David Wilkie (artist)

Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a British painter, especially known for his genre scenes. He painted successfully in a wide variety of genres, including historical scenes, portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter".

He was Principal Painter in Ordinary to King William IV and Queen Victoria.[1][2] Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners reading the Waterloo Dispatch of 1822 in Apsley House.

David Wilkie
Self portrait of Sir David Wilkie aged about 20
Sir David Wilkie by Samuel Joseph, SNPG
Sir David Wilkie by Samuel Joseph, 1842

Early life

Sir David Wilkie - Pitlessie Fair - Google Art Project
Pitlessie Fair (1804)
David Wilkie Chelsea Pensioners Reading the Waterloo Dispatch
Painting by David Wilkie entitled The Chelsea Pensioners reading the Waterloo Dispatch, a huge success in 1822 when it was first exhibited by the Royal Academy on the 7th anniversary of the battle.
Sir David Wilkie - The Letter of Introduction - Google Art Project
The Letter of Introduction, 1813. The painting represents the artist's own unpleasant experience of having presented a useless introduction letter to a potential patron who didn't receive it well.[3]

David Wilkie was born in Pitlessie Fife in Scotland on 18 November 1785. He was the son of the parish minister of Cults, Fife. Caroline Wilkie was a relative.[4] He developed a love for art at an early age. In 1799, after he had attended school at Pitlessie, Kingskettle and Cupar, his father reluctantly agreed to his becoming a painter. Through the influence of the Earl of Leven Wilkie was admitted to the Trustees' Academy in Edinburgh, and began the study of art under John Graham. From William Allan (afterwards Sir William Allan and president of the Royal Scottish Academy) and John Burnet, the engraver of Wilkie's works, we have an interesting account of his early studies, of his indomitable perseverance and power of close application, of his habit of haunting fairs and marketplaces, and transferring to his sketchbook all that struck him as characteristic and telling in figure or incident, and of his admiration for the works of Alexander Carse and David Allan, two Scottish painters of scenes from humble life.

Among his pictures of this period might be mentioned a subject from Macbeth, Ceres in Search of Proserpine, and Diana and Calisto, which in 1803 gained a premium of ten guineas at the Trustees' Academy, while his pencil portraits of himself and his mother, dated that year, and now in the possession of the Duke of Buccleuch, prove that Wilkie had already attained considerable certainty of touch and power of rendering character. A scene from Allan Ramsay, and a sketch from Hector Macneill's ballad Scotland's Skaith, afterwards developed into the well-known Village Politicians.

In 1804, Wilkie left the Trustees' Academy and returned to Cults.[5] He established himself in the manse there, and began his first important subject-picture, Pitlessie Fair (illustration), which includes about 140 figures, and in which he introduced portraits of his neighbours and of several members of his family circle. In addition to this elaborate figure-piece, Wilkie was much employed at the time upon portraits, both at home and in Kinghorn, St Andrews and Aberdeen. In the spring of 1805 he left Scotland for London, carrying with him his Bounty-Money, or the Village Recruit, which he soon disposed of for £6, and began to study in the schools of the Royal Academy. One of his first patrons in London was Robert Stodart, a pianoforte maker, a distant connection of the Wilkie family, who commissioned his portrait and other works and introduced the young artist to the dowager countess of Mansfield.[6] This lady's son was the purchaser of the Village Politicians,[7] which attracted great attention when it was exhibited in the Royal Academy of 1806, where it was followed in the succeeding year by The Blind Fiddler, a commission from the painter's lifelong friend Sir George Beaumont.

Historical scenes

Wilkie now turned to historical scenes, and painted his Alfred in the Neatherd's Cottage, for the gallery illustrative of English history which was being formed by Alexander Davison. After its completion he returned to genre-painting, producing the Card-Players and the admirable picture of the Rent Day which was composed during recovery from a fever contracted in 1807 while on a visit to his native village. His next great work was the Ale-House Door, afterwards entitled The Village Festival (now in the National Gallery), which was purchased by John Julius Angerstein for 800 guineas. It was followed in 1813 by the well-known Blind Man's Buff, a commission from the Prince Regent, to which a companion picture, the Penny Wedding, was added in 1818.

Honours

In November 1809 he was elected an associate of the Royal Academy, when he had hardly attained the age prescribed by its laws, and in February 1811 he became a full Academician. In 1812 he opened an exhibition of his collected works in Pall Mall, but the experiment was financially unsuccessful.

