Alla Benjamin Robert Haydons Oljemålningar

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62841

Christ's Entry into Jerusalem

1814-20 Oil on canvas, 396 x 457 cm Mount St Mary's Seminary, Cincinnati Haydon was impelled by strong personal faith to undertake his uncommissioned religious canvases. The years of labour he expended on them helped to ruin him. It was his aim to cast out doubt as well as win fame, and in Christ's Entry into Jerusalem, he addressed the issue of doubt directly, assembling past rationalists and sceptics like Voltaire and his own more devout friends like Wordsworth among the watching crowd. Their varied reactions to Christ's appearance amount to a debate on faith. Artist: HAYDON, Benjamin Robert Title: Christ's Entry into Jerusalem , painting Date: 1801-1850 English : religious

44109

Christ-s Entry into Jerusalem

1814-20 Oil on canvas, 396 x 457 cm

73463

Oil painting of William Smeal addressing the Anti-Slavery Society at their annual convention

Oil painting of William Smeal addressing the Anti-Slavery Society at their annual convention cjr

28153

Punch or May Day

1829 oil on canvas 150.5 x 185.1 cm (59 1/4 x 72 1/2 in) Tate Gallery London (mk63)

28152

The Mock Election

1828 Oil on canvas 142 x 183cm (56 x 72 in) Royal Collection (mk63)

32791

William Wordsworth

mk81 1842

28154

Wordsworth on Helvellyn

1842 Oil on canvas 124.5 x 99.1 cm (49 x 39 in) National Portrait Gallery London (mk63)

Benjamin Robert Haydon

English Romantic Painter, 1786-1846 1786-1846.was an English historical painter and writer. Haydon was born at Plymouth. His mother was the daughter of the Rev. Benjamin Cobley, rector of Dodbrooke, near Kingsbridge, Devon. Her brother, General Sir Thomas Cobley, was renowned for his part in the siege of Ismail. Benjamin's father, a prosperous printer, stationer and publisher, was well known in Plymouth. Haydon, an only son, at an early date showed an aptitude for study, which was carefully fostered by his mother. At the age of six he was placed in Plymouth grammar school, and at twelve in Plympton St Mary School, the same school where Sir Joshua Reynolds had received most of his education. On the ceiling of the school-room was a sketch by Reynolds in burnt cork, which Haydon loved to sit and look at. Whilst at school he had some thought of adopting the medical profession, but he was so shocked at the sight of an operation that he gave up the idea. Reading Albinus inspired him with a love for anatomy; but from childhood he had wanted to become a painter. Full of energy and hope, he left home, on 14 May 1804, for London, and entered the Royal Academy as a student. He was so enthusiastic that Henry Fuseli asked when he ever found time to eat. Aged twenty-one (1807) Haydon exhibited, for the first time, at the Royal Academy, The Repose in Egypt, which was bought by Thomas Hope the year after for the Egyptian Room at his townhouse in Duchess Street. This was a good start for the young artist, who shortly received a commission from Lord Mulgrave and an introduction to Sir George Beaumont. In 1809 he finished his well-known picture of Dentatus, which, though it increased his fame, resulted in a lifelong quarrel with the Royal Academy, whose committee had hung it in a small side-room instead of the great hall. That same year, he took on his first pupil, Charles Lock Eastlake, later destined to become one of the great figures of the British art establishment. In 1810 his financial difficulties began when the allowance of £200 a year from his father was stopped. His disappointment was embittered by the controversies in which he now became involved with Beaumont, for whom he had painted his picture of Macbeth, and Richard Payne Knight, who had denied the beauties as well as the money value of the Elgin Marbles.

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