Copyright This work is in the public domain. Abraham Solomon died in 1862; copyright lasts 70 years after the artist’s death, so it ended in 1932.
In context
First Class - — Abraham Solomon
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Measured from the image
Main colour
Phthalo Green #271f1c
Catalogued palette
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The ten leading countries
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Artist and museum
Born in London, United Kingdom
Born in the heart of London’s East End in 1823, Abraham Solomon emerged as a significant figure within the vibrant artistic landscape of 19th-century Britain. The second son of Meyer Solomon, a Leghorn hat manufacturer and a man who broke barriers by becoming one of the first Jews admitted to the freedom of the city, Solomon’s upbringing instilled in him both an appreciation for craftsmanship and a unique perspective on his heritage. His family's history of artistic endeavor—his sister Rebecca and brother Simeon both achieving acclaim—created a fertile environment for his own creative development, shaping not only his technical skills but also his thematic interests.
Solomon’s early training began at Sass’s School of Art in Bloomsbury, a prestigious institution that nurtured the talents of many future artists. At just thirteen years old, he demonstrated exceptional promise, earning an Isis silver medal for his drawing from a statue – a remarkable achievement for such a young student. This initial success paved the way for his admission to the Royal Academy in 1839, where he quickly established himself as a skilled draughtsman, receiving two silver medals within just one year: one for drawing from the antique and another for drawing from life. These early accolades reflected not only his technical proficiency but also an innate ability to capture the essence of both classical subjects and contemporary figures.
Solomon’s artistic output spanned a remarkable range of styles and subject matter, yet he is most remembered for his evocative depictions of domestic scenes, particularly those centered around Jewish life. His early works, such as “Rabbi expounding the Scriptures” (1840) and “My Grandmother and a scene from Sir Walter Scott’s Fair Maid of Perth” (1841), showcased his ability to render intricate details with remarkable precision and sensitivity. These paintings established him as a skilled portraitist and storyteller, capturing not just physical appearances but also the emotional nuances of his subjects.
Solomon's artistic trajectory shifted towards literary themes throughout the 1840s and 1850s. He produced meticulously researched and beautifully executed scenes from works by Shakespeare, Walter Scott, and Molière, including “A Scene from the Vicar of Wakefield” (1842), “Crabbe’s Parish Register” (1843), and “Peveril of the Peak” (1845). These paintings were distinguished by their attention to historical detail, costume, and setting, reflecting Solomon's commitment to accuracy and his deep understanding of the source material. Notably, works like "The Breakfast Table" (1846) and a subsequent scene from The Vicar of Wakefield (1847) garnered considerable attention for their vibrant colors and skillful composition.
While not formally associated with the Pre-Raphaelite Brotherhood, Solomon’s work shares many characteristics with this influential artistic movement. His paintings are characterized by a rich color palette, meticulous detail, and an interest in depicting scenes from literature and history. The influence of the Pre-Raphaelites is particularly evident in his later works, such as “Ballroom in the Year 1760” (1848) and “The Academy for Instruction in the Discipline of the Fan, 1711” (1849), which are notable for their dazzling displays of color and elaborate costumes. These paintings demonstrate Solomon’s mastery of technique and his ability to create visually stunning works that evoke a sense of historical grandeur.
Solomon's style evolved over time, moving from the more rigid conventions of academic painting towards a looser, more expressive approach. His later works, such as “Too Truthful” (1850) and "An Awkward Position" (1851), are characterized by a greater sense of spontaneity and emotional depth. The inclusion of scenes like “The Grisette” (1854) and “Consolation” (1861) reveals his growing interest in social commentary, reflecting the concerns of Victorian society.
Abraham Solomon’s career was tragically cut short at the age of 39 when he died in Biarritz, France, on December 19, 1862, from heart disease. Despite his untimely death, Solomon left behind a significant body of work that continues to be admired for its technical skill, artistic sensitivity, and unique perspective on Jewish life in Victorian England. His paintings offer valuable insights into the social, cultural, and religious experiences of the time, and his legacy as one of Britain’s most accomplished artists endures.
Solomon's work is now housed in prominent collections around the world, including the National Gallery of Canada, the National Gallery of Australia, and the Royal Holloway College. His paintings are a testament to his talent, dedication, and enduring contribution to the history of British art.
On show in New Haven, United States of America
Established in 1966, the Yale Center for British Art occupies a significant place in New Haven, Connecticut, within the United States of America. The institution originated from a gift of an extraordinary collection amassed by Paul Mellon. This foundation transformed the landscape of British art studies in the region, providing a permanent home for works that trace the evolution of a nation's visual identity. The presence of these objects allows for a direct encounter with the history of British aesthetics and social customs.
The center maintains a formal affiliation with the Paul Mellon Centre for Studies in British Art in London. This connection links the New Haven site to a broader network of international research and scholarship. The collection's depth is rooted in this long-standing commitment to preserving the creative output of Britain, spanning several centuries of artistic development. It remains a primary repository for those seeking to understand the shifts in British culture through its material remains.
