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It is now at the Art Institute of Chicago.",{"_118":439,"_440":441},"A light-skinned woman in a long, shiny white dress sits at a desk reading a book. The book is propped on a large red pillow. 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He moved to London as a teenager, exhibited a full-length of Queen Charlotte at the Royal Academy at twenty-one, and succeeded Joshua Reynolds as Painter in Ordinary to George III.","landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151","Landscape with Picnickers and Donkeys by a Gate",{"_42":512,"_220":513,"_323":514,"_325":326,"_327":515,"_329":516,"_331":-5,"_332":-5,"_333":-5,"_140":103},"c. 1830-1880","oil on canvas","overall: 123.2 x 99 cm (48 1/2 x 39 in.)",99,123.2,0.79638671875,[497,498,499,500,501],{"_219":299,"_220":300,"_42":301,"_302":303},"1942.9.14","Joseph Paul painted this in about 1830-1880, aged about 26. It is now at the National Gallery of Art in Washington, DC.","This painting shows a serene pastoral scene with trees, a wooden gate, and foliage extending towards the horizon. Closest to us, there is a low riverbank with some tree branches in the water. Up a grassy dirt hill, two donkeys are visible off to the right, partially hidden by vegetation. On the left, a dirt path leads to the wooden gate. To the left of the gate, two people sit on the grass with a wicker basket between them. The tall trees that rise in the background have leaves in shades of green, yellow, and dark orange. The sky above the scene is yellow with some hints of light blue, and golden light shines down on the landscape.",{"_293":494,"_295":495,"_297":496},"https://img.ochreeditions.com/m/1331.jpg?dl=1","/art/landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151","/galleries/style/georgian-britain/landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151",{"_289":434,"_291":435},{"_223":489,"_125":490,"_283":491},{"_274":486,"_276":487,"_278":488,"_279":472},113.11484375,138.2,98.11484375,{"_285":223,"_123":492,"_154":493,"_140":89},{"_285":125,"_123":429,"_154":430,"_140":431},{"_285":283,"_123":426,"_154":427,"_140":428},"artist/contemporaries-of-joseph-paul","Joseph Paul's contemporaries","https://img.ochreeditions.com/a/1331/480.jpg","https://img.ochreeditions.com/a/1331/960.jpg","https://img.ochreeditions.com/a/1331/1920.jpg",{"_309":510,"_311":511},{"_309":508,"_311":509},{"_309":506,"_311":507},{"_309":504,"_311":505},{"_309":502,"_311":503},"#b4864a",0.1225,"#7f6040",0.1471,"#574a3e",0.2102,"#dcbe7c",0.2589,"#31363a",0.2613,"Joseph Paul","joseph-paul","British, 1804–1887",1804,1887,"noon-nga-119642","Noon",{"_42":570,"_220":571,"_323":572,"_325":326,"_327":573,"_329":574,"_331":575,"_332":463,"_333":576,"_140":97},"1830","print","Print","mezzotint on laid paper","plate: 18.5 x 25.5 cm (7 5/16 x 10 1/16 in.) sheet: 19.5 x 30.6 cm (7 11/16 x 12 1/16 in.)",25.5,18.5,1.3927235634138049,[555,556,557,558,559],{"_219":299,"_220":300,"_42":301,"_302":303},"2001.118.23","David Lucas made this in 1830, aged 28. It is now at the National Gallery of Art in Washington, DC.","Sheep graze on a sloping hillside, watched by a shepherd, while a large dark tree anchors the right side and the land falls away to open fields under a broad sky.","The image shows a landscape with a rolling hill in the foreground sloping downward. The horizon is high, providing a view over fields and sky. Sheep graze on the hill, tended by a person. A large, dark tree is on the right. Brushstrokes vary in the sky and land, with broad