Background
Daniel Maclise was born on January 25, 1806, in Cork, Munster.
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Daniel Maclise was born on January 25, 1806, in Cork, Munster.
Daniel received a good education at a day-school in Cork, and in 1820 was placed in Newenham's Bank; but he soon left it to devote himself to the study of art. As a child he had shown a love and aptitude for drawing, and he now applied himself to studying from the casts in the Cork Institute.
After a time Maclise opened a studio in Patrick Street, where he did small pencil portraits. He also attended the lectures given by Dr. Woodroffe and acquired a good knowledge of anatomy and the structure of the human form. He was encouraged and helped in his endeavours by Richard Sainthill, who allowed him the use of his extensive library and introduced him to Croflon Croker, for whom he did a series of illustrations for the second edition of the Fairy Legends and Traditions of the South of Ireland.
He was first brought prominently into notice by a portrait of Sir Walter Scott, taken during the novelist's visit to Cork in 1825. This was a sketch made while Scott was examining books in Bolster's bookshop. The drawing, which was afterwards lithographed, is now in the Forster collection in the Victoria and Albert Museum. In the same year, he made a sketching tour in VVicklow, afterwards resuming his practice in portraiture in Cork. His portraits were generally in pencil, about 9 by 7 inches. At first he paid great attention to the backgrounds and accessories which he elaborated and worked out with the most scrupulous care, but he afterwards did his likenesses as simple vignettes. Several of his portraits were exhibited in the Mechanics' Institute in Cork in 1828, afier he had gone to London. He was so successful with his little portraits that he was able to save money, and in 1827 found himselfin a position to carry out his long-cherished desire to go to London.
He arrived there on July 18, 1827, and took lodgings in Newman Street. Soon after his arrival he gave a proof of his talent by a clever sketch of Charles Kean as Norval in Douglas, which WM lithographed, and brought him some money. In April 1828, he entered the schools of the Royal Academy and carried off the silver medals in the life school and painting school and, in 1831, the gold medal for his "Choice of Hercules. " During that period he had many commissions for portrait drawings which brought him both reputation and profit.
In 1829, he made his first appearance as an exhibitor in the Academy, with his drawing of "Malvolio affecting the Count, " — not the picture of the same subject in the Vernon collection at South Kensington, — and in 1830 he had seven drawings, including portraits. He had six works in 1831, and five in 1832, including his first oil picture "Puck disenchanfing Bottom. " In this year he made an excursion to Oxford and then wandered through the midland counties and Wales to Holyhead, whence he went to Dublin, and with Crofton Croker visited his native city of Cork. On his return to London he painted his "Snap-apple Night" which was in the Academy in 1833, a picture which materially enhanced his reputation. The subject was suggested by a scene in the house of Father Horgan at Blarney, and in it the painter introduced portraits of his sisters and of Sir Walter Scott, Croker and Father Horgan. In 1834, he exhibited another picture of an Irish subject, "The Installation of Captain Rock, " and in 1835, his picture of "The Chivalric Vow of the ladies and the Peacock" - which made a deep impression and divided artistic admiration with Turner's "Burning of the Houses of Parliament, " Landseer's "Favourites" and Etty's "Phoedria and Cymochles" — secured him his election as an Associate of the Academy. Maclise moved his residence in 1829, to Charles Street, Middlesex Hospital, where he remained until 1837, when he went to 14 Russell Place, Fitzroy Square, his home until he moved to 4 Cheyne Walk a few years before his death.
In 1836, he had two pictures in the Academy, "Macbeth and the Weird Sisters, " and "An Interview between Charles I and Oliver Cromwell. " About this period he did a number of drawings for annuals and for books: J. Barrow's Tour round Ireland, published in 1836, contained four illustrations. Hall's Ireland, its Scenery and Character, published in 1841, has two wood-cuts after his drawings, "The Wren Boy" and "Tossing Pan-cakes on Shrove Tuesday"; and etchings by him are in an edition of Carleton's Traits and Stories of the Irish Peasantry. In 1830, he began his celebrated series of character portraits contributed to Fraser’s DIagazine, under the pseudonym of "Alfred Croquis, " which continued until 1838. They were chiefly drawn on stone, but in some instances were etched or engraved. These portraits of many of the celebrated literary personages of the day show an extraordinary insight into character, and give an impression of absolute truthfulness as likenesses, as for instance the portraits of Scott and Coleridge and Croker, the amusing plate of Miss Landon, or the grim and tragic satire of Talleyrand. The series, of which most of the original drawings are in the Forster collection in the Victoria and Albert Museum, was published, with three additional portraits, in book-form as "Gallery of Illustrious literary Characters, " edited by Professor IN. Bates, and with biographical and critiul sketches by William Maginn. Maclise also illustrated Lord Lytton's Pilgrims of the Rhine, and did 116 designs for an edition of Moore's Melodies, published by Longmans in 1846, which were beautifully engraved by P. Becker. He designed the Swiney Cup for the Society of Arts, the Turner medal for the Royal Academy, and the medal for the International Exhibition of 1862.
