Wallis is best remembered for his first great success, the painting titled Death of Chatterton, which he exhibited at the Royal Academy in 1856. The painting depicted the impoverished late 18th-century poet Thomas Chatterton, who poisoned himself in despair at the age of seventeen, and was considered a romantic hero for many young and struggling artists in Wallis's day. His method and style in Chatterton reveal the importance of his connection to the Pre-Raphaelite movement, seen in the vibrant colours and careful build-up of symbolic detail.
Selected bibliography
van de Put, A. Henry Wallis, 1830–1916, Faenza, v (1917), pp. 33–8
Treuherz, J. Hard Times: Social Realism in Victorian Art (London, 1987), pp. 36–39
Volume 21, number 2: Copley's Cargo Roberts Mon, 30 Jul 2007 16:33:05 -0500 In 1765, John Singleton Copley sent his painting Henry Pelham (Boy with a Squirrel) from Boston to London in hopes of receiving feedback from the arbiters of academic aesthetics. Several months later, he received the welcome news that Sir Joshua Reynolds had called the painting "wonderfull." In virtually every scholarly narrative of early American art, Boy with a Squirrel derives its canonical significance from this famous transatlantic relay. But the most basic reality of that relay–the massive fact of the Atlantic Ocean standing between Copley and his interlocutors–has barely been registered in the scholarship.This essay interprets Boy with a Squirrel in terms of the difficulty and delicacy of its transatlantic transmission. I argue that Copley, as he attempted to create a painting that would have the necessary transitive qualities, drew from an array of familiar discourses of Atlantic exchange and transport. The painting's profile format evoked strategies of numismatic exchange. The precise representation of the flying squirrel tapped into well-established transatlantic natural history circuits. The spatial transformations of the composition echoed not only empiricist theories of sensory conveyance (especially the writings of George Berkeley), but also mirrored the workaday dynamics of the shipping and reassembly of transatlantic commodities. Copley, like many other colonial artists, worked in a global community governed by distance, difference, and delay. By attending to the vehicular context of Boy with a Squirrel, we can begin to understand his strategies for articulating–and navigating–that new global space.
Artcyclopedia: Henry Wallis - Links to works by the artist in art museum sites and image archives worldwide.
Meta Description: [ Henry Wallis [English Pre-Raphaelite Painter, 1830-1916] Guide to pictures of works by Henry Wallis in art museum sites and image archives worldwide. ]
ArtMagick: Henry Wallis - Pre-Raphaelite Collection, short biography and two examples of his work.
Meta Description: [ ArtMagick is a virtual art gallery displaying paintings and poetry from art movements of the 19th and 20th centuries with an emphasis on displaying works of art by artists who have been forgotten or neglected in recent years. ]