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John Pettie Two Strings to her Bow oil painting


Two Strings to her Bow
Painting ID::  28209
John Pettie
Two Strings to her Bow
1882 Oil on canvas 82.6 x 119.4cm (32 1/2 x 47in) Art Gallery and Museum Kelvingrove Glasgow (mk63)

   
   
     

John Pettie Photograph of The Vigil oil painting


Photograph of The Vigil
Painting ID::  71367
John Pettie
Photograph of The Vigil
Photograph of The Vigil, 1884. Oil on canvas, by en:John Pettie. In the public domain

   
   
     

John Pettie Vigil oil painting


Vigil
Painting ID::  72469
John Pettie
Vigil
1884. Oil on canvas cyf

   
   
     

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     John Pettie
     British Painter, 1839-1893 He was brought up in Edinburgh and East Lothian, and in 1855 he entered the schools of the Trustees' Academy, Edinburgh, sponsored by the history painter James Drummond (1816-77). He studied under Robert Scott Lauder, and among his fellow students were WILLIAM QUILLER ORCHARDSON, Thomas Graham (1840-1906), George Paul Chalmers (1833-78), John Burr (1831-93) and John MacWhirter, several of whom later became part of Pettie's circle of Scottish artist friends in London. Pettie first exhibited at the Royal Scottish Academy in 1858 with In Trabois House (untraced), a scene from Sir Walter Scott's The Fortunes of Nigel, and he began sending work to the Royal Academy in 1860. From 1858 he provided illustrations for the periodical Good Words, and, encouraged by the reviews received for his early Royal Academy exhibits, such as The Armourers (exh. RA 1860) and What D'Ye Lack' (exh. RA 1861), when Good Words transferred its headquarters, Pettie moved to London in 1862. He shared a studio in Fitzroy Square with Orchardson and Graham from 1863 until his marriage to Elizabeth Ann Bossom on 25 August 1865. He subsequently lived at various addresses, gravitating towards the wealthy artistic colony in St John's Wood, where in 1882, at 2 Fitzjohn's Avenue, he built a neo-Georgian house and studio, The Lothians (destr.). This reflected not only the professional circle in which Pettie moved but also the rapid financial success that he achieved in London. From the mid-1860s his most important patron was John Newton Mappin, founder of the Mappin Art Gallery,

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