strokes for clouds and finer ones for grass and foliage. The color palette is mainly black, white, and shades of grey, highlighting light and shadow.",{"_293":552,"_295":553,"_297":554},"https://img.ochreeditions.com/m/1650.jpg?dl=1","/art/noon-nga-119642","/galleries/style/georgian-britain/noon-nga-119642",{"_289":290,"_291":292},{"_223":544,"_125":545,"_283":546},{"_274":541,"_276":542,"_278":525,"_279":543},49.5,42.3094482421875,18.3094482421875,{"_285":223,"_123":550,"_154":551,"_140":97},{"_285":125,"_123":547,"_154":548,"_140":549},{"_285":283,"_123":426,"_154":427,"_140":428},"style/print-19","More prints of the 19th century",159,"artist/david-lucas","More by David Lucas","https://img.ochreeditions.com/a/1650/480.jpg","https://img.ochreeditions.com/a/1650/960.jpg","https://img.ochreeditions.com/a/1650/1920.jpg",{"_309":568,"_311":569},{"_309":566,"_311":567},{"_309":564,"_311":565},{"_309":562,"_311":563},{"_309":560,"_311":561},"#6f685f",0.1663,"#403f3c",0.1708,"#999085",0.1917,"#c4b9ae",0.2337,"#ebe2d6",0.2375,"David Lucas","david-lucas","British, 1802–1881",1802,1881,"Geddington Chase, Northamptonshire","Lucas was a mezzotint engraver best known for his long collaboration with John Constable.","wooded-landscape-with-village-scene-aic-186081","Wooded Landscape with Village Scene",{"_42":625,"_220":626,"_323":627,"_325":628,"_327":629,"_329":630,"_331":631,"_332":463,"_333":632,"_140":97},"early 1770s (not later than 1772)","Varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again","43.5 × 55.9 cm (17 3/16 × 22 1/16 in.)",55,43,1.3040078201368523,[610,611,612,613,614],{"_219":371,"_220":372,"_42":373,"_302":374},"2012.80","Thomas Gainsborough painted this in the early 1770s (not later than 1772), aged about 43. It is now at the Art Institute of Chicago.","A village nestles among dense woodland in this landscape by Thomas Gainsborough, made not in oil but in gouache over black and red chalk, then varnished and mounted on canvas to give it the depth and glow of a painting.","A work made of varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again.",{"_293":607,"_295":608,"_297":609},"https://img.ochreeditions.com/m/345.jpg?dl=1","/art/wooded-landscape-with-village-scene-aic-186081","/galleries/style/georgian-britain/wooded-landscape-with-village-scene-aic-186081",{"_289":290,"_291":292},{"_223":602,"_125":603,"_283":604},{"_274":599,"_276":600,"_278":583,"_279":601},79,66.1776611694153,42.177661169415295,{"_285":223,"_123":605,"_154":606,"_140":97},{"_285":125,"_123":364,"_154":365,"_140":53},{"_285":283,"_123":167,"_154":166,"_140":169},"artist/thomas-gainsborough","More by Thomas Gainsborough","https://img.ochreeditions.com/a/345/480.jpg","https://img.ochreeditions.com/a/345/960.jpg","https://img.ochreeditions.com/a/345/1920.jpg",{"_309":623,"_311":624},{"_309":621,"_311":622},{"_309":619,"_311":620},{"_309":617,"_311":618},{"_309":615,"_311":616},"#75643b",0.1438,"#483b21",0.1553,"#907e51",0.1811,"#ad9d6c",0.2414,"#5c4e2c",0.2784,"Thomas Gainsborough","thomas-gainsborough","English, 1727–1788","English",1727,1788,"Sudbury","Gainsborough trained in London with the French engraver Hubert Gravelot, then built his career as a portraitist first in Suffolk and later in fashionable Bath before moving to London in 1774.","saint-john-the-evangelist-nga-54044","Saint John the Evangelist",{"_42":684,"_220":685,"_323":686,"_325":326,"_327":687,"_329":688,"_331":-5,"_332":-5,"_333":-5,"_140":101},"1771","chiaroscuro woodcut in tan and brown","sheet: 19.7 × 15.4 cm (7 3/4 × 6 1/16 in.) other (text beneath