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The Oyster Woman, c1780-1825. Creator: Thomas RowlandsonThe Oyster Woman, c1780-1825. Rowlandson, by nature and through his interests, was constantly in touch with his surroundings
Discomforts of an Epicure, 1787. Creator: Thomas RowlandsonDiscomforts of an Epicure, 1787. According to available descriptions of Rowlandson, this is a self-portrait, of course exaggerated
The Double Disaster, 1807. Creator: Thomas RowlandsonThe Double Disaster, 1807....a rustic swain, whose philanderings have landed him in the midst of the perplexities of a double dilemma
Taking a Mean Advantage, c1780-1825. Creator: Thomas RowlandsonTaking a Mean Advantage, c1780-1825. A man leers at his female companions thigh which is revealed as she climbs over a gate
The Suicide, c1780-1825. Creator: Thomas RowlandsonThe Suicide, c1780-1825. This is one of the few drawings of Rowlandsons where humor is not dominant. However, the sincerity of the wife, who has collapsed
The Parsonage, c1780-1825. Creator: Thomas RowlandsonThe Parsonage, c1780-1825. This drawing of The Parsonage is vigorous, emphatic, and one might say brilliant in Rowlandsons best manner
Mr. Bannister and Miss Orser, c1780-1825. Creator: Thomas RowlandsonMr. Bannister and Miss Orser, c1780-1825. John Bannister was born at Deptford [London], May 12, 1760. He was the son of Charles Bannister, noted English actor
Market Place, Cornwall, c1780-1825. Creator: Thomas RowlandsonMarket Place, Cornwall, c1780-1825. " Market Place, Cornwall" is of the essence of Rowlandsons village-scene subjects
The fair near the village church, c1780-1825. Creator: Thomas RowlandsonThe fair near the village church, c1780-1825. The absolute balance, arrangement, and rightness of the masses in shadow and light in relation to the line, with alternating weight and delicacy
Jealousy, the Rival, 1803. Creator: Thomas RowlandsonJealousy, the Rival, 1803. Does not this drawing with its foreground arrangement of profoundly expressive figures become something greater than the subject might suggerst
Country Scene in Cumberland, 1805. Creator: Thomas RowlandsonCountry Scene in Cumberland, 1805. This scene with rustic cottage perched high in difficult and interesting terrain finds Rowlandson in a strongly masculine mood
Posting in Germany, c1780-1825. Creator: Thomas RowlandsonPosting in Germany, c1780-1825. Travellers outside an inn....we can see Rowlandson devoting himself to experimentation with chiaroscuro to discover to what degree
Colonel Seaham, late 18th-early 19th century. Creator: Thomas RowlandsonColonel Seaham, late 18th-early 19th century. An outstanding example of Rowlandsons portraiture is here illustraited in " Colonel Seaham"
The Rivals, c1780-1825. Creator: Thomas RowlandsonThe Rivals, c1780-1825. These two young men, one a dashing young officer, the other a gallant but unattractive adventurer, are displaying their simulated affections to the complacent rich dowager
Suitors, c1780-1825. Creator: Thomas RowlandsonSuitors, c1780-1825. In " Suitors" we find one of the subjects drawn from Rowlandsons imagination, a source which was inexhaustible
The Village Fair, c1780-1825. Creator: Thomas RowlandsonThe Village Fair, c1780-1825. " Buy a song, one penny..." - one of the street cries in England during Rowlandsons time
Reading the Will, c1780-1825. Creator: Thomas RowlandsonReading the Will, c1780-1825. Here is a brilliant example of Rowlandsons genius at capturing human emotions. This scene...becomes a humorous study of variously affected would-be inheritors
Market Day, c1780-1825. Creator: Thomas RowlandsonMarket Day, c1780-1825. It is interesting to note Rowlandsons love of drawing animals, especially horses and dogs. They give life and naturalness to his market and tavern scenes
A wig shop, c1780-1825. Creator: Thomas RowlandsonA wig shop, c1780-1825. The two old ladies examining a girlish headdress displayed by the wigmaker are delightfully satisfied with the model, if one can judge from their expressions
The Pretty Bar Maid, c1780-1825. Creator: Thomas RowlandsonThe Pretty Bar Maid, c1780-1825. In Rowlandsons work, on the one hand, there is a delicate delineation of exaggerated commonplaceness and, on the other, sensitive realism