Discussion:Francis Grant

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article *Dictionary of National Biography*[modifier | modifier le code]

L'article du DNB au cas où. [1]. Piero (d) 1 juillet 2008 à 13:03 (CEST)

GRANT, SIR FRANCIS (1803-1878), portrait-painter, born in Edinburgh on 18 Jan. 1803, was fourth son of Francis Grant, laird of Kilgraston. General Sir James Hope Grant [q. v.] was his brother. He was educated at Harrow School, and was intended for the bar. ' In youth, that is in extreme youth,' writes Sir Walter Scott in his diary on 26 March 1831, ' he was passionately fond of fox-hunting and other sports, but not of any species of gambling. He had also a strong passion for painting, and




made a little collection. As he had sense enough to feel that a younger brother's fortune would not last long under the expenses of a good stud and a rare collection of chefs-d'oeuvre, he used to avow his intention to spend his patrimony, about 10,000., and then again to make his fortune by the law. The first he soon accomplished. But the law is not a profes- sion so easily acquired, nor did Frank's talents lie in that direction. His passion for painting turned out better.' Although he enjoyed no systematic artistic training beyond having re- ceived when a boy twelve lessons in drawing the human figure, yet such was his ability that by copying the works of Velazquez and other masters he made rapid progress, and gained an early reputation as a painter of sporting scenes. He was already thirty-one when he first exhibited at the Royal Aca- demy in 1834, sending an equestrian portrait of Captain Vandeleur and the ' Breakfast Scene at Melton,' which was engraved by Charles G. Lewis. In 1837 he exhibited ' The Meeting of His Majesty's Staghounds on Ascot Heath,' painted for the Earl of Chesterfield, and in 1839 'The Melton Hunt,' which was purchased by the Duke of Wel- lington. Both of these have been engraved, the former by F. Bromley, the latter by W. Humphreys. He likewise painted in 1841 'A Shooting Party at Rawton Abbey ' for the Earl of Lichfield, and in 1848 ' The Cottes- inore Hunt ' for Sir Richard Sutton. In 1840 Grant exhibited an equestrian group of Queen Victoria riding with Lord Melbourne and others in Windsor Park, and at once became the fashionable portrait-painter of the day. His portrait of Lady Glenlyon, exhibited in 1842, increased his reputation, and for nearly forty years the most graceful and refined portraits in the Royal Academy exhibitions came from his studio. In 1842 he was elected an associate of the Royal Academy, and in 1 851 an academician. On the death of Sir Charles Eastlake in 1865, and after Sir Edwin Landseer had declined the honour of succeed- ing him, Grant was elected president in March 1866, and was shortly afterwards knighted. He filled the position with good taste, tact, and dignity. Between 1834 and 1879 he contributed no less than 253 works, many of which were full-length portraits, to the exhibitions of the Royal Academy. Among these works were equestrian portraits of Queen Victoria and the prince consort, painted for Christ's Hospital ; the Prince of Wales ; an equestrian group of the Duke and Duchess of Beaufort ; Sidney Herbert, afterwards Lord Herbert of Lea ; Lord John Russell, after- wards Earl Russell : Benjamin Disraeli, after- wards Earl of Beaconsfield; General Sir James

Hope Grant ; Sir George Grey ; Edward, earl of Derby, first lord of the treasury; Lord Clyde ; Viscount Palmerston, painted for Harrow School ; Viscount Gough ; Lord Truro, lord high chancellor; Sir Frederick Pollock, lord chief baron; Sir William Erie, lord chief justice of the common pleas; Dr. Sumner, archbishop of Canterbury ; Dr. Mo- berly, bishop of Salisbury; and John Gibson Lockhart. His portraits of the Marchioness of Waterford, exhibited in 1844, and of Mrs. Markham, exhibited in 1857, claim notice among those of ladies. After some years of gradually failing health, Grant died of heart disease very suddenly at his residence, The Lodge, Melton Mowbray, on 5 Oct. 1878, and was interred in the church of England bury- ing-ground in that town, his relatives having declined the usual honour of burial in St. Paul's Cathedral.

The National Portrait Gallery has Grant's portraits of Field-marshal Viscount Har- dinge; Lord Campbell, lord high chancellor; Lord Macaulay, a study in oil for the portrait in the possession of Viscountess Ossington ; and a pen-and-ink sketch of Sir Edwin Land- seer. There is ' A Jewish Rabbi ' by him in the National Gallery of Scotland, and in the Scottish National Portrait Gallery a small full-length portrait of Sir Walter Scott with his two staghounds, commissioned by Lady Ruthven in 1831, and said by John Gibson Lockhart to be ' the last really good portrait that was painted.' His own portrait, painted by himself, is in the possession of his son, Colonel Francis Grant, and another portrait, painted by J. P. Knight, R.A., is in the Scottish National Portrait Gallery.