image): 3.2 × 15.7 cm (1 1/4 × 6 3/16 in.) mount: 38.2 × 27.1 cm (15 1/16 × 10 11/16 in.)",15.4,19.7,0.702880859375,[669,670,671,672,673],{"_219":299,"_220":300,"_42":301,"_302":303},"1973.58.3","John Skippe made this in 1771, aged 29. It is now at the National Gallery of Art in Washington, DC.","This is a drawing of a winged figure seated on a bird. The image depicts a figure with flowing robes, wings outstretched, holding an open book in one hand. The figure appears to be looking off to the side, with a serene expression. The lower part of the image includes a bird upon which the figure is seated. The bird's head is turned slightly upwards, following the direction in which the figure is gazing. The image is rendered in a warm, monochromatic palette. In the lower section of the image, there is some text, likely Latin.",{"_293":666,"_295":667,"_297":668},"https://img.ochreeditions.com/m/1572.jpg?dl=1","/art/saint-john-the-evangelist-nga-54044","/galleries/style/georgian-britain/saint-john-the-evangelist-nga-54044",{"_289":290,"_291":292},{"_223":658,"_125":659,"_283":660},{"_274":654,"_276":655,"_278":656,"_279":657},41.572021484375,49,17.572021484375,25,{"_285":223,"_123":664,"_154":665,"_140":89},{"_285":125,"_123":661,"_154":662,"_140":663},{"_285":283,"_123":167,"_154":166,"_140":169},"style/print-18","More prints of the 18th century",129,"artist/contemporaries-of-john-skippe","John Skippe's contemporaries","https://img.ochreeditions.com/a/1572/480.jpg","https://img.ochreeditions.com/a/1572/960.jpg","https://img.ochreeditions.com/a/1572/1920.jpg",{"_309":682,"_311":683},{"_309":680,"_311":681},{"_309":678,"_311":679},{"_309":676,"_311":677},{"_309":674,"_311":675},"#a28a5c",0.1319,"#d5b378",0.1774,"#b29562",0.1816,"#c1a26a",0.2372,"#d5c19a",0.2719,"John Skippe","john-skippe","British, 1742–1812",1742,1811,"joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865","Joshua Commanding the Sun to Stand Still upon Gibeon",{"_42":735,"_220":736,"_323":737,"_325":326,"_327":738,"_329":739,"_331":-5,"_332":-5,"_333":-5,"_140":103},"1816","overall: 150 x 231 cm (59 1/16 x 90 15/16 in.)",231,150,1.522110739502044,[720,721,722,723,724],{"_219":299,"_220":300,"_42":301,"_302":303},"2004.64.1","John Martin painted this in 1816, aged 27. It is now at the National Gallery of Art in Washington, DC.","Armies of men march and battle along a rocky outcropping set among huge rock formations and massive buildings under a stormy sky in this horizontal landscape painting. The people we can see all have pale skin. Sheets of rain fall from flint-gray clouds on our left into a valley, though hints of peach brighten the clouds along the mountainous horizon there. In the right half of the sky, light pours down from a brilliant white sun that breaks through white clouds to reveal topaz-blue patches of sky. The horizon comes about halfway up the composition and is lined with rugged white, pale pink, and olive-green mountains on our left and silvery-white buildings along the right half. These structures include two domed buildings and a colosseum among many others. The buildings are all enclosed within city walls buttressed with towers. The land dips precipitously from the rocky cliffs supporting the buildings, to sweep down toward us. A huge outcropping angles up like a ramp between us and the buildings in the distance. A road runs from the walled town toward us, down along the ridge and in front of the outcropping. Countless warriors march in rows of four or five across on the road past a man wearing a feathered helmet and