The king was reported to be delighted with the painting and rewarded Beechey with a knighthood. This enormous composition depicts King George III, the Prince of Wales and staff officers on horseback at an imagined cavalry review in Hyde Park. In 1798, he was elected a full member of the Royal Academy and painted George III and the Prince of Wales Reviewing Troops for that year's academy's exhibition. įollowing his royal appointment, the number of royal commissions he undertook increased markedly, and in 1797 he exhibited six royal portraits. That same year, he was elected as an associate member of the Royal Academy. King George III, by William Beechey, 1799–1800īeechey's style perfectly suited the conventional taste of the royal family, and in 1793, he was commissioned to paint a full-length portrait of Queen Charlotte and subsequently named as her official portrait painter. Beechey's career during this period is marked by a succession of adept and restrained portraits in the tradition of Sir Joshua Reynolds. By 1787, he had returned to London, and in 1789, he exhibited a celebrated portrait of John Douglas, Bishop of Carlisle (now in Lambeth Palace). In 1782, he moved to Norwich, where he gained several commissions, including a portrait of Sir John Wodehouse and a series of civic portraits for St. His earliest surviving portraits are small-scale full-length and conversation pieces which are reminiscent of Zoffany. He first exhibited at the Academy in 1776. 1797–1802īeechey was admitted to the Royal Academy Schools in 1772, where he is thought to have studied under Johan Zoffany. Prince Ernest, later King of Hanover (1771–1851), by William Beechey, c. JSTOR ( December 2022) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources in this section. Ashworth, Jr., Consultant for the History of Science, Linda Hall Library and Associate Professor, Department of History, University of Missouri-Kansas City.This section needs additional citations for verification. The National Portrait Gallery has over 100 of Russell’s pastel portraits, but not his rendering of astronomer William Herschel, which is in the National Maritime Museum in Greenwich ( sixth image). This example is in the Museum of the History of Science at Oxford University. The tiny earth is for the purpose of demonstrating lunar parallax. Russell also produced a lunar globe, complete with an intricate mechanical apparatus that would reproduce the complicated motion of the moon ( fifth image). We acquired them after our exhibit, The Face of the Moon, was organized in 1989, so you will not find them in the online catalog of that exhibition. Our prints are proof states, pulled before the text was added to the plates, and they really are lovely. However, we can at least make an informed judgment, since we have both of Russell’s lunar engravings in our History of Science Collection. The engravings are large, about 16 inches across, and they are quite exquisite-they have been called by some the finest lunar engravings ever executed, although we would not quite agree with that assessment. One engraving shows the moon as it appears when full ( first image detail in second image) the other depicts an artificially illuminated moon, so that every crater has a shadow that helps define it ( third image detail in fourth image). But historians of science remember Russell for two lunar engravings that were published in 18, the second one appearing just after his death. Russell was noted for his pastel portraits of such notables as King George III and Sir Joseph Banks, and his skill brought him the unusual title of Crayon Painter to the King. John Russell, an English portrait painter and student of the Moon, died Apr.
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