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Following the closure of the De Morgan Centre, London, in the summer of 2014, the Watts Gallery and the De Morgan Foundation, a registered charity [8] preserving the work of William De Morgan and Evelyn De Morgan, entered into a collaboration which saw the opening of a long term exhibition in the Richard Jeffries Gallery in the main gallery building. [9]
Richard Jefferies agreed to sit for Jon Edgar for a portrait using local Compton clay quarried from the foundations of the Brickfields pottery of Mary Wondrausch.The portrait was unveiled at the re-opening of the Watts Gallery in June 2011 and forms part of the Compton Triptych [2] unveiled at The Human Clay exhibition, Lewis Elton Gallery, University of Surrey in November 2011.
Watts worked on the painting for a further five years, and the completed version was exhibited for the first time at the New Gallery in 1891. Between 1902 and 1906 the painting was exhibited around the United Kingdom, and it is now in the collection of the Watts Gallery in Compton , Surrey.
Wilfrid Jasper Walter Blunt (19 July 1901 – 8 January 1987), known simply as Wilfrid Blunt, was an English art teacher, writer, artist and a curator of the Watts Gallery in Compton, Surrey, from 1959 until 1983.
Hope Second version of Hope, 1886 Artist George Frederic Watts Year 1886 (1886), further versions 1886–1895 Type Oil Dimensions 142.2 cm × 111.8 cm (56.0 in × 44.0 in) Location Tate Britain Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone ...
a Although the memorial had been designed with space for 120 tablets, the Watts Gallery had been hostile to plans to complete it beyond the 53 tablets existing at the time of Mary Watts's death, considering the monument in its unfinished state to be a symbol of the Watts's values and beliefs, and that its status as a historic record of its time ...
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The All-Pervading is an allegorical painting produced between 1887 and 1890 by the English artist George Frederic Watts.Influenced by the Sibyls of the Sistine Chapel ceiling, it symbolises the spirit Watts saw as governing "the immeasurable expanse".