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on laid paper [proof]","dimensions","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.)","width_cm",25.2,"height_cm",18.5,"aspect",1.4041823791566679,"palette",[306,307,308,309,310],"museum",{"_220":301,"_221":302,"_42":303,"_304":305},"credit","Courtesy National Gallery of Art, Washington","accession","2001.118.27","licence","CC0","story","David Lucas made this in 1830, aged 28. It is now at the National Gallery of Art in Washington, DC.","note","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.","images",{"_295":296,"_297":298,"_299":300},"download_url","https://img.ochreeditions.com/m/1649.jpg?dl=1","page_url","/art/stoke-by-neyland-nga-119641","walk_url","/galleries/style/georgian-britain/stoke-by-neyland-nga-119641","frame",{"_291":292,"_293":294},{"_224":283,"_125":284,"_285":286},"size",{"_276":277,"_278":279,"_280":243,"_281":282},"w",49.2,"h",41.94638671875,"image_w","image_h",17.94638671875,{"_287":224,"_123":170,"_154":169,"_140":97},{"_287":125,"_123":288,"_154":289,"_140":290},"era",{"_287":285,"_123":166,"_154":165,"_140":168},"facet","style/print-19","More prints of the 19th century",159,"moulding","white","mount","snow","480","https://img.ochreeditions.com/a/1649/480.jpg","960","https://img.ochreeditions.com/a/1649/960.jpg","1920","https://img.ochreeditions.com/a/1649/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington","city","Washington, DC",{"_311":321,"_313":322},{"_311":319,"_313":320},{"_311":317,"_313":318},{"_311":315,"_313":316},{"_311":312,"_313":314},"hex","#bfac92","weight",0.1024,"#8d7d6c",0.1299,"#62564c",0.1729,"#ddcaaf",0.267,"#3a3431",0.3278,"David Lucas","david-lucas","bio","British, 1802–1881","nationality","British","birth_year",1802,"death_year",1881,"birth_place","Geddington Chase, Northamptonshire","death_place","London","about_excerpt","Lucas was a mezzotint engraver best known for his long collaboration with John Constable.","bray-church-yard-cma-119729","Bray Church Yard",{"_42":400,"_221":401,"_325":402,"_327":328,"_329":403,"_331":404,"_333":-5,"_335":-5,"_337":-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,[385,386,387,388,389],{"_220":381,"_221":382,"_42":383,"_304":384},"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":378,"_379":380},"Bray Church Yard, by John Varley, 1807",{"_295":375,"_297":376,"_299":377},"https://img.ochreeditions.com/m/542.jpg?dl=1","/art/bray-church-yard-cma-119729","/galleries/style/georgian-britain/bray-church-yard-cma-119729",{"_291":292,"_293":294},{"_224":367,"_125":368,"_285":369},{"_276":364,"_278":365,"_280":347,"_281":366},60.9,48.95091176470588,24.950911764705882,{"_287":224,"_123":373,"_154":374,"_140":89},{"_287":125,"_123":370,"_154":371,"_140":372},{"_287":285,"_123":166,"_154":165,"_140":168},"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",{"_311":398,"_313":399},{"_311":396,"_313":397},{"_311":394,"_313":395},{"_311":392,"_313":393},{"_311":390,"_313":391},"#a69885",0.0422,"#9b8066",0.0836,"#ba9d7e",0.1977,"#ccb293",0.2307,"#ddc6a5",0.4458,"John Varley","john-varley","British, 1778–1842",1778,1842,"portrait-of-the-ladies-amabel-and-mary-jemima-yorke-cma-122349","Portrait of the Ladies Amabel and Mary Jemima Yorke",{"_42":465,"_221":466,"_325":467,"_327":328,"_329":468,"_331":469,"_333":470,"_335":336,"_337":471,"_140":95},"c. 1761",18,"painting","Painting","oil on canvas","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,[450,451,452,453,454],{"_220":381,"_221":382,"_42":383,"_304":384},"1942.645","Joshua Reynolds painted this in about 1761, aged about 33. It is now at the Cleveland Museum of Art.",{"_118":449,"_379":380},"Portrait of the Ladies Amabel and Mary Jemima Yorke, by Joshua Reynolds, c. 