British painters; with eighty examples of their work engraved on wood (1881) (14597830347)

Identifier: britishpaintersw00newy (find matches)
Title: British painters; with eighty examples of their work engraved on wood
Year: 1881 (1880s)
Authors:
Subjects: Painters -- Great Britain Painting -- Great Britain
Publisher: New York, D. Appleton
Contributing Library: New York Public Library
Digitizing Sponsor: MSN



Text Appearing Before Image:
from the shelter of her pinewood hauntsTripped, to the music of the sun.gods lyre. Mr. Rivieres contributions to the Academy in 1875 differed very widelyin subject-matter, but were of great excellence in their respective depart-ments. Ore, War Time, an old shepherd looking woefully over a stonewall in the winter time, with a newspaper under his arm, in which he is sup-posed to have read a report of the death of his son. A second work,evidently one of the painters best, was The Last of the Garrison, thisbeing a dog which alone had survived the siege, and is represented lyingdown among the debris of a place that shows all the results of a hostileattack. The War Time gained a medal at Philadelphia. Our space is already exhausted, so that we can only name the artistssubsequent works exhibited at the Royal Academy, and the date of these isso comparatively recent that they must be tolerably fresh in the recollectionof our readers, especially as the subjects themselves were very attractive.
Text Appearing After Image:
1^ 31 w.ihisi \ ab\^i^ WALK Eli. tS5 In 1876 he sent a duck and frog picture, called A stern chase is always along chase, and Pallas Athene and the Swineherds Dogs. In 1877 hecontributed A Legend of St. Patrick and Lazarus. In 1878 hebecame an Associate of the Academy, and to that year belong Sympathyand An Anxious Moment. There are many other works by this painterin existence which have not appeared in public, but which we cannot evenenumerate. Apart from the subject of some of Mr. Rivieres pictures, we havenothing but praise to award to them. They show fidelity to nature and care-ful studentship in Art; and there is a grandeur in his wild animals not difficultto recognise. In November, 1859, a nervous, timid, boyish aspirant for employment as adraughtsman on wood called on the editor of Once a Ulx/c with specimens ofhis work. They were examined, approved, and a commission was given himto illustrate a story called Peasant Proprietorship, which appeared, withthe nervous young artists