[Times, 7 Oct. 1878 ; Athenaeum, 1878, ii. 473; Academy, 1878, ii. 367; Builder, 1878, p. 1072; Graphic, 19 Oct. 1878, with portrait; Art Jour- nal, 1878, p. 232; Illustrated London News, 10 March 1866, with portrait; Eclectic Magazine, 1866, new ser. iii. 770, with portrait; Bryan's Diet, of Painters and Engravers, ed. Graves, 1886-9, i. 594; Sandby's Hist, of the Koyal Aca- demy of Arts, 1862, ii. 294-7.] R. E. G.

Passé simple[modifier | modifier le code]

Necrid Master (d · c · b) me conseille d' « ouvrir un dictionnaire » pour « constater que les biographies ne sont pas écrites au passé simple ». J'ouvre le Nouveau Dictionnaire de biographies alsaciennes, rédigé par des professeurs de faculté et de grands spécialistes : les articles y sont au passé simple. Qu'on regarde maintenant l'article Roland Mousnier dans l'Encyclopædia Universalis, dû à Jean-Louis Bourgeon, maître de conférences à l'université de Parix-IV Sorbonne, il est au passé simple ; j'espère que cet exemple au moins sera convaincant. L'usage du présent, bien sûr, n'est nullement incorrect et je me rappelle comment, dans ma jeunesse, j'avais été émerveillé à lire La Crise européenne et la Première Guerre mondiale de Renouvin qui, par l'usage de ce temps, rendait son récit extrêmement vivant, mais il faut l'employer par choix délibéré et non parce qu'on n'arrive plus à manier le passé simple. Voici plus d'un demi-siècle les professeurs nous mettaient encore en garde au contraire contre « le présent de l'ignorance » ; je suis désolé de prendre cet exemple dans l'article mais changer « Sir Francis Grant était le frère aîné du général Sir James Hope Grant » en « Sir Francis Grant est le frère aîné du général Sir James Hope Grant » est une grosse maladresse car, dans le cas du passage au présent historique, il faut conserver les imparfaits.

Je n'ai aucune envie d'imposer le passé simple comme d'autres veulent imposer le présent ; je demande seulement qu'on laisse parler comme ils en ont l'habitude ceux qui ont étudié bien avant mai 68 et qui savent encore le français. Que les autres s'expriment comme ils le veulent dans les articles qu'ils créent. Gustave G. (d) 1 juillet 2008 à 13:59 (CEST)

Fin des travaux[modifier | modifier le code]

L'article pourrait être encore enrichi grâce notamment au document ci-dessus. J'arrête de m'en occuper car il est impossible de travailler au milieu de cette guerre d'édition. D'une manière générale, il devient impossible de continuer à travailler sur WP entre les trolls, les webmasters, les spammeurs, les pov-pushers et autres. Certains construisent, d'autres détruisent. Il faut du temps pour traduire ou écrire un article, du temps pour le sourcer, du temps pour effectuer des recherches, du temps pour trier des informations, du temps pour déterminer le meilleur endroit pour insérer un ajout, alors qu'il suffit d'une ou deux minutes pour saboter un travail de plusieurs heures. Addacat (d) 1 juillet 2008 à 18:26 (CEST)

Grand Masters of Scotland[modifier | modifier le code]

Un autre article (plutôt un extrait d'une compil. typique internet... mais y'a peut-être quelque chose) (Gary L. Heinmiller, Grand Masters of Scotland, 2007, p. 117), pour encourager les connoisseurs courageux et patients : The artist who painted the portrait [of John Whyte Melville] was Sir Francis Grant (1803-1878), also a Club member and a friend of John Whyte Melville. Grant came from a golfing family. One of his brothers, John, was Captain of the Club in 1839 and another, James Hope (later Sir James Hope Grant) won the Royal Medal in 1838. Francis Grant himself had been elected a member in 1823. Grant trained as a lawyer, but gave up his studies to concentrate on painting. He produced other sporting images, particularly hunting scenes, but it is in the realm of portraiture that he established his reputation. By 1837, he was recognised as one of London's leading portraitists, much favoured by Queen Victoria. He began exhibiting works at the Royal Academy in 1834. In 1842, he was elected ARA and in 1851, he achieved full academician status. He was the first Scotsman to serve as President of the Royal Academy, having received his appointment in 1866. Queen Victoria knighted him soon afterwards. The portrait of John Whyte Melville was commissioned in 1874. It has hung in the Big Room of the Club since it was completed that same year. Bien amicalement à vous. Piero (d) 1 juillet 2008 à 20:58 (CEST)

A biographical and critical dictionary[modifier | modifier le code]

Après j'arrête (c'est promis !)
L'article passé à l'OCR de google (...) d'Henry Ottley (A biographical and critical dictionary of recent and living painters and engravers, Londres, 1866, p. 80-81 [2].

