阿瑟·约翰·埃尔斯利(1860年11月20日——1952年2月19日)是英国维多利亚时代晚期和爱德华时期的画家,以他的田园吗类型顽皮的孩子和他们的宠物。他取得了伟大的一生和他的作品出现在日历,杂志和书籍。
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埃尔斯利出生在伦敦,六个孩子之一约翰·埃尔斯利,马车夫和业余艺术家,艾米丽更自由。埃尔斯利的父亲在展出英国的机构1845年展览,但在以后的生活中感染肺结核这迫使他提前退休。
只有11岁的时候,亚瑟是培养熟练动物研究期间频繁访问伦敦动物园在摄政公园。十四岁时,他进入南肯辛顿艺术学院(后来的皇家艺术学院的)。大约在这一时期他的视力变得的永久损坏麻疹.
埃尔斯利的实习生职位皇家学院在1876年。他受到了弗雷德里克Pickersgill(门将的皇家艺术学院),爱德华·阿米蒂奇(绘画)教授约翰·马歇尔(解剖学教授)和亨利·鲍勒教授(视角)。
大量的灵感来自他的画作被频繁的草图在乡村骑自行车旅行。1878年,他表现出他的第一个图片,名为“老小马的肖像”在皇家学院。他直到1882年才与学院学校,然后开始接受佣金肖像的孩子和狗,重点是马。他的许多肖像佣金来自政治家的Benett-Stanford家庭住在普雷斯顿庄园在布赖顿有些作品仍有展出。他的第一个已知的出版工作是一条线雕刻题为“四月县东部的洪水”印在“年轻的英格兰》杂志在1885年。
埃尔斯利是友好的与英国画家所罗门约瑟夫·所罗门和乔治·格伦维尔曼顿,共享一个工作室在1876年与后者。通过曼顿埃尔斯利会面弗雷德里克•摩根的孩子,一个受欢迎的画家。1889年埃尔斯利进入摩根的工作室,安排了一个良好的工作关系——摩根画动物,遇到困难,在这一领域埃尔斯利已经很优秀了。
埃尔斯利被授予一枚银牌水晶宫为他的画展览1891年“法警的伊斯灵顿的女儿”。在1892年他的画“我最大'se”发表后,后来不得不re-engraved来满足公众的需求。这幅画是一个年轻的女孩比较身高和大的圣伯纳德犬。《伦敦新闻画报》上的印刷埃尔斯利的画之一,祖父的1893年圣诞宠物作为他们的选择。
1893年11月11日看艾米丽“嗯”Fusedale结婚,他的堂兄模仿了他十年了。他们有一个孩子,马约莉,1903年出生,他的许多后续作品。他结婚后埃尔斯利成立了自己的工作室,但继续他的绘画和弗雷德里克·摩根的关系。死后查尔斯•伯顿的理发师(1845 - 1894),埃尔斯利成为他自然的继任者作为最重要的画家的儿童和他们的宠物。
埃尔斯利和弗雷德里克·摩根是永久关系恶化当摩根指控埃尔斯利使用他的想法。这之后埃尔斯利成为了他的作品大胆,经常描绘的场景与多个数据,从个人保姆参观他的工作室。很少离开他的工作室,他的画作的户外组件来自草图之前他和杂志图片。认为这些室内绘画方法加重他已经错误的愿景。
第一次世界大战严重降低了埃尔斯利的输出产生的绘画,他只有4绘画从1915年到1917年,其中一个,他女儿的肖像马约莉,展出皇家艺术学院。他导致了战争在bomb-sights兵工厂工作,已经紧张他的视力很差。在1930年代早期他只进行木工和园艺。
阿瑟·约翰·埃尔斯利在家中去世坦布里奇韦尔斯1952年2月19日。
在他的职业生涯的高度从1878年到1927年,埃尔斯利表现出52个在皇家艺术学院工作。然而,更多的是在全国展厅:英国皇家学会的艺术家,皇家理工学院的石油画家,法国画廊,达德利画廊水晶宫在伦敦;沃克艺术画廊,利物浦;美术学院格拉斯哥;曼城画廊;皇家学会的艺术家伯明翰;诺丁汉城堡博物馆;维多利亚艺术画廊、浴;国际展览软木塞爱尔兰(1902 - 03)。
他打印等许多公司使用商业日历由托马斯·d·墨菲有限公司阳光肥皂布鲁克的缝纫棉花,Peek Freans饼干和蛋糕,毕比的季度(一个画报》杂志的国家和家庭生活)。
目前埃尔斯利的工作可以看到Russell-Cotes艺术画廊和博物馆在伯恩茅斯,“哈特尔普尔博物馆和文化遗产服务”的集合,夫人杆艺术画廊在阳光港、利物浦、利物浦皇家儿童医院在利物浦和皇家馆艺术画廊和博物馆,普雷斯顿庄园普雷斯顿路194号,布莱顿。
Elsley was born in London, one of six children of John Elsley, coachman and amateur artist, and Emily Freer. Elsley's father had exhibited at the British Institution Exhibition in 1845 but later in life contracted tuberculosis which forced him into early retirement.[2]
When only eleven years old, Arthur was turning out proficient animal studies made during frequent visits to the London Zoo in Regent's Park. At age fourteen, he enrolled in the South Kensington School of Art (later the Royal College of Art). At about this time his eyesight became permanently damaged by a bout of measles.