armored breastplate. This man, Joshua, stands on a rocky precipice facing away from us with his right hand raised. He wears a scarlet-red toga under his breastplate, and a royal-blue cape flutters at his left side. He holds a round, copper-colored shield and a spear in his other hand. Two men with gray beards stand near Joshua with their backs to us. Both gesture up to the sky. One holds a slender staff and the other a curling horn. They and another pair of men, who stoop to hold poles used to carry a chest, all wear long, ivory-white robes, cherry-red drapery, and white turbans. The column of soldiers on foot and horseback pass in front of Joshua to a massive battlefield to our left. The fight takes place in a valley that leads back to a river. A bolt of lightning zigzags from the storm clouds and strikes a city in the deep distance. The artist signed the painting in the lower right, “J. Martin.”",{"_293":717,"_295":718,"_297":719},"https://img.ochreeditions.com/m/1655.jpg?dl=1","/art/joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865","/galleries/style/georgian-britain/joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865",{"_289":434,"_291":435},{"_223":712,"_125":713,"_283":714},{"_274":709,"_276":710,"_278":694,"_279":711},246,166.762939453125,151.762939453125,{"_285":223,"_123":715,"_154":716,"_140":89},{"_285":125,"_123":429,"_154":430,"_140":431},{"_285":283,"_123":426,"_154":427,"_140":428},"artist/contemporaries-of-john-martin","John Martin's contemporaries","https://img.ochreeditions.com/a/1655/480.jpg","https://img.ochreeditions.com/a/1655/960.jpg","https://img.ochreeditions.com/a/1655/1920.jpg",{"_309":733,"_311":734},{"_309":731,"_311":732},{"_309":729,"_311":730},{"_309":727,"_311":728},{"_309":725,"_311":726},"#adaa9f",0.1053,"#7c756a",0.1295,"#1a1609",0.2377,"#4e4a3c",0.2526,"#342a17",0.2749,"John Martin","john-martin","British, 1789–1854",1789,1854,"weymouth-bay-met-682931","Weymouth Bay",{"_42":570,"_220":571,"_323":572,"_325":326,"_327":573,"_329":574,"_331":575,"_332":463,"_333":576,"_140":97},"Prints","Mezzotint on chine collé; progress proof","Image: 5 5/8 × 7 1/8 in. (14.3 × 18.1 cm) Plate: 6 15/16 × 8 15/16 in. (17.6 × 22.7 cm) Sheet: 11 13/16 × 15 1/8 in. (30 × 38.4 cm)",18.1,14.3,1.2588408644400786,[775,776,777,778,779],{"_219":771,"_220":772,"_42":773,"_302":774},"Courtesy of The Metropolitan Museum of Art","39.68.16","David Lucas made this in 1830, aged 28. It is now at The Met in New York.","Storm clouds pile over a sweeping bay in this mezzotint by David Lucas after a painting by John Constable, made for English Landscape Scenery, the series of prints through which Constable hoped to make his art better known.","Weymouth Bay, by David Lucas, 1830",{"_293":768,"_295":769,"_297":770},"https://img.ochreeditions.com/m/1280.jpg?dl=1","/art/weymouth-bay-met-682931","/galleries/style/georgian-britain/weymouth-bay-met-682931",{"_289":290,"_291":292},{"_223":765,"_125":766,"_283":767},{"_274":655,"_276":763,"_278":657,"_279":764},43.859539602028875,19.85953960202887,{"_285":223,"_123":550,"_154":551,"_140":97},{"_285":125,"_123":547,"_154":548,"_140":549},{"_285":283,"_123":426,"_154":427,"_140":428},"https://img.ochreeditions.com/a/1280/480.jpg","https://img.ochreeditions.com/a/1280/960.jpg","https://img.ochreeditions.com/a/1280/1920.jpg","met","the-met","The Metropolitan Museum of Art","New York",{"_309":788,"_311":789},{"_309":786,"_311":787},{"_309":784,"_311":785},{"_309":782,"_311":783},{"_309":780,"_311":781},"#b1a8a1",0.0714,"#86807b",0.1477,"#605c59",0.2089,"#dfd6ce",0.2721,"#434140",0.2999,"small-landscape-si-saam-1956-11-20","Small