Travels on the Continent

Wilkie, David - Reading the Will - 1820
Reading the will, 1820
George IV in kilt, by Wilkie
Sir David Wilkie's flattering portrait of the kilted King George IV for the Visit of King George IV to Scotland, with lighting chosen to tone down the brightness of his kilt and his knees shown bare, without the pink tights he wore at the event.

In 1814 he executed the Letter of Introduction, one of the most delicately finished and perfect of his cabinet pictures. In the same year he made his first visit to the continent, and in Paris entered upon a profitable and delighted study of the works of art collected in the Louvre. Interesting particulars of the time are preserved in his own matter-of-fact diary, and in the more sprightly and flowing pages of the journal of Benjamin Haydon, his fellow traveller and brother Cedomir. On his return he began Distraining for Rent, one of the most popular and dramatic of his works. In 1816 he made a tour through Netherlands and Belgium in company with Raimbach, the engraver of many of his paintings. The Sir Walter Scott and his Family, (titled the Abbotsford Family[8]) a cabinet-sized picture with small full-length figures in the dress of Scottish peasants, was the result of a visit to Abbotsford in 1817.[9] Reading the Will, a commission from the king of Bavaria, now in the New Pinakothek at Munich, was completed in 1820; and two years later the great picture of The Chelsea Pensioners reading the Waterloo Dispatch, commissioned by the Duke of Wellington in 1816, at a cost of 1200 guineas, was exhibited at the Royal Academy.

The visit of King George IV to Scotland

In 1822 Wilkie visited Edinburgh, in order to select from the Visit of King George IV to Scotland a fitting subject for a picture. The Reception of the King at the Entrance of Holyrood Palace was the incident ultimately chosen; and in the following year, when the artist, upon the death of Raeburn, had been appointed Royal Limner for Scotland, he received sittings from the monarch, and began to work diligently upon the subject. But several years elapsed before its completion; for, like all such ceremonial works, it proved a harassing commission, uncongenial to the painter while in progress and unsatisfactory when finished. His health suffered from the strain to which he was subjected, and his condition was aggravated by heavy domestic trials and responsibilities.

Three more years of foreign travel

In 1825 he sought relief in foreign travel: after visiting Paris, he went to Italy,[10] where, in Rome, he received the news of fresh disasters through the failure of his publishers. A residence at Toplitz and Carlsbad was tried in 1826, with little good result, and then Wilkie returned to Italy, to Venice and Florence. The summer of 1827 was spent in Geneva, where he had sufficiently recovered to paint his Princess Doria Washing the Pilgrims' Feet, a work which, like several small pictures executed in Rome, was strongly influenced by the Italian art by which the painter had been surrounded. In October he passed into Spain, whence he returned to Britain in June 1828.

It is impossible to overestimate the influence upon Wilkie's art of these three years of foreign travel. It amounts to nothing short of a complete change of style. Up to the period of his leaving Britain he had been mainly influenced by the Dutch genre-painters, whose technique he had carefully studied, whose works he frequently kept beside him in his studio for reference as he painted, and whose method he applied to the rendering of those scenes of English and Scottish life of which he was so close and faithful an observer. Teniers, in particular, appears to have been his chief master; and in his earlier productions we find the sharp, precise, spirited touch, the rather subdued colouring, and the clear, silvery grey tone which distinguish this master; while in his subjects of a slightly later period – those, such as the Chelsea Pensioners, the Highland Whisky Still and the Rabbit on the Wall, executed in what Burnet styles his second manner, which, however, may be regarded as only the development and maturity of his first – he begins to unite to the qualities of Teniers that greater richness and fulness of effect which are characteristic of Ostade. But now he experienced the spell of the Italian masters, and of Diego Velázquez and the great Spaniards.

