埃德温 · 朗斯登长Edwin Longsden Long（1829年7月12日——1891年5月15日），英国画家。
王后以斯帖(1878)
长出生在浴,萨默塞特郡大肠的儿子,一个艺术家(从Kelston在萨默塞特),在浴Viner博士的学校教育。采用专业的画家,长了伦敦和研究大英博物馆。后来他的学生在学校詹姆斯·马修斯利在纽曼街伦敦,一位肖像画家绘画练习第一查尔斯Greville、主Ebury等等。
长时间的熟人约翰·菲利普RA,陪他西班牙他们花了太多的时间。长期的绘画的极大影响维拉斯和其他西班牙大师,他之前的图片,如“拉小波”(1864)和“Lazarilla和盲人乞丐”(1870),被画在西班牙的影响力。他的第一个重要的照片是“恳求者”(1872)和“巴比伦的婚姻市场”(后来购买的托马斯·霍洛威学院)。1874年,他访问了埃及和叙利亚,随后他的工作花了一个新的方向。他成了彻底的充满中东考古学和东方画场景像“埃及盛宴”(1877),“神的,而它们的制造者”(1878)等。
长助理的当选皇家艺术学院在1870年和1881年院士(RA)。他的照片总是吸引了众人的目光,他的“戴安娜还是基督?”(1881)大大提高了他的声誉。他的照片适合的味道和呼吁宗教情绪的很大一部分,和他们的受欢迎程度增加了广泛的流通雕刻。他因此决心展示下自己的照片在一个单独的画廊邦德街伦敦,在1883年,第二年,他的“公元”和“此种Crotona的会见了巨大的商业成功。
摩西的发现(1886年)
长死于肺炎造成流感在家中,“Kelston”Netherhall花园,来自汉普斯特1891年5月15日,在他的六十二年。他被葬在西方公墓汉普斯特德。那天他的签名将他的死是诉讼的主题,他的亲戚聚会,但在争端友好解决这件事。
长威廉博士的女儿嫁给了一个爱,他留下了一个家庭,其中一个儿子,莫里斯长,在铁路事故中丧生布尔戈斯1891年9月23日在西班牙。
除了“埃德温长”画廊老邦德街,他的很多照片在他死后收集在一起,并形成细胞核的基督教艺术画廊的作品所取代古斯塔夫·多尔在著名的画廊新邦德街。长有相当大的练习是一个肖像画家在这条线并不引人注目,但是他的成功,尽管他获得赞助和非常大的价格高。他画的男爵夫人Burdett Coutts(他的主要赞助人)自己的画像,她的朋友布朗太太亨利·欧文。其他的画像他后期是一个纪念的肖像Iddesleigh伯爵,他画的复制品国家肖像画廊的画像,红衣主教曼宁(也许他最大的努力在这条线),撒母耳表亲先生,埃德蒙·亨德森和其他人。据艺术史学家莱昂内尔Cust”,在他的早期作品获得长表现出极大的权力和他的成功和受欢迎程度”,但他补充称,他后期的作品“遭受持续类型导致单调的重复”。
Long was born in Bath, Somerset, the son of E. Long, an artist (from Kelston in Somerset), and was educated at Dr. Viner's School in Bath. Adopting the profession of a painter, Long came to London and studied in the British Museum. He was subsequently a pupil in the school of James Mathews Leigh in Newman Street London, and practiced first as a portrait artist painting Charles Greville, Lord Ebury and others.
Long made the acquaintance of John Phillip RA, and accompanied him to Spain, where they spent much time. Long was greatly influenced by the paintings of Velasquez and other Spanish masters, and his earlier pictures, such as 'La Posada' (1864) and 'Lazarilla and the blind beggar' (1870), were painted under Spanish influence. His first important pictures were 'The Suppliants' (1872) and 'The Babylonian marriage market' (both subsequently purchased by Thomas Holloway). In 1874, he visited Egypt and Syria, and subsequently his work took a new direction. He became thoroughly imbued with middle-eastern archaeology and painted oriental scenes like 'The Egyptian Feast' (1877), 'The Gods and their makers' (1878) etc.
Long was elected an associate of the Royal Academy in 1870 and an academician (RA) in 1881. His pictures always attracted attention and his 'Diana or Christ?' (1881) greatly enhanced his reputation at the time. His pictures suited the taste and appealed to the religious sentiment of a large portion of the public, and their popularity was increased by a wide circulation of engravings. He consequently determined to exhibit his next pictures in a separate gallery of his own in Bond Street, London and there in 1883, and the following years, his 'Anno Domini' and 'Zeuxis at Crotona' met with great commercial success.
Long died from pneumonia resulting from influenza, at his home, "Kelston" in Netherhall Gardens, Hampstead, on 15 May 1891, in his sixty-second year. He was buried in West Hampstead Cemetery. The will signed by him on the day of his death was the subject of a lawsuit, to which his relatives were parties, but the matter in dispute was amicably settled.
Long married a daughter of Dr. William Aiton, by whom he left a family, of whom a son, Maurice Long, was killed in a railway accident at Burgos in Spain on 23 September 1891.
Besides the "Edwin Long" Gallery in Old Bond Street, a number of his pictures was collected together after his death, and formed the nucleus of a gallery of Christian Art which replaced the works of Gustave Doré in the well-known gallery in New Bond Street. Long had considerable practice as a portrait painter but his success in that line was not conspicuous, although he obtained high patronage and very large prices. He painted for the Baroness Burdett Coutts (his chief patron) portraits of herself, her friend Mrs. Brown, and Henry Irving. Among other portraits of his latter years were a memorial portrait of the Earl of Iddesleigh, of which he painted a replica for the National Portrait Gallery, portraits of Cardinal Manning (perhaps his best effort in this line), Samuel Cousins, Sir Edmund Henderson and others. According to art historian Lionel Cust, "In his earlier works Long showed great power and thoroughly deserved his success and popularity", but added that his later works "suffered from a continual repetition of types which resulted in monotony".
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