GRANT FRANCIS portrait painter was born in 1804 and is a younger son of Francis Grant the laird of Kilgaston in Perthshire and the brother of Lieut General Sir J Hope Grant GCB He was originally intended for the bar but disliking that profession took to painting at the ag e of twenty four He was fond of the sports ot the field and moreover had a respectable patrimony


which he got rid of in the usnal course of an independent life The first subjects of his pencil were of a character congenial to his tastes and very popular amongst the class of society with whom he associated as the The Breakfast at Melton exhibited in 1834 Sir R Button's Hounds and The Meet of the Queen's Stag Hounds in 1837 containing forty six portraits of celebrated sportsmen painted for the Earl of Chesterfield and afterwards engraved The Melton Hunt containing thirty sixportraits in 1839 purchased by the Duke of Wellington and since engraved The Shooting Party at ll mtim Abbey The Ascot Hunt exhibited at Paris in 1855 Ac In 1841 he exhibited An Equestrian Portrait of her Majesty attended by Lord Melbourne and the Lords in Waiting which had also been engraved He now took to portrait painting as a profession and was elected an Associate of the Royal Academy the higher honour of RA following in 1851 As a fashionable portrait painter his social position improved by his marriage with a niece of the Duke of Rutland affords him peculiar advantages both in respect to the channels of patronage thus opened to him and the opportunities for observing the manners and dress of the elite of society which he faithfully transfixes to canvas Among his principal portraits may bo mentioned Lord Clyde Sir Colin Campbell painted for the Governor General of India and exhibited in 1861 the Marchioness of Waterford Lady Rodney D Israeli Lockhart Sir Edwin Landseer the Earl of Derby Lord John Eussell Lord Palmer stone and Lord Macaulay In February 1866 he was elected President of the Royal Academy and in March of the same year received the honour of knighthood PAINTEES GBBE

et hop. Piero (d) 2 juillet 2008 à 11:04 (CEST)

Je résiste pas... désolé pour la mauvaise qualité de l'OCR d'archive.org. Piero (d) 2 juillet 2008 à 11:38 (CEST)

Robert Edmund Graves ?, s. v. dans Bryan's dictionary of painters and engravers, vol. 2, 1903, col. 271.

GRANT, Sir FRANCIS, a portrait painter, was born at Kilgraston in Perthshire in 1810. He was the fourth son of Francis Grant of Kilgraston, anc was educated at Harrow, with the intention that he should study for the bar, but he preferred the pur suit of art, and adopted it as a profession. He firs exhibited at the Royal Academy in 1834, and among his early works were hunting meets, of wliicl his liking for field sports rendered him a faithfu delineator. He subsequently devoted himself t( full-length portraits, and became the fashionable portrait painter of the day, most of the celebrities f his time sitting to him. He was elected an Associate of the Royal Academy in 1842, and an Academician in 1851. On the death of Sir Charles Sastlake in 1866, and after the refusal of the office y Maclise and Sir Edwin Landseer he was chosen ..resident of the Academy, and knighted, honours vhich he owed more to his urbanity and social >osition than to his art. He died, after several .ears' suffering, in 1878, at Melton Mowbray, vhere he was buried, his family declining the lonour of a grave in St. Paul's Cathedral. The 'ollowing is a list of some of his chief works : The Breakfast at Melton. 1834. Count D'Orsay. 1836. The Meeting of H.M. Staghounds at Ascot Heath. 1837. (Earl of Chesterfield) The Melton Hunt. 1839. (Duke of Wellington.) Equestrian Portrait of Queen Victoria. 1840. (Army and Navy Club.) Shooting Party at Ranton Abbey. 1841. (Earl of Lickfield.) Marchioness of Waterford. 1844. Queen Victoria. 1846. (Christ's Hospital, London.) Albert, Prince Consort. 1846. (The same.) Sidney Herbert, afterwards Lord Herbert of Lea. 1847. Sir Richard Button's Hounds. 1848. Viscount Hardinge. 1849. (National Portrait Gallery.) Lord John Russell. 1854. Lord Macaulay. 1854. (National Portrait Gallery.) Sir Edwin Landseer. 1855. (The same.) Benjamin Disraeli, Earl of Beaconsfield. 1852. General Sir Hope Grant. 1862. A Jewish Rabbi. (National Gallery of Scotland.) Edward, fourteenth Earl of Derby. Viscount Palmerston. John Gibson Lockhart. Lord Chancellor Truro. Lord Chancellor Campbell. (National Portrait Gallery.) George Moberley, Bishop of Salisbury. .