Latter years

Josephine and the Fortune-Teller 1837 David Wilkie
Josephine and the Fortune-Teller (1837)
Sir David Wilkie's residence in Kensington London, by William Collins 1841 (painted just after Wilkie's death)
Sir David Wilkie's residence in Kensington London, by William Collins 1841 (painted just after Wilkie's death)

In the works which Wilkie produced in his final period he exchanged the detailed handling, the delicate finish and the reticent hues of his earlier works for a style distinguished by breadth of touch, largeness of effect, richness of tone and full force of melting and powerful colour. His subjects, too, were no longer the homely things of the genre-painter: with his broader method he attempted the portrayal of scenes from history, suggested for the most part by the associations of his foreign travel. His change of style and change of subject were severely criticized at the time; to some extent he lost his hold upon the public, who regretted the familiar subjects and the interest and pathos of his earlier productions, and were less ready to follow him into the historic scenes towards which this final phase of his art sought to lead them. The popular verdict had in it a basis of truth: Wilkie was indeed greatest as a genre-painter. But on technical grounds his change of style was criticized with undue severity. While his later works are admittedly more frequently faulty in form and draftsmanship than those of his earlier period, some of them at least (The Bride at her Toilet, 1838, for instance) show a true gain and development in power of handling, and in mastery over complex and forcible colour harmonies. Most of Wilkie's foreign subjects – the Pifferari, Princess Doria, the Maid of Saragossa, the Spanish Podado, a Guerilla Council of War, the Guerilla Taking Leave of his Family and the Guerilla's Return to his Family – passed into the English royal collection; but the dramatic Two Spanish Monks of Toledo, also entitled the Confessor Confessing, became the property of the Marquis of Lansdowne.

On his return to England Wilkie completed the Reception of the King at the Entrance of Holyrood Palace – a curious example of a union of his earlier and later styles, a "mixture" which was very justly pronounced by Haydon to be "like oil and water". His Preaching of John Knox before the Lords of the Congregation had also been begun before he left for abroad; but it was painted throughout in the later style, and consequently presents a more satisfactory unity and harmony of treatment and handling. It was one of the most successful pictures of the artist's later period.

In the beginning of 1830 Wilkie was appointed to succeed Sir Thomas Lawrence as painter in ordinary to the king, and in 1836 he received the honour of knighthood. The main figure-pictures which occupied him until the end were Columbus in the Convent at La Rabida (1835); Napoleon and Pius VII at Fontainebleau (1836); Empress Josephine and the Fortune-Teller (1837); Queen Victoria Presiding at her First Council (exhibited 1838); and General Sir David Baird Discovering the Body of Sultan Tippoo Sahib (completed 1839). His time was also much occupied with portraiture, many of his works of this class being royal commissions. His portraits are pictorial and excellent in general distribution, but the faces are frequently wanting in drawing and character. He seldom succeeded in showing his sitters at their best, and his female portraits, in particular, rarely gave satisfaction. A favourable example of his cabinet-sized portraits is that of Sir Robert Listen; his likeness of W. Esdaile is an admirable three-quarter length; and one of his finest full-lengths is the gallery portrait of Lord Kellie, in the town hall of Cupar.

In the autumn of 1840 Wilkie resolved on a voyage to the East. Passing through Holland and Germany, he reached Constantinople, where, while detained by the war in Syria, he painted a portrait of the young sultan. He then sailed for Smyrna and travelled to Jerusalem, where he remained for some five busy weeks. The last work of all upon which he was engaged was a portrait of Mehemet Ali, done at Alexandria. On his return voyage he suffered from an attack of illness at Malta, and remained ill for the remainder of the journey to Gibraltar, eventually dying at sea off Gibraltar, en route to Britain, on the morning of 1 June 1841. His body was consigned to the deep in the Bay of Gibraltar. Wilkie's death was commemorated by the English painter Joseph Mallord William Turner in the oil painting titled Peace -Burial at Sea.

Achievements

Sir David Wilkie Memorial, Cults Kirk
Memorial to Wilkie, erected by his sister in the church at his birthplace in Fife

An elaborate Life of Sir David Wilkie, by Allan Cunningham, containing the painter's journals and his observant and well-considered "Critical Remarks on Works of Art", was published in 1843. Redgrave's Century of Painters of the English School and John Burnet's Practical Essays on the Fine Arts may also be referred to for a critical estimate of his works. A list of the exceptionally numerous and excellent engravings from his pictures will be found in the Art Union Journal for January 1840. Apart from his skill as a painter Wilkie was an admirable etcher. The best of his plates, such as the Gentleman at his Desk (Laing, VII), the Pope examining a Censer (Laing, VIII), and the Seat of Hands (Laing, IV), are worthy to rank with the work of the greatest figure-etchers. During his lifetime he issued a portfolio of seven plates, and in 1875 David Laing catalogued and published the complete series of his etchings and dry-points, supplying the place of a few copper-plates that had been lost by reproductions, in his Etchings of David Wilkie and Andrew Geddes.

