1. British painting in the Victorian era

2. Eugene Louis Lami, The Inauguration of Crystal Palace, pastel 1851

3. John Jabez Edwin Mayall Crystal ,Palace, daguerreotype 1851
Interior of Crystal Palace, 1851

4. William Powell Frith (1819-1909) The Derby Day 1856-8 140 x 264 cm

5. William Powell Frith (1819-1909) The Railway Station, 1862

6. William Maw Egley (1826-1916), Omnibus Life in London, 1859

7. Augustus Leopold Egg (1816-1863), Past and Present, 1858

8. 1

9. 2

10. 3

11. Frank Holl ( )
Hush!
Hushed
1877

12. Frank Bramley 1857-1915, A Hopeless Dawn,1888

13. George Elgar Hicks (1824-1914) Woman's Mission: Companion of Manhood, 1863

14. Britton Riviere, Sympathy circa 1878

15. Thomas Benjamin Kennington (1856-1916) Orphans, 1885

16. Rural idylls

17. “The association between countryside and Englishness dates essentially from the 19th
century, a period marked by intensive urbanization and industrialization. It was
in this particular socio-economic context that a discourse on rural heritage arose and
that a new form of nationalism appeared based on rural scenery and the forms of
social life connected with it. Just when the traditional landowning elite was losing
power and the country’s wealth lay in trade and industry, attachment to the land
remained a symbolic foundation of Englishness. The truth about England is seen
in a disappearing world, in a world that is supposed not to be corrupted
by urban and industrial civilization.”
Julian Mischi, “Englishness and the Countryside: How British Rural Studies Address
the Issue of National Identity”, in Englishness Revisited, Floriane Reviron-Piegay (ed.), 2009

18. “This geographical retreat, however, was highly selective and the search was for
sites which either were, or could appear to be, pre-industrial and anti-urban.
(...) the north was imagined as entirely overrun by industrialisation and
consequently ceased to be available as a representative image at a time when
England and therefore Englishness was popularly conceived as profoundly
anti-industrial and anti-modern. Such an ideal was perpetuated by new cultural
institutions like the National Trust, founded in 1895, and by the veritable
industry surrounding pastoralism and anti-urbanist discourse. The nation,
redefined culturally and geographically, shrank to southern sites and to isolated,
supposedly more authentic, locations like Cornwall. All of these versions of
Englishness, pursuing a symbolic heart of nationhood, were in fact mediated
through metropolitan ideals, just as the artists [...] remained tied to metropolitan
exhibition societies, critics and spectators.”
The Geographies of Englishness: Landscape and the National Past ,
David Peters Corbett, Ysanne Holt and Fiona Russel (eds.), Yale U.P., 2002

19. Myles Birket-Foster, Lane Scene at Hambledon, 1862

20. Helen Allingham, Children on a Path
Outside a Thatched Cottage, ca.1895

21. Helen Allingham, Cottage with Sunflowers, 1890s

22. George Vicat Cole, A Surrey Cornfield, 1864, 30.5 x 44.5 cm

23. Ford Madox Brown, Walton on Naze, 1859-60

24. John Everett Millais, Chill October, 1870

25. 1901

26. 1908

27. J.McNeill Whistler, Nocturne, Blue and Gold - Old Battersea Bridge circa 1872-5

28. J.M.Whistler Nocturne in Blue and Silver , 1872-78
Nocturne, Blue and Silver - Cremorne Lights 1872

29. John Singer Sargent (1856-1925), Essie, Ruby and Ferdinand, Children of Asher Wertheimer 1902

30. Sargent, Ena and Betty, Daughters of Asher and Mrs Wertheimer 1901

31. Sargent, The Daughters of Edward Darley Boit, 1882