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  • George Frederic Watts
    Feb 23, 1817 - Jul 1, 1904
  • Adelbert Wellington Brownlow Cust, 3rd Earl of Brownlow - George Frederic Watts was a popular English Victorian painter and sculptor associated with the Symbolist movement. He said "I paint ideas, not things." Watts became famous in his lifetime for his allegorical works, such as Hope and Love and Life. These paintings were intended to form part of an epic symbolic cycle called the "House of Life", in which the emotions and aspirations of life would all be represented in a universal symbolic language.
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Adelbert Wellington Brownlow Cust, 3rd Earl of Brownlow
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  • Adelbert Wellington Brownlow Cust, 3rd Earl of Brownlow

  • George Frederic Watts
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  • circa 1868
    Oil on canvas
    97 cm (38.19 in.) x 85 cm (33.46 in.)
    Belton House - National Trust, Grantham, United Kingdom.

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Other paintings by George Frederic Watts:

Adam and Eve
Adam and Eve
Adam and Eve before the Temptation (Naked and Not Ashamed)
Adam and Eve before the Temptation (Naked and Not Ashamed)
Admiral Henry John Chetwynd, 18th Earl of Shrewsbury
Admiral Henry John Chetwynd, 18th Earl of Shrewsbury
Admiral Lord Lyons
Admiral Lord Lyons
George Frederic WattsGeorge Frederic Watts (b London, 1817; d Limerlease, England, 1904) was a British Painter. Watts was one of the most remarkable and versatile figures in Victorian art. During his long career of some seventy years, he made major contributions to history painting, the mural revival, portraiture, landscape, high Victorian classicism, symbolism, and the new sculpture. To put this in different words, no one did more to bridge the enormous gap between the age of Haydon and Etty and the dawn of modernism. He is not an easy artist; the moral allegories by which he set such store have proved particularly difficult for a twentieth-century audience, but taste seems to be changing. He was well represented in the exhibition “The Age of Rosetti, Burne-Jones and Watts: Symbolism in Britain 1860-1910”, mounted at the Tate Gallery last year, and for many he emerged as the star of the show. The object of the exhibition was to place British symbolism in a European context, and Watts lends himself to this treatment. His work was well known and much admired on the continent during his lifetime.