Legacy

Wilkie stood as godfather to the son of his fellow Academician William Collins. The boy was named after both men, and achieved fame as the novelist Wilkie Collins.

In fiction

A painting which might be a real Wilkie or only a copy (the question is only resolved in the latter half of the book) plays a role in the novel Winter Solstice by Rosamunde Pilcher.

See also

Notes

  1. ^ Anderson, W. (1877). The Scottish Nation: Or, The Surnames, Families, Literature, Honours, and Biographical History of the People of Scotland. The Scottish Nation: Or, The Surnames, Families, Literature, Honours, and Biographical History of the People of Scotland. A. Fullarton & Company. p. 641. Retrieved 1 May 2019.
  2. ^ Tromans, N. (2007). David Wilkie: The People's Painter: The People's Painter. Edinburgh University Press. p. 100. ISBN 978-0-7486-3084-4. Retrieved 1 May 2019.
  3. ^ "sir-david-wilkie/". www.nationalgalleries.org. Retrieved 17 December 2014.
  4. ^ Day, Melvin N. "Chevalier, Caroline and Chevalier, Nicholas". Dictionary of New Zealand Biography. Ministry for Culture and Heritage. Retrieved 30 September 2017.
  5. ^ Pinnington, Edward, Sir David Wilkie and the Scots School of Painters, Edinburgh: (Oliphant, Anderson and Ferrier), 1900, ("Famous Scots Series"). Ch. IV, p.32.
  6. ^ the Honourable Louisa Cathcart, daughter of Charles Cathcart, 9th Lord Cathcart
  7. ^ Hanging in the Long Gallery of the Murray seat, Scone Palace, Scotland (Michelin Green Guide: Scotland).
  8. ^ https://www.nationalgalleries.org/art-and-artists/8202/abbotsford-family
  9. ^ Douglas David 1895 Records of The Clan Ferguson
  10. ^ Obituary, John Hollins, Gentleman's Magazine, 1855, p539, accessed May 2009

References

Further reading

External links

Court offices
Preceded by
Sir Thomas Lawrence
Principal Painter in Ordinary
1830–1841
Succeeded by
Sir George Hayter
1785 in Great Britain

Events from the year 1785 in Great Britain.

David Wilkie

David Wilkie may refer to:

David Wilkie (artist) (1785–1841), Scottish painter

David Wilkie (surgeon) (1882–1938), British surgeon, scientist and philanthropist

David Wilkie (footballer) (1914–2011), Australian rules footballer

David Wilkie (swimmer) (born 1954), Scottish swimmer

David Wilkie (ice hockey) (born 1974), American ice hockey player

David Wilkie (taxicab driver) (1949–1984), Welsh taxi driver killed during the UK miners' strike of 1984–85

Adam Purple, American activist and guerrilla gardener born as David Lloyd Wilkie

Katherine Thomson (writer)

Katherine Thomson (1797–1862) (née Byerley, also as Mrs A. T. Thomson, pseudonym Grace Wharton) was an English writer, known as a novelist and historian.

List of graphic artists in the Web Gallery of Art

The List of graphic artists in the Web Gallery of Art is a list of the named artists in the Web Gallery of Art (WGA) whose works there comprise drawings, woodcuts, etchings, engravings, mezzotints, lithographs, and watercolours. The online collection contains roughly 34,000 images by 4,000 artists, but only named artists with works labelled "graphics" in the database are listed alphabetically here. The artist's name is followed by a title of one of their graphics works and its location, which is hosted on the WGA website. For artists with more than one work in the WGA collection, or for works by unnamed or unattributed artists, see the Web Gallery of Art website or the corresponding Wikimedia Commons category. Of the 645 graphic artists in the WGA database, there are only 7 women, namely Sofonisba Anguissola, Marie-Jeanne Renard du Bos, Isabella Parasole, Diana Scultori, Elisabetta Sirani, Elisabeth Louise Vigée-LeBrun, and Teresa Berenice Vitelli.

For the complete list of artists and their artworks in the WGA collection, the database can be downloaded as a compressed file from the website.

