1178,"_20":1179},{"_218":1176,"_20":1177},{"_218":1174,"_20":1175},"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"]