Landscape","Unrecorded British maker","ca. 1750-1800","17 1/4 x 21 3/4 in. (43.8 x 55.2 cm)",55.2,43.8,1.2706480304955527,[828,829,830,831,832],{"_219":825,"_220":826,"_42":827,"_302":303},"Courtesy of the Smithsonian American Art Museum","1956.11.20","An unrecorded British artist painted this in about 1750-1800. It is now at the Smithsonian American Art Museum in Washington, DC.","Small Landscape, ca. 1750-1800",{"_293":822,"_295":823,"_297":824},"https://img.ochreeditions.com/m/1910.jpg?dl=1","/art/small-landscape-si-saam-1956-11-20","/galleries/style/georgian-britain/small-landscape-si-saam-1956-11-20",{"_289":434,"_291":435},{"_223":814,"_125":815,"_283":816},{"_274":811,"_276":812,"_278":795,"_279":813},70.2,58.4424,43.4424,{"_285":223,"_123":820,"_154":821,"_140":97},{"_285":125,"_123":817,"_154":818,"_140":819},{"_285":283,"_123":167,"_154":166,"_140":169},"style/painting-18","More paintings of the 18th century",168,"artist/unrecorded-britain","More by unrecorded makers of Britain","https://img.ochreeditions.com/a/1910/480.jpg","https://img.ochreeditions.com/a/1910/960.jpg","https://img.ochreeditions.com/a/1910/1920.jpg","si","smithsonian","Smithsonian Institution",{"_309":841,"_311":842},{"_309":839,"_311":840},{"_309":837,"_311":838},{"_309":835,"_311":836},{"_309":833,"_311":834},"#b9b5a6",0.0994,"#dbc18e",0.11,"#81643d",0.1175,"#473627",0.1784,"#211f1d",0.4947,"turtur-risorius-nga-53854","Turtur Risorius",{"_42":888,"_220":889,"_323":890,"_325":891,"_327":630,"_329":892,"_331":-5,"_332":-5,"_333":-5,"_140":101},"hand-colored lithograph","sheet: 17 × 10.5 cm (6 11/16 × 4 1/8 in.)",10.5,17,0.655517578125,[873,874,875,876,877],{"_219":299,"_220":300,"_42":301,"_302":303},"1973.26.27","William Home Lizars made this. It is now at the National Gallery of Art in Washington, DC.","This is a drawing of a bird perched on a branch. The bird is detailed and identified as \"Turtur Risorius.\" It rests on a green textured branch against a plain background. The bird has a black ring around its neck, soft brown plumage with intricate feather patterns, and light pink legs. Its eye is prominent and outlined within its head design. The branch is minimalist with small buds and thin twigs.",{"_293":870,"_295":871,"_297":872},"https://img.ochreeditions.com/m/1564.jpg?dl=1","/art/turtur-risorius-nga-53854","/galleries/style/georgian-britain/turtur-risorius-nga-53854",{"_289":290,"_291":292},{"_223":865,"_125":866,"_283":867},{"_274":863,"_276":655,"_278":864,"_279":657},40.387939453125,16.387939453125,{"_285":223,"_123":868,"_154":869,"_140":89},{"_285":125,"_123":661,"_154":662,"_140":663},{"_285":283,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-william-home-lizars","William Home Lizars's contemporaries","https://img.ochreeditions.com/a/1564/480.jpg","https://img.ochreeditions.com/a/1564/960.jpg","https://img.ochreeditions.com/a/1564/1920.jpg",{"_309":886,"_311":887},{"_309":884,"_311":885},{"_309":882,"_311":883},{"_309":880,"_311":881},{"_309":878,"_311":879},"#584c40",0.0182,"#967c5f",0.0339,"#76624d",0.0461,"#ba9770",0.0885,"#e3c59a",0.8133,"William Home Lizars","william-home-lizars","Scottish, 1788–1859","Scottish",1859,"bray-church-yard-cma-119729","Bray Church Yard",{"_42":951,"_220":952,"_323":953,"_325":326,"_327":954,"_329":955,"_331":-5,"_332":-5,"_333":-5,"_140":103},"1807","watercolor and graphite","Sheet: 24.9 x 36.9 cm (9 13/16 x 14 1/2 in.)",36.9,24.9,1.4789038712483689,[936,937,938,939,940],{"_219":932,"_220":933,"_42":934,"_302":935},"Courtesy