List of painters in the Pinakothek

The List of painters in the Pinakothek is a list of the named artists in the Bavarian State Picture Collection whose works are in the collections of the Alte Pinakothek, Neue Pinakothek, or Pinakothek der Moderne. The list contains roughly 225 artists, but only named painters are listed alphabetically here. The artist's name is followed by the location(s) of their works. Of artists listed, there are only 4 women, including Angelica Kauffmann, Rachel Ruysch, Teresa Hubbard of the artist duo Teresa Hubbard / Alexander Birchler, and Marie-Gabrielle Capet.

For the complete list of artists and their artworks in the collection, see the website.

Andreas Achenbach (1815–1910), Neue Pinakothek

Albrecht Altdorfer (1480–1538), Alte Pinakothek

Friedrich von Amerling (1803–1887), Neue Pinakothek

Fra Angelico (1387–1455), Alte Pinakothek

Gabriel Angler (1405–1462), Alte Pinakothek

Balthasar van der Ast (1593–1656), Alte Pinakothek

Hans Baldung (1484–1545), Alte Pinakothek

Federico Barocci (1530–1612), Alte Pinakothek

Georg Baselitz (b.1938), Pinakothek der Moderne

Max Beckmann (1884–1950), Pinakothek der Moderne

Joseph Beuys (1921–1986), Pinakothek der Moderne, Neue Pinakothek

Carl Blechen (1797–1840), Neue Pinakothek

Karl Blossfeldt (1865–1932), Neue Pinakothek

Arnold Böcklin (1827–1901), Neue Pinakothek

Pierre Bonnard (1867–1947), Neue Pinakothek

Sandro Botticelli (1444–1510), Neue Pinakothek

François Boucher (1703–1770), Alte Pinakothek

Sébastien Bourdon (1616–1671), Alte Pinakothek

Dieric Bouts (1415–1475), Alte Pinakothek

Adriaen Brouwer (1605–1638), Alte Pinakothek

Pieter Bruegel the Elder (1526–1569), Alte Pinakothek

Jan Brueghel the Elder (1568–1624), Alte Pinakothek

Hans Burgkmair (1473–1540), Alte Pinakothek

Heinrich Bürkel (1802–1869), Neue Pinakothek

Antonio Canova (1757–1822), Neue Pinakothek

Marie-Gabrielle Capet (1761–1818), Neue Pinakothek

Franz Ludwig Catel (1778–1856), Neue Pinakothek

Paul Cézanne (1839–1906), Neue Pinakothek

John Chamberlain (sculptor) (1927–2011), Pinakothek der Moderne

Jean-Baptiste-Siméon Chardin (1699–1779), Alte Pinakothek

Cima da Conegliano (ca. 1459-1517/18), Alte Pinakothek

John Constable (1776–1837), Neue Pinakothek

Lovis Corinth (1858–1925), Neue Pinakothek

Peter Cornelius (1783–1867), Neue Pinakothek

Gustave Courbet (1819–1877), Neue Pinakothek

Lucas Cranach the Elder (1472–1553), Alte Pinakothek

Leonardo da Vinci (1452–1519), Alte Pinakothek

Johan Christian Dahl (1788–1857), Neue Pinakothek

Cornelis van Dalem (1530–1576), Alte Pinakothek

Honoré Daumier (1808–1879), Neue Pinakothek

Gerard David (1460–1523), Alte Pinakothek

Jacques-Louis David (1748–1825), Neue Pinakothek

Franz von Defregger (1835–1921), Neue Pinakothek

Edgar Degas (1834–1917), Neue Pinakothek

Eugène Delacroix (1798–1863), Neue Pinakothek

Robert Delaunay (1885–1941), Pinakothek der Moderne

Johann Georg von Dillis (1759–1841), Neue Pinakothek

Albrecht Dürer (1471–1528), Alte Pinakothek

Anthony van Dyck (1599–1641), Alte Pinakothek

Johann Georg Edlinger (1741–1819), Neue Pinakothek

Adam Elsheimer (1578–1610), Alte Pinakothek

James Ensor (1860–1949), Neue Pinakothek

Max Ernst (1891–1976), Pinakothek der Moderne

Carel Fabritius (1622–1654), Alte Pinakothek

