xt7qjq0stw34_5401 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection Solomon Hart letters, with clipping text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. Solomon Hart letters, with clipping 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_62/Folder_68/Multipage28568.pdf 1841-1871, undated 1871 1841-1871, undated section false xt7qjq0stw34_5401 xt7qjq0stw34 HART, SOLOMON ALEXANDER, R. - .,
born at Plymouth, in April, 1806, is
the son of Mr. Samuel Hart, who,
while apprenticed to a goldsmith and
jeweller of Bath, had studied art, and
painted under Northcote in London in
1785. In 1820 he removed with his
family to London, and in 1823 Solo-
mon entered the Royal Academy as
student of painting. He first ap-
peared as an exhibitor at the Academy
in 1826, with a portrait-miniature of
his father, a branch of art he ex-
changed for oils. “ Instructions,” his
first exhibition oil picture—~at the
British Institution in 1828—was im-
mediately sold, and this confirmed
the artist in his choice. “ The Eleva-
tion of the Law,” exhibited at the
Suffolk-street Gallery in 1830, was
purchased by Mr. Vernon. This was
followed by “Isaac of York in the
Donjon of Front de Boeuf,” in 1830;
“English Nobility privately receiving
the Catholic Communion early in the
' Sixteenth Century,” in 1831; “ Giacopo
Querini refusing to enter into the
Compact with Boemondo Theopolo to
put to Death the Doge Gradenigo,”
in 1832 ; “ Wolsey and Buckingham,”
purchased by Lord Northwick, in
1834; and “Cceur de Lion and the
Soldan Saladin,” in 1835. The two
latter pictures increased his profes-
sional reputation, and led to his elec-
tion as an Associate. “ Sir Thomas
More receiving the Benediction of his
Father” was exhibited in 1836;
followed by “Hannah the Mother of
Samuel,” “Eleanor sucking the Poison
from Edward’s Arm,” “ Henry I. re-
ceiving the intelligence of his Son’s
Shipwreck,” &c. In 1840 he became
R.A., and during a visit to Italy in
1841—2 made an elaborate series bf
drawings— originally intended for
publication—of architectural interiors,
and of sites famous in history. Mr.
Hart made use of the abundant
materials collected in several pictures,
amongst which may be mentioned,
“ Dinner-time in the Refectory of the
Convent of the Ognessanti, Florence,”
“Interior of the Cathedral at Modena,”
“Interior of the Cathedral at Pisa,”
and “An Offering to the Virgin.”
The list of this artist’s works, with
which the public are familiar, would
occupy more space than we have at
command. “Milton visiting Galileo
in Prison,” “The Three Inventors of
Printing,” “Columbus when a Buy
conceives the Idea of the New World,”
and “ The Introduction of Raphael to
Pope Julius II.,” are among the best
known. In 1857 Mr. Hart succeeded
Leslie as Professor of Painting in the
Royal Academy, and in 1865 was
appointed by the Queen Librarian of
the Royal Academy. Mr. Hart has,
in addition to his larger works,
painted landscapes, and some por-
traits. 755 ' ,5