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William Dyce

Paintings

The Meeting of Jacob and Rachel Print by William Dyce

The Meeting of Jacob and Rachel

Francesca da Rimini Print by William Dyce

Francesca da Rimini

Pegwell Bay Kent Print by William Dyce

Pegwell Bay Kent

A Boy and his Parrot Print by William Dyce

A Boy and his Parrot

Piety The Knights of the Round Table about to Depart in Quest of the Holy Grail Print by William Dyce

Piety The Knights of the Round Table about to Depart in Quest of the Holy Grail

Eliezer of Damascus Print by William Dyce

Eliezer of Damascus

Glen Rosa, Isle of Arran Print by William Dyce

Glen Rosa, Isle of Arran

Welsh Landscape with two Women knitting Print by William Dyce

Welsh Landscape with two Women knitting

William Dyce

Amongst the Trees

William Dyce

Omnia Vanitas

William Dyce

Pegwell Bay, Kent a Recollection of October 5th 1858

William Dyce

Titian Preparing to Make His First Essay in Colouring

William Dyce

The Virgin and ChildWelsh Landscape with Two Women Knitting

William Dyce

Sir Galbraith Lowry Cole

William Dyce

A Coast Scene

William Dyce

A decorative design, possibly for a fabric or wallpaper,

William Dyce

A Draped Figure

William Dyce

A Lady

William Dyce

A mother and child, probably the Virgin and Child

William Dyce

A Visit to the Alchemist

William Dyce

Alexander Webster

William Dyce

An Old Mill

William Dyce

Bacchus Nursed by the Nymphs of Nyssa

William Dyce

Bacchus nursed by the Nymphs of Nyssa

William Dyce

Beatrice

William Dyce

Boy Reclining by a Pool

William Dyce

Christ as the Man of Sorrows

William Dyce

Christ by the Well - Sketch for 'The Woman of Samaria'

William Dyce

Christ's Entry Into Jerusalem

William Dyce

Conversion of Saul

William Dyce

Cottage Interior

William Dyce

Dante and Beatrice

William Dyce

David,

William Dyce

David,

William Dyce

Design for mosaic or tiles

William Dyce

William Dyce

William Dyce

William Dyce

The Meeting of Jacob and Rachel

William Dyce

A Scene in Arran

William Dyce

Eliezer of Damascus

William Dyce

William Dyce

William Dyce

William Dyce

Goat Fell Arran

William Dyce

William Dyce

Isabella Cay (also known as The Artist's Sister)

William Dyce

William Dyce

Joash Shooting The Arrow Of Deliverance

William Dyce

Henry VI at Towton, North Yorkshire

William Dyce

King Lear and the Fool in the Storm

William Dyce

William Dyce

William Dyce

The Lamentation of the Dead Christ

William Dyce

Head of Christ

William Dyce

Lowry William Frederick Dyce

William Dyce

Madonna and Child

William Dyce

Miss Anne Webster

William Dyce

Miss Hannah Carnegie

William Dyce

King Lear and the Fool in the Storm

William Dyce

Neptune Resigning To Britannia The Empire Of The Sea

William Dyce

A Scene in Arran

William Dyce

The Virgin and Child

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Francesca da Rimini Print by William Dyce

Francesca da Rimini

William Dyce FRSE RSA RA (/daɪs/; Aberdeen 19 September 1806 – 14 February 1864) was a distinguished Scottish artist, who played a significant part in the formation of public art education in the United Kingdom, as perhaps the true parent of the South Kensington Schools system. Dyce began his career at the Royal Academy schools, and then travelled to Rome for the first time in 1825. While he was there, he studied the works of Titian and Poussin. He returned toRome in 1827, this time staying for a year and a half, and during this period he appears to have made the acquaintance of the German Nazarene painter Friedrich Overbeck. After these travels, he settled for several years in Edinburgh. He supported himself by painting portraits at first, but soon took to other subjects of art, especially the religious subjects he preferred.

