His early ambition was to be a history painter. After studying in Rome, when he was on his way back to the US, he stopped off in London. For nearly sixty years.
In a remarkable series of chiaroscuro paintings, he tells stories from the Enlightenment of science, then of the ‘invention’ of painting.
Two of Hogarth’s later narrative series: Four Time of the Day, and Marriage A-la-Mode, were key in his new British narrative painting.
Hogarth devised series of paintings to tell moral stories entirely visually. A Harlot’s Progress and A Rake’s Progress broke new ground in British if not European painting.
Blocked by church doctrine, cultural shortcomings, lack of training and a preference for hiring established artists from continental Europe, narrative painting started with James Thornhill.
Suppressed by the Reformation, narrative painting didn’t really get going in Britain until the early 18th century, but made up for lost time.
A former surgeon, friends with Whistler, Sickert, Steer and Sargent. Influential teacher and one of the British Impressionists.
Before the 1880s, Whistler’s landscapes were very painterly, painted alla prima, showed views later featured by Impressionists, and even used wooden panels of the same size.
Was John Ruskin a promoter or detractor? How great was his influence on the style, practice, and success?
Were Pre-Raphaelite landscape paintings just a brief and unimportant, passing phase, or did they have significant influence?