1761",{"_295":446,"_297":447,"_299":448},"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",{"_291":444,"_293":445},{"_224":433,"_125":434,"_285":435},{"_276":430,"_278":431,"_280":432,"_281":415},185.63529411764705,211,170.63529411764705,{"_287":224,"_123":442,"_154":443,"_140":95},{"_287":125,"_123":439,"_154":440,"_140":441},{"_287":285,"_123":436,"_154":437,"_140":438},"era/18-britain","18th-century Britain",42,"style/painting-18","More paintings of the 18th century",168,"artist/joshua-reynolds","More by Joshua Reynolds","natural","ivory","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.",{"_311":463,"_313":464},{"_311":461,"_313":462},{"_311":459,"_313":460},{"_311":457,"_313":458},{"_311":455,"_313":456},"#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","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.","the-death-of-saint-peter-martyr-nga-33080","The Death of Saint Peter Martyr",{"_42":522,"_221":523,"_325":524,"_327":328,"_329":525,"_331":526,"_333":-5,"_335":-5,"_337":-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,[507,508,509,510,511],{"_220":301,"_221":302,"_42":303,"_304":305},"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.",{"_295":504,"_297":505,"_299":506},"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",{"_291":292,"_293":294},{"_224":496,"_125":497,"_285":498},{"_276":493,"_278":494,"_280":495,"_281":479},59.630419921874996,77.4,35.630419921874996,{"_287":224,"_123":502,"_154":503,"_140":89},{"_287":125,"_123":499,"_154":500,"_140":501},{"_287":285,"_123":436,"_154":437,"_140":438},"style/print-18","More prints of the 18th century",129,"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",{"_311":520,"_313":521},{"_311":518,"_313":519},{"_311":516,"_313":517},{"_311":514,"_313":515},{"_311":512,"_313":513},"#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,"descent-into-the-plain-of-granada-cma-119728","Descent into the Plain of Granada",{"_42":576,"_221":577,"_325":578,"_327":579,"_329":580,"_331":581,"_333":-5,"_335":-5,"_337":-5,"_140":103},"1834","watercolor with gouache, scratch-away, and graphite","Sheet: 23.2 x 32.5 cm (9 1/8 x 12 13/16 in.)",32.5,23.2,1.3854930725346373,[561,562,563,564,565],{"_220":381,"_221":382,"_42":383,"_304":384},"1940.563","David Roberts painted this in 1834, aged 38. It is now at the Cleveland Museum of Art.",{"_118":560,"_379":380},"Descent into the Plain of Granada, by David Roberts, 1834",{"_295":557,"_297":558,"_299":559},"https://img.ochreeditions.com/m/541.jpg?dl=1","/art/descent-into-the-plain-of-granada-cma-119728","/galleries/style/georgian-britain/descent-into-the-plain-of-granada-cma-119728",{"_291":292,"_293":294},{"_224":552,"_125":553,"_285":554},{"_276":549,"_278":550,"_280":533,"_281":551},56.5,47.45735294117647,23.45735294117647,{"_287":224,"_123":555,"_154":556,"_140":89},{"_287":125,"_123":370,"_154":371,"_140":372},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-david-roberts","David Roberts's contemporaries","https://img.ochreeditions.com/a/541/480.jpg","https://img.ochreeditions.com/a/541/960.jpg","https://img.ochreeditions.com/a/541/1920.jpg","Later celebrated for his topographical landscapes of the Middle East, David Roberts’s first extended trip abroad was in 1832 when he traveled through France to Spain over a period of 10 months. This watercolor records a scene from Roberts’s journey from Madrid to Andalusia.",{"_311":574,"_313":575},{"_311":572,"_313":573},{"_311":570,"_313":571},{"_311":568,"_313":569},{"_311":566,"_313":567},"#a38250",0.1379,"#4d4a3a",0.1607,"#c2ac80",0.1695,"#78684b",0.2133,"#c8c8b5",0.3186,"David Roberts","david-roberts","Scottish, 1796–1864","Scottish",1796,1864,"lindisfarne-castle-holy-island-northumberland-met-341793","Lindisfarne Castle, Holy