All Henry Wallis's oil paintings
ID Image  Oil Pantings, Sorted from A to Z     Other Information
28265  
Henry Wallis, Chatterton
  		Chatterton 1855-6 Oil on canvas 60.2 x 91.2 cm (23 3/4 x 36 in) Tate Gallery London (mk63)
444  
Henry Wallis, The Death of Chatterton
  		The Death of Chatterton 1856
28264  
Henry Wallis, The Stonebreaker
  		The Stonebreaker 1857 Oil on canvas 65.4 x 78.7 cm (25 3/4 x 31 in) Birmingham City Museum and Art Gallery (mk63)
56245  
Henry Wallis, the stonebreaker
  		the stonebreaker mk247 1857,oil on canvas,25.75x31 in,65.4x78.7 cm,birmingham city museum and art gallery ,uk
87106  
Henry Wallis, The Stonebreaker
  		The Stonebreaker Date 1857(1857) Medium Oil on canvas cjr
91793  
Henry Wallis, The Stonebreaker
  		The Stonebreaker 1857(1857) Medium oil on canvas cyf
Henry Wallis
British 1830-1916 1916). English painter, writer and collector. He first studied at F. S. Cary academy and in 1848 entered the Royal Academy Schools, London. He is also thought to have trained in Paris at some time in the late 1840s or early 1850s, first in Charles Gleyre atelier and subsequently at the Ecole des Beaux-Arts. He specialized in portraits of literary figures and scenes from the lives of past writers, as in Dr Johnson at Cave, the Publisher (1854; untraced). His first great success was the Death of Chatterton (London, Tate), which he exhibited at the Royal Academy in 1856. The impoverished late 18th-century poet Thomas Chatterton, who while still in his teens had poisoned himself in despair, was a romantic hero for many young and struggling artists in Wallis day. He depicted the poet dead in his London garret, the floor strewn with torn fragments of manuscript and, tellingly, an empty phial near his hand. The painting was universally praised, not least by John Ruskin who described it as faultless and wonderful, advising visitors to examine it well, inch by inch. Although Wallis was only loosely connected with the Pre-Raphaelite movement, his method and style in Chatterton reveal the importance of that connection: the vibrant colours and careful build-up of symbolic detail are typical Pre-Raphaelite concerns. The success of Chatterton was such that, when exhibited in Manchester the following year, it was protected from the jostling crowds by a policeman. It was bought by another artist, Augustus



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