Elsley took up the post of probationer at the Royal Academy Schools in 1876. here he was influenced by Frederick Pickersgill (Keeper of the Royal Academy), Edward Armitage (Professor of Painting), John Marshal (Professor of Anatomy), and Henry Bowler (Professor of Perspective).
A large number of his paintings were inspired by sketches made on frequent cycling trips around the countryside. In 1878 he exhibited his first picture, entitled "A Portrait of an Old Pony" at the Royal Academy. He remained with the Academy Schools until 1882 and then began accepting commissions to do portraits of children and dogs, with an emphasis on horses. Many of his portrait commissions came from the Benett-Stanford family of politicians living at Preston Manor in Brighton—some works are still exhibited there. His first known published work was a line engraving entitled "April Floods In Eastern Counties" printed in "Young England" magazine in 1885.
Elsley was friendly with the English painters Solomon Joseph Solomon and George Grenville Manton, sharing a studio with the latter in 1876. Through Manton Elsley met Frederick Morgan, a popular painter of children. In 1889 Elsley moved into Morgan’s studio, an arrangement that led to a good working relationship - Morgan having difficulties with painting animals, an area in which Elsley excelled.
Elsley was awarded a silver medal in the Crystal Palace exhibition of 1891 for his painting "The Bailiff’s Daughter of Islington". In 1892 his painting "I’se Biggest" was published, and later had to be re-engraved to satisfy public demand. The painting was of a young girl comparing her height with that of a large St. Bernard dog. The Illustrated London News printed one of Elsley’s paintings, Grandfather’s Pet as their Christmas choice for 1893.
On 11 November 1893 Elsley married Emily "Emm" Fusedale, his second cousin who had modeled for him for ten years. They had one child, Marjorie, born in 1903, and who posed for many of his subsequent paintings. After his marriage Elsley set up his own studio, but continued his painting relationship with Frederick Morgan. After the death of Charles Burton Barber (1845–1894), Elsley became his natural successor as the foremost painter of children and their pets.
Relations between Elsley and Frederick Morgan were permanently soured when Morgan accused Elsley of using his ideas. After this Elsley became bolder in his compositions, often depicting scenes with multiple figures, all from individual sitters visiting his studio. Hardly ever leaving his studio, the outdoors components of his paintings were from sketches he had made earlier and magazine images. It was thought that these indoor painting methods aggravated his already faulty vision.
The First World War severely reduced Elsley's output of paintings - he produced only 4 paintings from 1915 to 1917, one of which, a portrait of his daughter Marjorie, was exhibited at the Royal Academy. He contributed to the war effort by working on bomb-sights in a munitions factory, straining his already poor eyesight. By the early 1930s he was able only to carry out woodworking and gardening.
Arthur John Elsley died at home in Tunbridge Wells on 19 February 1952.
At the height of his career from 1878 to 1927, Elsley exhibited 52 works at the Royal Academy. However, many more were shown at exhibition halls throughout the country: The Royal Society of British Artists, Royal Institute of Oil Painters, French Gallery, Dudley Gallery and Crystal Palace in London; The Walker Art Gallery, Liverpool; The Institute of Fine Art, Glasgow; Manchester City Art Gallery; The Royal Society of Artists, Birmingham; Nottingham Castle Museum; Victoria Art Gallery, Bath; The International Exhibition in Cork Ireland (1902–03).
His prints were used commercially by many firms such as calendars by Thomas D. Murphy Co., Sunlight Soap, Brook's Sewing Cottons, Peek Freans biscuits & cakes; and Bibby’s Quarterly (an illustrated journal of country and home life).
Currently Elsley's work can be seen at the Russell-Cotes Art Gallery & Museum in Bournemouth, in the collections of "Hartlepool Museums and Heritage Service", at Lady Lever Art Gallery in Port Sunlight, Liverpool, Royal Liverpool Children’s Hospital in Liverpool and the "Royal Pavilion Art Gallery and Museum", Preston Manor, 194 Preston Road, Brighton.
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