Royal Academy Exhibition of 1859
The Royal Academy Exhibition of 1859 was the ninety first annual Summer Exhibition of the British Royal Academy of Arts. It was held at the National Gallery on Trafalgar Square in London between 2 May and 23 July 1859. It was notable for two sequel paintings Henry Nelson O'Neil's Home Again and Abraham Solomon's Not Guilty. John Everett Millais's The Vale of Rest and Spring provoked a debate about the continuing legacy of the Pre-Raphaelite movement.[1] Millais also submitted the historical painting The Love of James the First of Scotland. One of the most popular works with the public was Dividend Day at the Bank of England by George Elgar Hicks.[2]
Having recently had a painting rejected by the British Institution, Frederic Leighton carefully selected three works to exhibit, all featuring the Italian model Anna Risi.[3] Daniel Maclise submitted a single painting The Poet to His Wife based on a song by Thomas Moore.[4] Edwin Landseer's Doubtful Crumbs continued his theme of sentimental animal painting. William Powell Frith displayed the portrait Charles Dickens in His Study while other members of The Clique were also prominently displayed, with John Phillip presenting a portrait of his friend and fellow artist Augustus Egg. Francis Grant continued in the tradition of Thomas Lawrence by displaying high society portraits while Clarkson Stanfield featured romantic seascapes such as On the Coast of Brittany. Emily Osborn was amongst the female artists who displayed works.
Gallery
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Not Guilty by Abraham Solomon
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Home Again by Henry Nelson O'Neil
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Pavonia by Frederic Leighton
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A Roman Lady by Frederic Leighton
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Marie Antoinette Listening to the Act of Accusation the Day Before Her Trial by Edward Matthew Ward
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Jeanie Deans and Queen Caroline by Charles Robert Leslie
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The Foreign Guest by Frederick Daniel Hardy
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On the Coast of Brittany by Clarkson Stanfield
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Church of Santa Maria della Salute, Venice by David Roberts
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Venice, Trabaccoli Carrying Wood, San Giorgio Maggiore and the Dogana Beyond by Edward William Cooke
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The Night Before Naseby by Augustus Egg
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The Huff by John Phillip
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The Emigrant's Last Sight of Home by Richard Redgrave
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Sunday in the Backwoods by Thomas Faed
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The Burgesses of Calais by Henry Holiday
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Felice Ballarin Reciting Tasso to the People of Chioggia by Frederick Goodall
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Silent Pleading by Marcus Stone
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Man Goeth Forth to his Labours by Philip Hermogenes Calderon
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French Peasants Finding Their Stolen Child by Philip Hermogenes Calderon
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Presentiments by Emily Osborn
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To Brighton and Back by Charles Rossiter
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The Sunday School by Robert McInnes
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Iseball by George Frederic Watts
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The King's Orchard by Arthur Hughes
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The Lesson by William Mulready
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Beilstein on the Moselle by George Stanfield
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Erasmus Williams by Eden Upton Eddis
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Warren Stormes Hale by John Robert Dicksee
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Harriet Goodhue Hosmer by William Boxall
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Earl of Derby, study for painting by Francis Grant
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References
- ^ https://chronicle250.com/1859#catalogue
- ^ Kynaston p.178-79
- ^ Bayer & Page p.164
- ^ Murray p.247
Bibliography
- Bayer, Thomas M. & Page, John R. The Development of the Art Market in England: Money as Muse, 1730–1900. Routledge, 2015.
- Kynaston, David. Till Time's Last Sand; A History of the Bank of England 1694-2013. Bloomsbury, 2020.
- Murray, Peter. Daniel Maclise, 1806-1870: Romancing the Past. Crawford Art Gallery, 2009.
- Riding, Christine. John Everett Millais. Harry N. Abrams, 2006.
- Van der Merwe, Pieter & Took, Roger. The Spectacular Career of Clarkson Stanfield. Tyne and Wear County Council Museums, 1979.