Page:Dictionary of Artists of the English School (1878).djvu/138

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afterwards practised during the greater part of his life at Liverpool, and was a member of the Liverpool Academy, and the professor of painting. From 1851 he was an occa- sional exhibitor at the Royal Academy of landscapes and still-life. His subjects, drawn from rural nature, were marked by truth of character and highly finished. He died in London, April 22, 1873.

DA VI SON, Jebbmiah, porfratV painter. He was born in England, of Scotch parents, in 1695, and was a pupil of Lely, and after- wards employed by Van Haken. He be- came noted for his power of imitating the texture of satin. He was patronised by the Duke of Athol, whose portrait, with the portrait of the Duchess, he painted. He accompanied his patron to Scotland, and then practised in Edinburgh, where he met with great encouragement as a portrait painter. He painted the portrait of Fred- erick, Prince of Wales, in 1730. He died at the latter part of 1745, aged about 50. His works are weak both in drawing and colour. In the gallery of Greenwich Hos- pital there is a full-length by him of Ad- miral Byng, the first Lord Torrington, who died 1733.

D A V Y, Robert, portrait painter. Was born at Collumpton, Devon. He began art as a portrait painter, and went early to Rome for his improvement. On his return, about 1760, he settled in London, and was admitted a member of the Incorporated Society of Artists. He painted chiefly portraits, but met with little success. He obtained the appointment of under draw- ing-master at the Woolwich Academy, and also taught in other schools. He was knocked down and robbed in the street, brought home speechless, and died Sep- tember 28, 1793.

DAVY, Henry, architect He published at Southwold, in 1827, ' Etchings illustrat- ing the Antiquities of Suffolk,' comprising 70 large-sized folio plates, drawn and etched by himself. They are carefully and artistically executed, and form an im- portant work. He afterwards published 'Views of the Seats of the Noblemen and Gentlemen in Suffolk;' but this work is weakly engraved, and of a very different character.

DA WE, Philip, mezzo-tint engraver. Was the natural son of a City merchant, and was articled to Henry Morland. He was the intimate friend through life of George Morland, and wrote his life. He about 1760 worked under Hogarth as an engraver, and at the same tune was an unsuccessful competitor for the premium offered by the Society of Arts for the best historical painting. He exhibited some subjects of a humorous class at the Society of Artists in 1761, and also exhibited at the first Royal Academy Exhibition in 1768.

Among his paintings were the Cavern scene in * Macbeth/ ' Captain Bobadil cudgelled/ and perhaps his best work, 'The Drunkard reproving his disorderly Family.' As a mezzo-tint engraver, he produced several plates after his master, Henry Morland, and some portraits after Gainsborough, Reynolds, and Romney. He is said by most authorities to have died about 1780; but from the date of his son's birth, and some other circumstances, he probably died later. His pictures were common and vulgar in their humour, and he is best known as a mezzo-tintist.

DAWE, George, R.A.. portrait and history painter. Son of the above Philip Dawe; born in London, February 8, 1781. He was brought up as an engraver, and several engravings oy him were published. Entering the Academy Schools in 1794, he was an assiduous student. He also studied anatomy; and aspiring to higher things in art, he abandoned engraving on attaining the age of 21. In 1803 he gained the Academy gold medal for his 'Achilles frantic for the loss of Patroclus.' In the following year he exhibited 'Naomi and her two Daughters-in-law; ' and in 1809, at the British Institution, ' A Scene from Cymbeline/ for which he was awarded by the directors a premium of 50/., and in 1811 a second premium of 122Z. for his ' Negro overpowering a Buffalo.' But he did not continue historical subjects; from 1809 to 1818 his exhibited works were chiefly portraits. In 1816 he painted a whole-length of Miss O'Neill as ' Juliet/ which he exhibited by lamplight, to pro- duce the usual scenic effect. He had, in 1809, gained his election as associate of the Royal Academy, followed by full mem- bership in 1814.

His chief art was portraiture, at which he laboured carefully, requiring numerous sittings. After the battle of Waterloo, he travelled in the suite of the Duke and Duchess of Kent, and painted several of the officers distinguished in the battle. On the marriage of the Princess Charlotte with Prince Leopold, he painted their por- traits several times, and engravings of them became very popular. While travelling he was engaged dv the Emperor of Russia to paint, at St. Petersburg, his officers who had been prominent in the wars with Napoleon, and after a short visit to London he started for Russia in January 1819, and during a residence there of nine years he is said to have painted for the Emperor 400 portraits, which decorate a large gal- lery m his palace called ' The Hermitage,' besides some other works. He paid a visit of several months to England early in 1828, and set out again for Russia in September, staying at Berlin to paint the portrait of the King. On the journey he caught a

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