|Lieux de travail|
Œuvre[modifier | modifier le code]
- Arras, musée des Beaux-arts, Achille partant au combat après la mort de Patrocle, Collection Joachim Murat, Naples ; collection Paul Marmottan ; don Paul Marmottan en échange d'un tableau de Piat Sauvage.
- Dublin, National Gallery of Ireland, La Transfiguration d'après Raphaël; n° 120.
- Londres, Sir John Soane's Museum, Les Joyeuses Commères de Windsor (Acte IV, scène 2 de la pièce de William Shakespeare), 158.5 × 218.2 cm, 1788.
Bibliographie[modifier | modifier le code]
- Nicolas Figgis, Raphael's 'Transfiguration' Some Irish Grand Tour Associations, Irish Arts Review, (14) 1998, p.53-56.
Biographie d'Edward Edwards[modifier | modifier le code]
« His father was a native of the North, who, in the latter part of his life, reſided at Kenſington Gravel Pits, the proprietor of a brewery. The ſon was first a scholar of Caſſali, and afterwards received ſome inſtructions from Mr. Weſt, whom he alſo aſſisted in ſome of the duplicates of his pictures. He chiefly practiſed as an hiſtorical painter, and in the year 1771, obtained a premium of thirty guineas for an hiſtorical picture; and again in 1772, one hundred guineas, being the ſirſt premium given that year for the beſt hiſtorical picture. He alſo aſſiſted Mr. Mortimer in the ceiling which he painted for Lord Melbourn, at Brocket Hall, Herts, about the year 1771. In 1774, he left England and went to Rome, where he chiefly reſided till his death. In Boydell's Shakſpeare Gallery there were but two pictures painted by Durno when at Rome; the ſubjects were, Falſtaff raiſing Recruits, and in the Diſguiſe of the Old Woman of Brentford ; but theſe works did not anſwer the expectations of thoſe for whom they were painted.
He died at Rome the latter part of the year 1795. »
— Edward Edwards, Anecdotes on painters, Londres,1808, p. 232-233.