Maclise had now become firmly established as a painter and his career was henceforward one of unbroken prosperity; he was welcomed in the best literary and artistic society in London and enjoyed the friendship of many of its leading members and particularly of Dickens and Forster. In 1837, he had seven pictures in the Academy. In 1840, he was elected a Member of the Royal Academy and exhibited his "Banquet Scene in Macbeth, " "A Scene from Gil Blas" and "A Scene from Twelfth Night, Malvolio in Olivia's Garden, " now in the Vernon collection in the Victoria and Albert Museum, and a "Portrait of Charles Dickens. " Between 1840 and 1859, some of his best works were seen on the Academy walls: "The Play Scene in Hamlet" in 1842, "Noah's Sacrifice" in 1847, "Caxton's Printing Oflice" in 1851, "Alfred in the camp oquthrum the Dane" in 1852, "The Marriage of Strongbow and Eva" in 1854, a picture now in the National Gallery of Ireland; and "Peter the Great in Deptford Dockyard" in 1857.
In 1844, Maclise was a competitor in the exhibition in Westminster Hall for the decoration of the Houses of Parliament, and was one of the six artists selected for the work. He commenced his designs for "The Meeting of Wellington and Blucher" and "The Death of Nelson" in 1858, and began the work in fresco; but he found so many
difliculties in wrrying out the undertaking that he resigned the task. At the request of Prince Albert he went to Berlin in 1859, to inquire into the water-glass process, and then took up the work in that method. He completed the "Wellington and Blucher" in December 1859, and the "Death of Nelson" in 1864. For each of these he received
£3, 500. He also painted the "Spirit of Chivalry" and "The Spirit of Justice, " which are both in an obscure position behind the Strangers' Gallery in the Throne Room of the House of Lords. During the period he was engaged upon these works he toiled unremittingly in "that gloomy Hall, " as he termed it, in Westminster Palace. His health suffered, and he was depressed by the little fame these great works brought him — the finest historical pictures painted in England — and the little appreciation they received. The death, too, in 1865, of his sister Isabella, who had lived with him, was a blow from which he never recovered, and he gradually contracted habits of seclusion, withdrawing himself from the society in which he had shone, and living in solitude. When the Presidency of the Academy was offered to him on the death of Eastlake in 1866, he refused it, as he did also the offer of a knighthood.
In 1866, he again began to exhibit, sending to the Academy "Here Nelson Fell, " a small version of the fresco, and a "Portrait of Dr. Quain. " Other pictures were "The Sleep of Duncan" and "Madeleine" in 1868, and "King Cophetua and the Beggar Maid, " the last two purchased by Mr. John Wardell of Dublin. In 1870 he made his last contribution with his picture of "The Earls of Desmond and Ormond. " Besides exhibiting in the Royal Academy Maclise sent works to the British Institution, and a few of his pictures were seen in the Royal Hibernian Audemy which gave him its membership, which he held until 1864 when he resigned.
Daniel Maclise died on April 25, 1870, and was buried at Kensal Green.
(Unlike some other reproductions of classic texts (1) We h...)
( This work has been selected by scholars as being cultur...)
( This work has been selected by scholars as being cultur...)
( This work has been selected by scholars as being cultur...)
( This work has been selected by scholars as being cultur...)
(This is a reproduction of a book published before 1923. T...)
In 1840, Daniel Maclise was elected a Member of the Royal Academy. He was also a member of the Royal Hibernian Academy.
Daniel Maclise was tall and handsome in person; he had a great fascination and charm of manner which with his kindly, generous nature and lovable disposition made him a universal favourite.
Quotes from others about the person
"Maclise. .. was very handsome in person, and had a singular fascination and charm of manner, little personal attractions for which my father had invariably an almost boyish enthusiasm, and the charming warmth and geniality of his nature completely won my father's heart. " (Kate Dickens Perugini)
Daniel Maclise was never married.