Island, Northumberland",{"_42":638,"_221":639,"_325":640,"_327":328,"_329":641,"_331":330,"_333":336,"_335":336,"_337":-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,[623,624,625,626,627],{"_220":619,"_221":620,"_42":621,"_304":622},"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",{"_295":616,"_297":617,"_299":618},"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",{"_291":292,"_293":294},{"_224":608,"_125":609,"_285":610},{"_276":605,"_278":606,"_280":589,"_281":607},76,62.26731078904992,38.26731078904992,{"_287":224,"_123":614,"_154":615,"_140":89},{"_287":125,"_123":611,"_154":612,"_140":613},{"_287":285,"_123":436,"_154":437,"_140":438},"style/drawing-18","More drawings of the 18th century",31,"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",{"_311":636,"_313":637},{"_311":634,"_313":635},{"_311":632,"_313":633},{"_311":630,"_313":631},{"_311":628,"_313":629},"#71817e",0.1423,"#827f6a",0.1494,"#d6d0b8",0.1807,"#54554c",0.21,"#adb2a3",0.3176,"Thomas Girtin","thomas-girtin","British, 1775–1802",1775,"mrs-paul-cobb-methuen-nga-1159","Mrs. Paul Cobb Methuen",{"_42":689,"_221":690,"_325":691,"_327":692,"_329":693,"_331":694,"_333":695,"_335":336,"_337":696,"_140":97},"c. 1776/1777","overall: 84 x 71 cm (33 1/16 x 27 15/16 in.)",71,84,0.837890625,[674,675,676,677,678],{"_220":301,"_221":302,"_42":303,"_304":305},"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.",{"_295":671,"_297":672,"_299":673},"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",{"_291":444,"_293":445},{"_224":666,"_125":667,"_285":668},{"_276":663,"_278":664,"_280":665,"_281":648},85.3828125,99,70.3828125,{"_287":224,"_123":669,"_154":670,"_140":97},{"_287":125,"_123":439,"_154":440,"_140":441},{"_287":285,"_123":436,"_154":437,"_140":438},"artist/thomas-gainsborough","More by Thomas Gainsborough","https://img.ochreeditions.com/a/1336/480.jpg","https://img.ochreeditions.com/a/1336/960.jpg","https://img.ochreeditions.com/a/1336/1920.jpg",{"_311":687,"_313":688},{"_311":685,"_313":686},{"_311":683,"_313":684},{"_311":681,"_313":682},{"_311":679,"_313":680},"#6c6248",0.0752,"#a18f63",0.094,"#cec5a1",0.0952,"#383831",0.1958,"#1f2728",0.5398,"Thomas Gainsborough","thomas-gainsborough","English, 1727–1788","English",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.","may-from-twelve-months-of-flowers-aic-127984","May, from Twelve Months of Flowers",{"_42":749,"_221":750,"_325":751,"_327":692,"_329":752,"_331":753,"_333":-5,"_335":-5,"_337":-5,"_140":99},"n.d.","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,[734,735,736,737,738],{"_220":730,"_221":731,"_42":732,"_304":733},"Courtesy of the Art Institute of Chicago","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.",{"_295":727,"_297":728,"_299":729},"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",{"_291":292,"_293":294},{"_224":722,"_125":723,"_285":724},{"_276":719,"_278":720,"_280":721,"_281":168},55.79270227392914,64,31.792702273929137,{"_287":224,"_123":725,"_154":726,"_140":99},{"_287":125,"_123":499,"_154":500,"_140":501},{"_287":285,"_123":436,"_154":437,"_140":438},"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","aic","art-institute-of-chicago","Art Institute of Chicago","Chicago",{"_311":747,"_313":748},{"_311":745,"_313":746},{"_311":743,"_313":744},{"_311":741,"_313":742},{"_311":739,"_313":740},"#895543",0.0153,"#625c4c",0.095,"#8b7f66",0.1544,"#b3a895",0.1556,"#d9d0bf",0.5797,"Henry Fletcher","henry-fletcher","English, 1710–1750",1710,1750,"weymouth-bay-met-682931","Weymouth Bay",{"_42":323,"_221":324,"_325":326,"_327":328,"_329":330,"_331":332,"_333":334,"_335":336,"_337":338,"_140":97},"Prints","Mezzotint on chine collé; progress proof","Image: 5 5/8 × 7 1/8 in. (14.3 × 18.1 cm) Plate: 6 15/16 × 8 15/16 in. (17.6 × 22.7 cm) Sheet: 11 13/16 × 15 1/8 in. (30 × 38.4 