Anselm Feuerbach (1829–d.1880), Neue Pinakothek

Dan Flavin (b.1933), Pinakothek der Moderne

Frans Francken the Younger (1581–1642), Alte Pinakothek

Caspar David Friedrich (1774–1840), Neue Pinakothek

Ernst Fries (1801–1833), Neue Pinakothek

Thomas Gainsborough (1727–1788), Neue Pinakothek

Louis Gallait (1810–1887), Neue Pinakothek

Paul Gauguin (1848–1903), Neue Pinakothek

Orazio Gentileschi (1563–1639), Alte Pinakothek

Théodore Géricault (1791–1824), Neue Pinakothek

Domenico Ghirlandaio (1449–1494), Alte Pinakothek

Giotto (1266–1337), Alte Pinakothek

Vincent van Gogh (1853–1890), Neue Pinakothek

Hendrik Goltzius (1558–1617), Alte Pinakothek

Jan Gossaert (1478–1532), Alte Pinakothek

Francisco Goya (1746–1828), Neue Pinakothek

Anton Graff (1736–1813), Neue Pinakothek

El Greco (1541–1614), Alte Pinakothek

George Grosz (1893–1959), Pinakothek der Moderne

Matthias Grünewald (1470/80-1528), Alte Pinakothek

Francesco Guardi (1712–1793), Alte Pinakothek

Wade Guyton (b.1972), Neue Pinakothek

Jacob Philipp Hackert (1737–1807), Neue Pinakothek

Frans Hals (1582–1666), Alte Pinakothek

Johann Peter Hasenclever (1810–1853), Neue Pinakothek

Heinrich Maria von Hess (1798–1863), Neue Pinakothek

Peter von Hess (1792–1871), Neue Pinakothek

Rudolf Hirth du Frênes (1846–1916), Neue Pinakothek

Ferdinand Hodler (1853–1918), Neue Pinakothek

Karl Hofer (1878–1955), Pinakothek der Moderne

Ludwig von Hofmann (1861–1945), Neue Pinakothek

Hans Holbein the Elder (1460–1524), Alte Pinakothek

Teresa Hubbard / Alexander Birchler (b. 1962 & 1965), Neue Pinakothek

Abraham Janssens (1570–1632), Alte Pinakothek

Jacob Jordaens (1593–1678), Alte Pinakothek

Willem Kalf (1619–1693), Alte Pinakothek

Wassily Kandinsky (1866–1944), Pinakothek der Moderne

Angelica Kauffman (1741–1807), Neue Pinakothek

Wilhelm von Kaulbach (1804–1874), Neue Pinakothek

Albert von Keller (1844/1845–1920), Neue Pinakothek

Georg Friedrich Kersting (1785–1847), Neue Pinakothek

Ernst Ludwig Kirchner (1880–1938), Neue Pinakothek

Leo von Klenze (1784–1864), Neue Pinakothek

Gustav Klimt (1862–1918), Neue Pinakothek

Max Klinger (1857–1920), Neue Pinakothek

Wilhelm von Kobell (1766–1853), Neue Pinakothek

Joseph Anton Koch (1768–1839), Neue Pinakothek

Philip de Koninck (1619–1688), Alte Pinakothek

Willem de Kooning (1904–1997), Pinakothek der Moderne

Nicolas Lancret (1690–1743), Alte Pinakothek

Pieter Lastman (1583–1633), Alte Pinakothek

Thomas Lawrence (1769–1830), Neue Pinakothek

Wilhelm Leibl (1844–1900), Neue Pinakothek

Franz von Lenbach (1836–1904), Neue Pinakothek

Lucas van Leyden (1494–1533), Alte Pinakothek

Max Liebermann (1847–1935), Neue Pinakothek

Adolf Heinrich Lier (1826–1882), Neue Pinakothek

Filippo Lippi (1406–1469), Alte Pinakothek

Johann Liss (1590–1629), Alte Pinakothek

Stefan Lochner (c. 1400 – 1451), Alte Pinakothek, Neue Pinakothek

Claude Lorrain (1604–1682), Alte Pinakothek

Lorenzo Lotto (1480–1556), Alte Pinakothek

August Macke (1887–1914), Pinakothek der Moderne

René Magritte (1898–1967), Pinakothek der Moderne

Aristide Maillol (1861–1944), Neue Pinakothek

Hans Makart (1840–1884), Neue Pinakothek

Édouard Manet (1832–1883), Neue Pinakothek

Hans von Marées (1837–1887), Neue Pinakothek

Jacob Maris (1837–1899), Neue Pinakothek

Willem Maris (1844–1910), Neue Pinakothek

