Sir david wilkie biography templates

Home / General Biography Information / Sir david wilkie biography templates

Library of the Royal College of Physicians of Edinburgh.

  • Edinburgh and Leith Post Office Directory, 1911-12

    • David Wilkie (1785-1841)

     

    Development of His Style

    Another remarkable early work influenced by Alexander Carse, Pitlessie Fair (1804, NGS), extends this social theme while making clear his interest in the Dutch genre tradition.

    4 . https://web.archive.org/web/20130124115814/http://www.royalsoced.org.uk/cms/files/fellows/biographical_index/fells_indexp1.pdf.

    sir david wilkie biography templates

    He completed his royal portrait after returning to England in 1828, under the title Reception of the King at the Entrance of Holyrood Palace. The strain led Wilkie to decide to go abroad, and between 1825 and 1828 he travelled through France, Italy and Spain. As Duncan Macmillan has pointed out, this is the context for the interest shown in Wilkie's work by the French painter Theodore Gericault (1791-1824) when he visited Wilkie's studio in 1821.

    1933. 21385058 .

    Notes and References

    1. Dudley, Hugh, ‘Sir David Percival Dalbreck Wilkie(1882–1938)’ Oxford Dictionary of National Biography, Oxford University Press, 2004; doi:10.1093/ref:odnb/36898
    2. Macintyre. In 1813 he painted Blind Man's Buff, a commission from the Prince Regent, who also paid for a companion picture, The Penny Wedding, in 1818.

      The following year he was appointed Royal Limner for Scotland on the death of Sir Henry Raeburn, and had several sitting with King George in preparation for the portrait he would produce to mark the 1822 visit to Edinburgh. Such cultural and ideological comparison is at the heart of Wilkie's art and he lost no time in travelling to France, Italy and Spain as soon as the end of the Napoleonic wars allowed.

      15. They had no children. 10.1258/j.jmb.2007.06-46. A later generation which included John Phillip (1817-67), Erskine Nicol (1825-1904) and the brothers John (1818-1902) and Thomas Faed (1826-1900) took Wilkie-influenced genre painting into the second half of the nineteenth century, although by then the late-Enlightenment project on which Wilkie himself was engaged had been forgotten.

      Themes

      Linda Colley has recognized Wilkie's perceptiveness by drawing attention to his painting The Chelsea Pensioners Reading the Gazette of the Battle of Waterloo (1822) as a discourse on the complex nature of a British identity brought into focus by the Napoleonic Wars.

      And in 1836, Wilkie received a Knighthood. The former is an implied critique of the landlord class and was not well received by Wilkie's patrons. The situation was sorted out with the help of the distinguished lawyer Lord Cockburn by what was in effect (although not in principle) a merger. He attended Edinburgh Academy 1896 to 1899 and then studied Medicine at Edinburgh University graduating MB ChB in 1904, and being given his doctorate (MD) in 1908.[5]

      Professional career

      Wilkie was initially employed from 1910 as a surgeon at Leith Hospital, in the harbour area of Edinburgh, and in 1912 moved to Edinburgh Royal Infirmary, as House Surgeon under Harold Stiles.[3] On 26 April 1913, he was commissioned as a surgeon in the Royal Naval Volunteer Reserve (RNVR).

      Its success enabled Wilkie to move to London in 1805 to study at the Royal Academy. Scottish painters directly influenced by him at this time include, as well as John Burnet, Alexander Fraser (1785-1865), William Lizars (1788-1859), William Kidd (1790-1863), Walter Geikie (1795-1837), and George Harvey (1806-1876).