cm)",18.1,14.3,1.2588408644400786,[786,787,788,789,790],{"_220":619,"_221":620,"_42":621,"_304":622},"39.68.16","David Lucas made this in 1830, aged 28. It is now at The Met in New York.","Storm clouds pile over a sweeping bay in this mezzotint by David Lucas after a painting by John Constable, made for English Landscape Scenery, the series of prints through which Constable hoped to make his art better known.","Weymouth Bay, by David Lucas, 1830",{"_295":783,"_297":784,"_299":785},"https://img.ochreeditions.com/m/1280.jpg?dl=1","/art/weymouth-bay-met-682931","/galleries/style/georgian-britain/weymouth-bay-met-682931",{"_291":292,"_293":294},{"_224":780,"_125":781,"_285":782},{"_276":776,"_278":777,"_280":778,"_281":779},49,43.859539602028875,25,19.85953960202887,{"_287":224,"_123":170,"_154":169,"_140":97},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/1280/480.jpg","https://img.ochreeditions.com/a/1280/960.jpg","https://img.ochreeditions.com/a/1280/1920.jpg",{"_311":799,"_313":800},{"_311":797,"_313":798},{"_311":795,"_313":796},{"_311":793,"_313":794},{"_311":791,"_313":792},"#b1a8a1",0.0714,"#86807b",0.1477,"#605c59",0.2089,"#dfd6ce",0.2721,"#434140",0.2999,"portrait-of-catherine-grey-lady-manners-cma-136682","Portrait of Catherine Grey, Lady Manners",{"_42":850,"_221":851,"_325":852,"_327":328,"_329":853,"_331":854,"_333":855,"_335":336,"_337":856,"_140":91},"1794","Framed: 280.5 x 185 x 9 cm (110 7/16 x 72 13/16 x 3 9/16 in.); Unframed: 255.3 x 158 cm (100 1/2 x 62 3/16 in.)",158,255.3,0.616764705882353,[835,836,837,838,839],{"_220":381,"_221":382,"_42":383,"_304":384},"1961.220","Thomas Lawrence painted this in 1794, aged 25. It is now at the Cleveland Museum of Art.",{"_118":834,"_379":380},"Portrait of Catherine Grey, Lady Manners, by Thomas Lawrence, 1794",{"_295":831,"_297":832,"_299":833},"https://img.ochreeditions.com/m/640.jpg?dl=1","/art/portrait-of-catherine-grey-lady-manners-cma-136682","/galleries/style/georgian-britain/portrait-of-catherine-grey-lady-manners-cma-136682",{"_291":444,"_293":445},{"_224":826,"_125":827,"_285":828},{"_276":822,"_278":823,"_280":824,"_281":825},163.0235294117647,255,148.0235294117647,240,{"_287":224,"_123":829,"_154":830,"_140":91},{"_287":125,"_123":439,"_154":440,"_140":441},{"_287":285,"_123":436,"_154":437,"_140":438},"artist/thomas-lawrence","More by Thomas Lawrence","https://img.ochreeditions.com/a/640/480.jpg","https://img.ochreeditions.com/a/640/960.jpg","https://img.ochreeditions.com/a/640/1920.jpg","The Irish poet Lady Manners rejected as “unflattering” this portrait representing her as the goddess Juno, symbolized here by the peacock. Thomas Lawrence exhibited the painting at the Royal Academy in 1794 with the label “to be disposed of [sold],” but it was still in the artist’s collection when he died.",{"_311":848,"_313":849},{"_311":846,"_313":847},{"_311":844,"_313":845},{"_311":842,"_313":843},{"_311":840,"_313":841},"#a39e86",0.1526,"#363127",0.1787,"#c8c1ac",0.1879,"#7a7865",0.2019,"#585849",0.2789,"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.","the-sand-pits-hampstead-heath-aic-250453","The Sand Pits, Hampstead Heath",{"_42":906,"_221":907,"_325":908,"_327":692,"_329":469,"_331":909,"_333":-5,"_335":-5,"_337":-5,"_140":101},"Oil on panel","24.1 × 38.1 cm (9 1/2 × 15 in.); Framed: 33.7 × 47.7 × 5.1 cm (13 1/4 × 18 3/4 × 2 in.)",38,24,1.6425614803993183,[891,892,893,894,895],{"_220":730,"_221":731,"_42":732,"_304":733},"2019.193","John Linnell painted this in 1834, aged 42. It is now at the Art Institute of Chicago.","A work made of oil on