of the Cleveland Museum of Art","1940.564","John Varley painted this in 1807, aged 29. It is now at the Cleveland Museum of Art.",{"_118":930,"_440":931},"Bray Church Yard, by John Varley, 1807",{"_293":927,"_295":928,"_297":929},"https://img.ochreeditions.com/m/542.jpg?dl=1","/art/bray-church-yard-cma-119729","/galleries/style/georgian-britain/bray-church-yard-cma-119729",{"_289":290,"_291":292},{"_223":919,"_125":920,"_283":921},{"_274":916,"_276":917,"_278":899,"_279":918},60.9,48.95091176470588,24.950911764705882,{"_285":223,"_123":925,"_154":926,"_140":89},{"_285":125,"_123":922,"_154":923,"_140":924},{"_285":283,"_123":426,"_154":427,"_140":428},"style/drawing-19","More drawings of the 19th century",92,"artist/contemporaries-of-john-varley","John Varley's contemporaries","https://img.ochreeditions.com/a/542/480.jpg","https://img.ochreeditions.com/a/542/960.jpg","https://img.ochreeditions.com/a/542/1920.jpg","The inscription on the reverse of this drawing, \"Bray Church Yard-1807,\" likely refers to St. Michael’s, the parish church in the village of Bray on the banks of the Thames in the county of Berkshire. The banks of the lower Thames Valley provided the subject matter for many of John Varley’s early watercolors.","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_309":949,"_311":950},{"_309":947,"_311":948},{"_309":945,"_311":946},{"_309":943,"_311":944},{"_309":941,"_311":942},"#a69885",0.0422,"#9b8066",0.0836,"#ba9d7e",0.1977,"#ccb293",0.2307,"#ddc6a5",0.4458,"John Varley","john-varley","British, 1778–1842",1778,1842,"stoke-by-nayland-aic-4758","Stoke-by-Nayland",{"_42":1003,"_220":1004,"_323":1005,"_325":628,"_327":1006,"_329":1007,"_331":-5,"_332":-5,"_333":1008,"_140":99},"1836","126 × 169 cm (49 5/8 × 66 1/2 in.); Framed: 170.2 × 212.1 × 16.6 cm (67 × 83 1/2 × 6 1/2 in.)",169,126,1.358449273096764,[989,990,991,992,993],{"_219":371,"_220":372,"_42":373,"_302":374},"1922.4453","John Constable painted this in 1836, aged 60. It is now at the Art Institute of Chicago.",{"_118":988,"_440":441},"Large English country landscape painting, farmers with horses, green trees.",{"_293":985,"_295":986,"_297":987},"https://img.ochreeditions.com/m/7.jpg?dl=1","/art/stoke-by-nayland-aic-4758","/galleries/style/georgian-britain/stoke-by-nayland-aic-4758",{"_289":434,"_291":435},{"_223":980,"_125":981,"_283":982},{"_274":977,"_276":978,"_278":961,"_279":979},184,139.40655926352127,124.40655926352129,{"_285":223,"_123":983,"_154":984,"_140":99},{"_285":125,"_123":429,"_154":430,"_140":431},{"_285":283,"_123":426,"_154":427,"_140":428},"artist/john-constable","More by John Constable","https://img.ochreeditions.com/a/7/480.jpg","https://img.ochreeditions.com/a/7/960.jpg","https://img.ochreeditions.com/a/7/1920.jpg","John Constable produced this full-size oil sketch for an unrealized painting near the end of his life. Its subject—the countryside of Constable's youth in Suffolk, England—was one of the artist's favorites.",{"_309":1001,"_311":1002},{"_309":999,"_311":1000},{"_309":997,"_311":998},{"_309":996,"_311":618},{"_309":994,"_311":995},"#a8b3b4",0.111,"#706346","#758186",0.1775,"#2f291e",0.245,"#4e4330",0.3112,"John Constable","john-constable","English, 1776–1837",1776,1837,"Constable painted the countryside of his native Suffolk, especially the Stour valley around his father’s mills, with an attention to weather and light new to English art.","the-captive-slave-ira-aldridge-aic-193664","The Captive Slave (Ira Aldridge)",{"_42":1057,"_220":1058,"_323":1059,"_325":628,"_327":1060,"_329":1061,"_331":-5,"_332":-5,"_333":-5,"_140":103},"1827","127 × 101.5 cm (50 × 40 in.); Framed: 167.1 × 141.7 cm (65 3/4 × 55 3/4 in.)",101,127,0.7940150839347985,[1042,1043,1044,1045,1046],{"_219":371,"_220":372,"_42":373,"_302":374},"2008.188","John Philip Simpson painted this in 1827, aged 45. It is now at the Art Institute of Chicago.",{"_118":1041,"_440":441},"Painting of a dark-skinned man seated and wearing a red open-necked tunic. He looks up to the right. His wrists are shackled and a large chain rests at his right, running down the bench he sits upon.",{"_293":1038,"_295":1039,"_297":1040},"https://img.ochreeditions.com/m/347.jpg?dl=1","/art/the-captive-slave-ira-aldridge-aic-193664","/galleries/style/georgian-britain/the-captive-slave-ira-aldridge-aic-193664",{"_289":434,"_291":435},{"_223":1033,"_125":1034,"_283":1035},{"_274":1030,"_276":1031,"_278":1032,"_279":1015},115.83991565971941,142,100.83991565971941,{"_285":223,"_123":1036,"_154":1037,"_140":89},{"_285":125,"_123":429,"_154":430,"_140":431},{"_285":283,"_123":426,"_154":427,"_140":428},"artist/contemporaries-of-john-philip-simpson","John Philip Simpson's contemporaries","https://img.ochreeditions.com/a/347/480.jpg","https://img.ochreeditions.com/a/347/960.jpg","https://img.ochreeditions.com/a/347/1920.jpg","This painting by John Philip Simpson is both a powerful abolitionist statement and a striking portrait of the celebrated Shakespearean actor Ira Aldridge. A freeborn American, Aldridge became the first Black man to play Othello on the London stage in 1833.",{"_309":1055,"_311":1056},{"_309":1053,"_311":1054},{"_309":1051,"_311":1052},{"_309":1049,"_311":1050},{"_309":1047,"_311":1048},"#5e4335",0.0677,"#472119",0.0876,"#6e3024",0.1955,"#1b1411",0.2436,"#2f261a",0.4056,"John Philip Simpson","john-philip-simpson","English, 1782–1847",1782,1847,"wivenhoe-park-essex-nga-1147","Wivenhoe Park, Essex",{"_42":1003,"_220":1004,"_323":1005,"_325":628,"_327":1006,"_329":1007,"_331":-5,"_332":-5,"_333":1008,"_140":99},"overall: 56.1 x 101.2 cm (22 1/16 x 39 13/16 in.) framed: 77.8 x 122.5 x 8.8 cm (30 5/8 x 48 1/4 x 3 7/16 in.)",101.2,56.1,1.8467087466185752,[1091,1092,1093,1094,1095],{"_219":299,"_220":300,"_42":301,"_302":303},"1942.9.10","John Constable painted this in 1816, aged 40. It is now at the National Gallery of Art in Washington, DC.","Black and white cows graze beyond a fence, two men haul in a net from a boat near a pair of swans, and a donkey cart crosses a distant bridge, while the brick house of Wivenhoe Park appears through the trees beneath towering summer clouds.","We look out onto a landscape with low, grassy hills to the left, a lake to the right, and a brick building in the center distance below a sky filled with towering white clouds in this horizontal painting. A wooden fence closer to us crosses the landscape from the lower left corner and disappears where the land slopes down to meet the water at the center of the painting. Several black and white cows graze in the field beyond the fence to our left. Two men in a wooden boat pull in nets on the lake to our right near a pair of swans. The lake crosses the composition in the near distance, disappearing into a culvert farther back. A donkey pulls a small carriage with two people near a bridge that crosses the lake in the distance to our left. The brick manor house is visible through a break in the full, deep green trees that line the horizon, which comes halfway up the composition. The clouds cast noticeable shadows in the brightly sunlit