Masolino da Panicale (1383–1447), Alte Pinakothek

Henri Matisse (1869–1954), Pinakothek der Moderne

Gabriel Cornelius von Max (1840–1915), Neue Pinakothek

Eduard van der Meer (1846–1889), Neue Pinakothek

Master of Saint Veronica (1400–1420), Alte Pinakothek

Master of the Saint Bartholomew Altarpiece (1465–1510), Alte Pinakothek

Hans Memling (1430–1494), Alte Pinakothek

Lippo Memmi (1291–1356), Alte Pinakothek

Adolph Menzel (1815–1905), Neue Pinakothek

Jean-François Millet (1814–1875), Neue Pinakothek

Claude Monet (1840–1926), Neue Pinakothek

Bartolomé Esteban Murillo (1617–1682), Alte Pinakothek

François-Joseph Navez (1787–1869), Neue Pinakothek

Emil Nolde (1867–1956), Pinakothek der Moderne

Ferdinand Olivier (1785–1841), Neue Pinakothek

Friedrich Overbeck (1789–1869), Neue Pinakothek

Michael Pacher (c. 1435 – 1498), Alte Pinakothek

Blinky Palermo (1943–1977), Pinakothek der Moderne

Juan Pantoja de la Cruz (1553–1608), Alte Pinakothek

Parmigianino (1503–1540), Alte Pinakothek

Pablo Picasso (1881–1973), Neue Pinakothek, Pinakothek der Moderne

Karl von Piloty (1826–1886), Neue Pinakothek

Frans Post (1612–1680), Alte Pinakothek

Nicolas Poussin (1594–1665), Alte Pinakothek

Domenico Quaglio the Younger (1787–1837), Neue Pinakothek

Arthur von Ramberg (1819–1875), Neue Pinakothek

Raphael (1483–1520), Alte Pinakothek

Ferdinand von Rayski (1806–1890), Neue Pinakothek

Josef Rebell (1787–1828), Neue Pinakothek

Johann Christian Reinhart (1761–1847), Neue Pinakothek

Rembrandt (1606–1669), Alte Pinakothek

Guido Reni (1575–1642), Alte Pinakothek

Pierre-Auguste Renoir (1841–1919), Neue Pinakothek

Joshua Reynolds (1723–1792), Neue Pinakothek

Adrian Ludwig Richter (1803–1884), Neue Pinakothek

August Riedel (1799–1883), Neue Pinakothek

Auguste Rodin (1840–1917), Neue Pinakothek

Johann Martin von Rohden (1778–1868), Neue Pinakothek

Carl Rottmann (1798–1850), Neue Pinakothek

Peter Paul Rubens (1577–1640), Alte Pinakothek

Jacob Isaacksz van Ruisdael (1628–1682), Alte Pinakothek

Philipp Otto Runge (1777–1810), Neue Pinakothek

Rachel Ruysch (1664–1750), Alte Pinakothek

Théo van Rysselberghe (1862–1926), Neue Pinakothek

Pieter Jansz. Saenredam (1597–1665), Alte Pinakothek

Carlo Saraceni (1579–1620), Alte Pinakothek

Friedrich Wilhelm Schadow (1789–1862), Neue Pinakothek

Ridolfo Schadow (1786–1822), Neue Pinakothek

Egon Schiele (1890–1918), Neue Pinakothek

Karl Friedrich Schinkel (1781–1841), Neue Pinakothek

Eduard Schleich the Elder (1812–1874), Neue Pinakothek

Oskar Schlemmer (1888–1943), Pinakothek der Moderne

Martin Schongauer (1440–1491), Alte Pinakothek

Carl Schuch (1846–1902), Neue Pinakothek

Moritz von Schwind (1804–1871), Neue Pinakothek

Jan Siberechts (1627–1703), Alte Pinakothek

Luca Signorelli (1441–1523), Alte Pinakothek

Max Slevogt (1868–1932), Neue Pinakothek

Johann Sperl (1840–1914), Neue Pinakothek

Carl Spitzweg (1808–1885), Neue Pinakothek

Joseph Karl Stieler (1781–1858), Neue Pinakothek

Bernhard Strigel (1460–1528), Alte Pinakothek

George Stubbs (1724–1806), Neue Pinakothek

Franz von Stuck (1863–1928), Neue Pinakothek

Michiel Sweerts (1618–1664), Alte Pinakothek

David Teniers the Younger (1610–1690), Alte Pinakothek

Gerard ter Borch (1617–1681), Alte Pinakothek