He was given charge of the School of Design in Edinburgh, and was then invited to London, where he was based thereafter, to head the newly established Government School of Design, later to become the Royal College of Art. Before taking up this post in 1838 he and a colleague were sent to visit France and Germany to enquire into design education there and prepare a report. He left the school in 1843, to be able to paint more, but remained a member of the Council of the school.[1] The ideas that were turned in the following decade into the "South Kensington system" that dominated English art education for the rest of the century really have their origin in Dyce's work.

His most highly thought of painting today is his exceptionally detailed seaside landscape of Pegwell Bay in Kent, now in the Tate Gallery. A rather atypical work, it is fully titled Pegwell Bay, Kent – a Recollection of October 5th 1858, and was exhibited at the Royal Academy summer exhibition in 1860.[2]

He was also interested in music, especially church music, playing the organ and composing works that outlasted him.

William Dyce

William Dyce

The largest collection of William Dyce's work is held at Aberdeen Art Gallery, Scotland.


Westminster frescoes
St Joseph by William Dyce (1806–1864)
The Return of King Arthur
Knights of the Round Table Departing on the Quest for the Holy Grail

Later in his career, Dyce turned to fresco-painting, and was selected to execute a series of murals at the newly completed the Palace of Westminster.[3] In preparation for work at Westminster, he returned to Italy in 1845–47, to observe the fresco techniques employed there. He was particularly impressed by Pinturicchio's frescoes in the Piccolomini Library in Siena, and by the works of Perugino.

Dyce was commissioned to decorate the Queen's Robing Room in the Palace. He chose as his subject the Arthurian legends,[4] He had some difficulty adapting the Courtly love of Malory's tales to Victorian mores. The Arthurian legend became popular later in the Victorian period, but when Dyce received the commission to decorate the room in 1847, it was still an obscure subject. The legend soon became a major problem for Dyce, as it turns on the unfaithfulness of a queen, which causes the fall of a kingdom.

After initially experimenting with a narrative sequence in which the tale would unfold in the room's panels, Dyce abandoned this in favour of an allegorical approach. In their finished form, Dyce's frescoes depict scenes from the Arthurian legend that are intended to exemplify the virtues inscribed beneath them. The actions of the figures in his frescoes appear to the modern viewer to convey qualities whose status as virtues is uncertain, and the connection between the episodes from the Arthurian legend and the virtues they represent is sometimes difficult to discern. The virtues depicted are Mercy, Hospitality, Generosity, Religion, and Courtesy. Two projected frescoes, Courage and Fidelity, were never executed.

He was working on the frescoes in Westminster when he collapsed, and later died at his home in Streatham on 14 February 1864. He was buried at St Leonard's Church, Streatham. A nearby drinking fountain, designed in the neo-Gothic style by Dyce, was subsequently dedicated to him by the parishioners.


References

Frayling, Christopher, The Royal College of Art: One Hundred and Fifty Years of Art and Design, pp. 17–22, 1987, Barrie & Jenkins, London, ISBN 0-7126-1820-1
Tate Gallery
The complex history surrounding the decoration is best summarized by T. S. R. Boase, The Decorations of the New Palace of Westminster 1841–1863, in: Journal of the Warburg and Courtauld Institutes 17:1954, pp. 319–358.

"The Legend of King Arthur". UK Parliament. Retrieved 5 June 2012.

This article incorporates text from a publication now in the public domain: Wood, James, ed. (1907). "article name needed". The Nuttall Encyclopædia. London and New York: Frederick Warne.

External links

The Quest for the Grail: Arthurian Legend in British Art, 1840–1920
1911 Encyclopædia Britannica
Phryne's list of pictures in accessible collections in the UK
The Pre-Raph Pack – More about the artists, the techniques they used and a timeline spanning 100 years
Iian Neill. "William Dyce (1806–1864)". Art Renewal Center. Retrieved 30 January 2006.

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