scene.",{"_293":1088,"_295":1089,"_297":1090},"https://img.ochreeditions.com/m/1327.jpg?dl=1","/art/wivenhoe-park-essex-nga-1147","/galleries/style/georgian-britain/wivenhoe-park-essex-nga-1147",{"_289":434,"_291":435},{"_223":1085,"_125":1086,"_283":1087},{"_274":1082,"_276":1083,"_278":1066,"_279":1084},116.2,69.8001953125,54.8001953125,{"_285":223,"_123":983,"_154":984,"_140":99},{"_285":125,"_123":429,"_154":430,"_140":431},{"_285":283,"_123":426,"_154":427,"_140":428},"https://img.ochreeditions.com/a/1327/480.jpg","https://img.ochreeditions.com/a/1327/960.jpg","https://img.ochreeditions.com/a/1327/1920.jpg",{"_309":1104,"_311":1105},{"_309":1102,"_311":1103},{"_309":1100,"_311":1101},{"_309":1098,"_311":1099},{"_309":1096,"_311":1097},"#796b3d",0.0911,"#7c8b94",0.0987,"#4d442a",0.2058,"#322d1a",0.2536,"#837f77",0.3508,"francis-charles-seymour-conway-3rd-marquess-of-hertford-nga-50851","Francis Charles Seymour-Conway, 3rd Marquess of Hertford",{"_42":457,"_220":458,"_323":459,"_325":326,"_327":460,"_329":461,"_331":462,"_332":463,"_333":464,"_140":91},"c. 1822/1823","overall: 128.5 x 102.2 cm (50 9/16 x 40 1/4 in.) framed: 151.8 x 126.4 cm (59 3/4 x 49 3/4 in.)",102.2,128.5,0.791259765625,[1136,1137,1138,1139,1140],{"_219":299,"_220":300,"_42":301,"_302":303},"1968.6.2","Thomas Lawrence painted this in about 1822/1823, aged about 53. It is now at the National Gallery of Art in Washington, DC.","Francis Charles Seymour-Conway, third Marquess of Hertford, is shown half-length in a dark double-breasted coat, a decoration on his chest, gazing calmly into the distance against a plain brown background.","The image displays a man in a portrait from the waist up, in a three-quarter view. He is facing slightly to the right and looking into the distance with a calm expression. The man has fair skin, light reddish-brown hair, sideburns, a defined nose, and a slightly upturned chin. He is wearing a black double-breasted coat with a high collar, a dark waistcoat, a white shirt, and a medal on his chest with an insignia and ribbon. The background is plain and deep brown.",{"_293":1133,"_295":1134,"_297":1135},"https://img.ochreeditions.com/m/1537.jpg?dl=1","/art/francis-charles-seymour-conway-3rd-marquess-of-hertford-nga-50851","/galleries/style/georgian-britain/francis-charles-seymour-conway-3rd-marquess-of-hertford-nga-50851",{"_289":434,"_291":435},{"_223":1130,"_125":1131,"_283":1132},{"_274":1127,"_276":1128,"_278":1129,"_279":1112},116.6768798828125,143.5,101.6768798828125,{"_285":223,"_123":432,"_154":433,"_140":91},{"_285":125,"_123":429,"_154":430,"_140":431},{"_285":283,"_123":426,"_154":427,"_140":428},"https://img.ochreeditions.com/a/1537/480.jpg","https://img.ochreeditions.com/a/1537/960.jpg","https://img.ochreeditions.com/a/1537/1920.jpg",{"_309":1148,"_311":1149},{"_309":1146,"_311":1147},{"_309":1144,"_311":1145},{"_309":1143,"_311":1142},{"_309":1141,"_311":1142},"#765636",0.0175,"#ce9972","#33250c",0.2405,"#291d08",0.2684,"#100c07",0.4561,{"_1151":-5,"_1152":1153,"_1154":1155,"_1156":8,"_1157":1158,"_1159":8},"user","csrf","1e99b2fcc989304616104b92d8386e6f19cb054f","cartCount",0,"dropLive","legal",[1160,1161,1162,1163,1164,1165,1166,1167,1168,1169,1170,1171],"uploadsEnabled",{"_220":1194,"_20":1195},{"_220":1192,"_20":1193},{"_220":1190,"_20":1191},{"_220":1188,"_20":1189},{"_220":1186,"_20":1187},{"_220":1184,"_20":1185},{"_220":1182,"_20":1183},{"_220":1180,"_20":1181},{"_220":1178,"_20":1179},{"_220":1176,"_20":1177},{"_220":1174,"_20":1175},{"_220":1172,"_20":1173},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]