Berthel Thorvaldsen (1768/70-1844), Neue Pinakothek

Giovanni Battista Tiepolo (1696–1770), Alte Pinakothek

Domenico Tintoretto (1560–1635), Alte Pinakothek

Tintoretto (1518–1594), Alte Pinakothek

Titian (1485–1576), Alte Pinakothek

Henri de Toulouse-Lautrec (1864–1901), Neue Pinakothek

Maurice Quentin de La Tour (1704–1788), Alte Pinakothek

J. M. W. Turner (1775–1851), Neue Pinakothek

Fritz von Uhde (1848–1911), Neue Pinakothek

Diego Velázquez (1599–1660), Alte Pinakothek

Esaias van de Velde (1587–1630), Alte Pinakothek

Henry van de Velde (1863–1957), Neue Pinakothek

Willem van de Velde the Younger (1633–1707), Alte Pinakothek

Carle Vernet (1758–1836), Neue Pinakothek

Claude Joseph Vernet (1714–1789), Alte Pinakothek

Ferdinand Georg Waldmüller (1793–1865), Neue Pinakothek

Andy Warhol (1928–1987), Pinakothek der Moderne

Joseph Wenglein (1845–1919), Neue Pinakothek

Adriaen van der Werff (1659–1722), Alte Pinakothek

Rogier van der Weyden (1400–1464), Alte Pinakothek

David Wilkie (artist) (1785–1841), Neue Pinakothek

Richard Wilson (painter) (1713/1714–1782), Neue Pinakothek

Franz Xaver Winterhalter (1805–1873), Neue Pinakothek

Francisco de Zurbarán (1598–1664), Alte Pinakothek

Wilkie (surname)

Wilkie is a surname of Scottish origin, which is medieval pet form of the personal name William. An alternative spelling is Wilkey, and a related German surname is Wilke. The surname Wilkie may refer to:

Alan Wilkie (born 1951), British football referee

Allan Wilkie (1878–1970), British actor

Alex Wilkie (born 1948), British mathematician

Alexander Wilkie (1850–1928), British politician

Andrew Wilkie (born 1961), Australian politician

Bob Wilkie (born 1969) Canadian ice hockey player

Clare Wilkie (born 1974), British actress

David Wilkie (artist) (1785–1841), British painter

David Wilkie (ice hockey) (born 1974), American ice hockey player

David Wilkie (surgeon) (1882–1938), British surgeon

David Wilkie (swimmer) (born 1958), British swimmer

Dougie Wilkie (born 1956), Scottish footballer

Douglas Wilkie (1909–2002), Australian journalist

Elsie Wilkie (born 1922) lawn bowls competitor from New Zealand

Gordon Wilkie (born 1940), Canadian ice hockey player

Horace W. Wilkie (1917–1976), American politician

Ian Angus Wilkie (born 1960), British actor

J. Scott Wilkie, Canadian lawyer

Jean Baptiste Wilkie (1803–1886), American Métis chief

John Wilkie (1860–1934), American journalist and intelligence officer

John Wilkie (canoeist) (born 1977), Australian slalom canoeist

John Wilkie (footballer) (born 1947), Scottish footballer

Kim Wilkie (born 1959), Australian politician

Kyle Wilkie (born 1991), Scottish footballer

Lee Wilkie (born 1980), Scottish footballer

Lefty Wilkie (1914–1992) American baseball player

Leslie Wilkie (1878–1935), Australian artist

Malcolm Richard Wilkey (1918–2009), American judge and diplomat

Philip Willkie (1919–1974), American businessman

Reginald Wilkie (1907–1962), British ice dancer

Rob Wilkey (born 1956), American politician

Robert Wilkie (born 1963), American lawyer

Robert J. Wilke (1914–1989), American actorVincent Wilkie (born 1969), German musician

Wendell Willkie (1892–1944), American lawyer and politician

William Wilkie (1721–1772), Scottish poet

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