panel.",{"_295":888,"_297":889,"_299":890},"https://img.ochreeditions.com/m/384.jpg?dl=1","/art/the-sand-pits-hampstead-heath-aic-250453","/galleries/style/georgian-britain/the-sand-pits-hampstead-heath-aic-250453",{"_291":444,"_293":445},{"_224":880,"_125":881,"_285":882},{"_276":877,"_278":878,"_280":862,"_281":879},53,38.1345982804625,23.134598280462495,{"_287":224,"_123":886,"_154":887,"_140":89},{"_287":125,"_123":883,"_154":884,"_140":885},{"_287":285,"_123":166,"_154":165,"_140":168},"style/painting-19","More paintings of the 19th century",432,"artist/contemporaries-of-john-linnell","John Linnell's contemporaries","https://img.ochreeditions.com/a/384/480.jpg","https://img.ochreeditions.com/a/384/960.jpg","https://img.ochreeditions.com/a/384/1920.jpg",{"_311":904,"_313":905},{"_311":902,"_313":903},{"_311":900,"_313":901},{"_311":898,"_313":899},{"_311":896,"_313":897},"#815e2f",0.1306,"#878980",0.1534,"#72828a",0.1631,"#391e13",0.276,"#563a1b",0.2769,"John Linnell","john-linnell","English, 1792–1882",1882,"noon-nga-119642","Noon",{"_42":323,"_221":324,"_325":326,"_327":328,"_329":330,"_331":332,"_333":334,"_335":336,"_337":338,"_140":97},"mezzotint on laid paper","plate: 18.5 x 25.5 cm (7 5/16 x 10 1/16 in.) sheet: 19.5 x 30.6 cm (7 11/16 x 12 1/16 in.)",25.5,1.3927235634138049,[938,939,940,941,942],{"_220":301,"_221":302,"_42":303,"_304":305},"2001.118.23","Sheep graze on a sloping hillside, watched by a shepherd, while a large dark tree anchors the right side and the land falls away to open fields under a broad sky.","The image shows a landscape with a rolling hill in the foreground sloping downward. The horizon is high, providing a view over fields and sky. Sheep graze on the hill, tended by a person. A large, dark tree is on the right. Brushstrokes vary in the sky and land, with broad strokes for clouds and finer ones for grass and foliage. The color palette is mainly black, white, and shades of grey, highlighting light and shadow.",{"_295":935,"_297":936,"_299":937},"https://img.ochreeditions.com/m/1650.jpg?dl=1","/art/noon-nga-119642","/galleries/style/georgian-britain/noon-nga-119642",{"_291":292,"_293":294},{"_224":932,"_125":933,"_285":934},{"_276":929,"_278":930,"_280":915,"_281":931},49.5,42.3094482421875,18.3094482421875,{"_287":224,"_123":170,"_154":169,"_140":97},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/1650/480.jpg","https://img.ochreeditions.com/a/1650/960.jpg","https://img.ochreeditions.com/a/1650/1920.jpg",{"_311":951,"_313":952},{"_311":949,"_313":950},{"_311":947,"_313":948},{"_311":945,"_313":946},{"_311":943,"_313":944},"#6f685f",0.1663,"#403f3c",0.1708,"#999085",0.1917,"#c4b9ae",0.2337,"#ebe2d6",0.2375,"joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865","Joshua Commanding the Sun to Stand Still upon Gibeon",{"_42":999,"_221":1000,"_325":1001,"_327":328,"_329":1002,"_331":1003,"_333":-5,"_335":-5,"_337":-5,"_140":103},"1816","overall: 150 x 231 cm (59 1/16 x 90 15/16 in.)",231,150,1.522110739502044,[984,985,986,987,988],{"_220":301,"_221":302,"_42":303,"_304":305},"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.”",{"_295":981,"_297":982,"_299":983},"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",{"_291":444,"_293":445},{"_224":976,"_125":977,"_285":978},{"_276":973,"_278":974,"_280":958,"_281":975},246,166.762939453125,151.762939453125,{"_287":224,"_123":979,"_154":980,"_140":89},{"_287":125,"_123":883,"_154":884,"_140":885},{"_287":285,"_123":166,"_154":165,"_140":168},"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",{"_311":997,"_313":998},{"_311":995,"_313":996},{"_311":993,"_313":994},{"_311":991,"_313":992},{"_311":989,"_313":990},"#adaa9f",0.1053,"#7c756a",0.1295,"#1a1609",0.2377,"#4e4a3c",0.2526,"#342a17",0.2749,"John Martin","john-martin","British, 1789–1854",1789,1854,"phasianus-versicolor-nga-53855","Phasianus Versicolor",{"_42":1049,"_221":1050,"_325":1051,"_327":579,"_329":694,"_331":1052,"_333":-5,"_335":-5,"_337":-5,"_140":101},"hand-colored etching","sheet: 10.8 × 17 cm (4 1/4 × 6 11/16 in.)",17,10.8,1.593774319066148,[1034,1035,1036,1037,1038],{"_220":301,"_221":302,"_42":303,"_304":305},"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.",{"_295":1031,"_297":1032,"_299":1033},"https://img.ochreeditions.com/m/1565.jpg?dl=1","/art/phasianus-versicolor-nga-53855","/galleries/style/georgian-britain/phasianus-versicolor-nga-53855",{"_291":292,"_293":294},{"_224":1026,"_125":1027,"_285":1028},{"_276":776,"_278":1024,"_280":778,"_281":1025},39.68603515625,15.686035156249998,{"_287":224,"_123":1029,"_154":1030,"_140":89},{"_287":125,"_123":499,"_154":500,"_140":501},{"_287":285,"_123":436,"_154":437,"_140":438},"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",{"_311":1047,"_313":1048},{"_311":1045,"_313":1046},{"_311":1043,"_313":1044},{"_311":1041,"_313":1042},{"_311":1039,"_313":1040},"#294d6a",0.0227,"#666947",0.0414,"#94826b",0.0805,"#c2b295",0.216,"#e5d4b6",0.6394,"William Home Lizars","william-home-lizars","Scottish, 1788–1859",1859,"francis-charles-seymour-conway-3rd-marquess-of-hertford-nga-50851","Francis Charles Seymour-Conway, 3rd Marquess of Hertford",{"_42":850,"_221":851,"_325":852,"_327":328,"_329":853,"_331":854,"_333":855,"_335":336,"_337":856,"_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,[1083,1084,1085,1086,1087],{"_220":301,"_221":302,"_42":303,"_304":305},"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.",{"_295":1080,"_297":1081,"_299":1082},"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",{"_291":444,"_293":445},{"_224":1077,"_125":1078,"_285":1079},{"_276":1074,"_278":1075,"_280":1076,"_281":1059},116.6768798828125,143.5,101.6768798828125,{"_287":224,"_123":829,"_154":830,"_140":91},{"_287":125,"_123":883,"_154":884,"_140":885},{"_287":285,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/1537/480.jpg","https://img.ochreeditions.com/a/1537/960.jpg","https://img.ochreeditions.com/a/1537/1920.jpg",{"_311":1095,"_313":1096},{"_311":1093,"_313":1094},{"_311":1091,"_313":1092},{"_311":1090,"_313":1089},{"_311":1088,"_313":1089},"#765636",0.0175,"#ce9972","#33250c",0.2405,"#291d08",0.2684,"#100c07",0.4561,"wivenhoe-park-essex-nga-1147","Wivenhoe Park, Essex",{"_42":1143,"_221":1144,"_325":1145,"_327":692,"_329":1146,"_331":1147,"_333":-5,"_335":-5,"_337":1148,"_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,[1128,1129,1130,1131,1132],{"_220":301,"_221":302,"_42":303,"_304":305},"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.",{"_295":1125,"_297":1126,"_299":1127},"https://img.ochreeditions.com/m/1327.jpg?dl=1","/art/wivenhoe-park-essex-nga-1147","/galleries/style/georgian-britain/wivenhoe-park-essex-nga-1147",{"_291":444,"_293":445},{"_224":1120,"_125":1121,"_285":1122},{"_276":1117,"_278":1118,"_280":1101,"_281":1119},116.2,69.8001953125,54.8001953125,{"_287":224,"_123":1123,"_154":1124,"_140":99},{"_287":125,"_123":883,"_154":884,"_140":885},{"_287":285,"_123":166,"_154":165,"_140":168},"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",{"_311":1141,"_313":1142},{"_311":1139,"_313":1140},{"_311":1137,"_313":1138},{"_311":1135,"_313":1136},{"_311":1133,"_313":1134},"#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.",{"_1150":-5,"_1151":1152,"_1153":1154,"_1155":8,"_1156":1157,"_1158":8},"user","csrf","830c00934ece3085e4ffe33ca02a18f1c3ca1906","cartCount",0,"dropLive","legal",[1159,1160,1161,1162,1163,1164,1165,1166,1167,1168,1169,1170],"uploadsEnabled",{"_221":1193,"_20":1194},{"_221":1191,"_20":1192},{"_221":1189,"_20":1190},{"_221":1187,"_20":1188},{"_221":1185,"_20":1186},{"_221":1183,"_20":1184},{"_221":1181,"_20":1182},{"_221":1179,"_20":1180},{"_221":1177,"_20":1178},{"_221":1175,"_20":1176},{"_221":1173,"_20":1174},{"_221":1171,"_20":1172},"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"]