Edwin Longsden Long, RA (Royal Academy) was an English genre, history, biblical and portrait painter. He was born in Bath, Somerset, the son of E. Long, an artist (from Kelston in Somerset), and was educated at Dr. Viner’s School in Bath. Adopting the profession of a painter, Long came to London and studied in the British Museum. He was subsequently a pupil in the school of James Mathews Leigh in Newman Street London, and practiced first as a portrait artist painting Charles Greville, Lord Ebury and others.
Long made the acquaintance of John Phillip RA, and accompanied him to Spain, where they spent much time. Long was greatly influenced by the paintings of Velasquez and other Spanish masters, and his earlier pictures, such as La Posada'(1864) and Lazarilla and the blind beggar'(1870), were painted under Spanish influence. His first important pictures were The Suppliants'(1872) and The Babylonian marriage market (both subsequently purchased by Thomas Holloway).
In 1874, he visited Egypt and Syria, and subsequently his work took a new direction. He became thoroughly imbued with middle-eastern archaeology and painted Oriental scenes such as The Egyptian Feast (1877) and The Gods and their makers (1878).
Long was elected an associate of the Royal Academy in 1870 and an academician (RA) in 1881. His pictures always attracted attention and his Diana or Christ? (1881) greatly enhanced his reputation at the time. His pictures suited the taste and appealed to the religious sentiment of a large portion of the public, and their popularity was increased by a wide circulation of engravings. He consequently determined to exhibit his next pictures in a separate gallery of his own in Bond Street, London and there in 1883, and the following years, his Anno Domini’and Zeuxis at Crotona met with great commercial success.
Long died from pneumonia resulting from influenza, at his home, “Kelston” in Netherhall Gardens, Hampstead, on 15 May 1891, in his sixty-second year. He was buried in West Hampstead Cemetery. The will signed by him on the day of his death was the subject of a lawsuit, to which his relatives were parties, but the matter in dispute was amicably settled.
Long married a daughter of Dr. William Aiton, by whom he left a family, of whom a son, Maurice Long, was killed in a railway accident at Burgos in Spain on 23 Sep. 1892.
Besides the “Edwin Long” Gallery in Old Bond Street, a number of his pictures was collected together after his death, and formed the nucleus of a gallery of Christian Art, which replaced the works of Gustave Doré in the well-known gallery in New Bond Street.
Long had considerable practice as a portrait painter but his success in that line was not conspicuous, although he obtained high patronage and very large prices. He painted for the Baroness Burdett Coutts (his chief patron) portraits of herself, her friend Mrs. Brown, and Henry Irving. Among other portraits of his latter years were a memorial portrait of the Earl of Iddesleigh, of which he painted a replica for the National Portrait Gallery, portraits of Cardinal Manning (perhaps his best effort in this line), Samuel Cousins, Sir Edmund Henderson and others.
According to art historian Lionel Cust, “In his earlier works Long showed great power and thoroughly deserved his success and popularity”, but added that his later works “suffered from a continual repetition of types which resulted in monotony”.
Wikipedia, “Edwin Long”, http://en.wikipedia.org/wiki/Edwin_Long, 18 January 2013
Portrait painter. Born in Brussels, Belgium on Nov. 21, 1882. Jonniaux attended Académie des Beaux Arts in Brussels. After serving in the Belgian Army during WWI, he established studios in both London and Paris. In 1930 his portrait of the Queen and King of Belgium established him as the court painter to the Belgian throne. Escaping from Nazi occupied France in 1941, Jonniaux and his wife settled in San Francisco. He also maintained a studio in Washington, DC where he painted such notables as President Roosevelt and Bishop Fulton Sheen. Schooled in the grand academic manner, his palette was tonal and dark with subjects meticulously rendered. Locally, his works were handled by the Hoover Gallery and Gumps. His home in San Francisco was at 1155 Jones Street with a studio at 712 Bay Street. His portraits of prominent people are found in private collections and public buildings throughout the U.S., South America, and Europe. He also painted character types of London and Paris such as charwomen, vendors, etc. Shortly before his death, he returned to his native land where he died on Feb. 4, 1974. Member: Royal Society of Beaux Arts (Brussels). Exh: London’s Royal Society of Portrait Painters, 1924; Salon des Artistes Francais, 1931; Venice Biennale, 1933; Society for Sanity in Art, 1945; SWA, De Young Museum, 1955; Baltimore Museum; Vose Galleries (Boston); Kennedy Galleries (NYC); Smithsonian Inst. Awards: hon. D.F.A., Calvin Coolidge College (Boston), 1958. In: Pentagon, Supreme Court, Capitol (Washington, DC); UC Berkeley; Mills College (Oakland); Northeastern Univ.; Mass. Inst. of Technology; Rockefeller Inst.; Children’s Hospital (Boston); Stanford Univ. Hospital; State House (Boston); Baltimore City Hall; State House (Columbus, OH). Ben; WWAA 1956-70.
Yohn’s career focused on paintings and
illustrations of military and frontier subjects. His style was set early, and his forte was accuracy of expression. At 23, in 1898, his illustrations were included in part of a touring exhibition “Story of the Revolution,” and Yohn was credited as a star of the show.
The same year the “Hero of Vincennes” was published by Lowell Thomas, and
illustrated by Yohn, F.C. Yohn was designer of a 2-cent stamp issued in 1929
to commemorate the 150th Anniversary of George Rogers Clark’s victory over
the British at Fort Sackville (now Vincennes), Indiana.