The building, designed by the architectural visionary Louis Kahn, exists as a precise intersection of light, space, and material. Its exterior is composed of matte steel and reflective glass, creating a quiet presence in New Haven. Inside, the atmosphere is defined by the tactile qualities of travertine marble, white oak, and Belgian linen. These materials do not merely decorate the space; they establish a sense of permanence and weight.
Light is the primary inhabitant of the structure. Kahn’s design philosophy prioritized the way illumination interacts with the physical environment, using it to define the volume of the galleries. The four-story Entrance Court remains a singular feature, acting as the only top-lit space within the building to receive unfiltered natural light. This influx of sun creates a shifting dialogue between the architecture and the sky, ensuring that the environment is never static.
The geometry of the interior relies on a careful arrangement of interlocking spaces and proportions. The use of travertine and wood creates a backdrop that is both monumental and intimate. By avoiding unnecessary ornamentation, the architecture allows the focus to remain on the interplay of shadow and clarity. The structure remains a profound example of how a building can facilitate a quiet encounter between the observer and the objects held within its walls.
The holdings encompass a vast breadth of British art and culture, tracing a lineage that extends from the fifteenth century to the present day. Within these walls, the collection is organized into several departments, including the Reference Library and Archives. These resources provide a foundation for understanding the evolution of the visual language presented in the galleries. The breadth of the material is significant, with the institution housing 2,000 paintings alongside a wide array of other media.
The physical presence of the collection is felt through a variety of formats. Beyond the canvases, the museum contains sculpture, drawings, prints, and photographs. Rare books and manuscripts are also held here, offering a tangible connection to the historical record. Each object exists as a specific point in a long continuum of creative expression, from the early modern period through to contemporary works.
Landscape with Cattle, 1773 - Thomas Gainsborough
A View from Hampstead Heath, about 1825 - John Constable
May Day - William Collins
The Blacksmith's Shop, 1771 - Joseph Wright of Derby
The presence of William Hogarth is felt through his sharp social commentary, notably in works such as A Rake’s Progress. These paintings offer a detailed look at the complexities of 18th-century society. Alongside these social observations, the collection holds significant landscape paintings by Thomas Gainsborough, Richard Wilson, John Constable, Richard Parkes Bonington, and J.M.W. Turner. Each artist brings a distinct approach to the natural world, from the serene depictions of the English countryside to more radical explorations of atmosphere.
J.M.W. Turner’s landscapes redefine the possibilities of color and light, moving away from established academic traditions to capture the shifting qualities of the sky and sea. The collection is not limited to native British painters; it includes works by artists from Europe and North America who lived and worked in Britain. This diversity ensures the collection reflects a broad spectrum of artistic influence and movement.
A Rake’s Progress, William Hogarth
Landscape with Cattle, 1773, Thomas Gainsborough
A View from Hampstead Heath, John Constable
May Day, William Collins
The Center maintains a continuous dialogue between historical traditions and contemporary perspectives. The current exhibition, “In a New Light: Five Centuries of British Art,” creates a direct connection between the dramatic landscapes of J.M.W. Turner and the modern explorations of Tracey Emin. This placement allows for a study of how light and form have evolved through different eras of British expression.
Beyond the galleries, the institution functions as a site for deep academic inquiry. Through its affiliation with the Paul Mellon Centre in London, the Center facilitates international collaborations that extend the reach of its research. This global connection supports a steady stream of scholarship, bolstered by the availability of a significant collection of rare books and manuscripts. These primary sources provide the necessary evidence for researchers seeking to understand the specific contexts of the works on display.
The commitment to the future of art history is reflected in the institution's active support for the creative community. This is achieved through the provision of fellowships, grants, and organized exhibitions. Such resources ensure that the study of British art remains a living, evolving field. The presence of these academic tools alongside the physical collection creates an environment where the past is constantly being re-examined through new lenses.
The physical structure of the Yale Center for British Art underwent a significant transformation to ensure its continued preservation. Following a multiyear building conservation project, the institution reopened to the public on May 11, 2016. This extensive undertaking, which comprised three distinct phases, required an investment of approximately $33 million. The work focused on renewing the public galleries, internal systems, and various amenities to maintain the integrity of the space.
Led by Knight Architecture, LLC, the conservation effort addressed the entire structure, from the roof down to the basement. The project sought to revitalize the internal spaces and the essential systems that support the environment within the walls. This meticulous attention to the building's condition ensures that the atmosphere remains conducive to the quiet observation of the collection. The results of this work allow the architecture to continue its function as a stable, light-filled setting for the works it houses.
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For art students and researchers
First Class - — Abraham Solomon
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You can see the original "First Class -" at the Yale Center for British Art, New Haven, United States of America.
The Stats page of "First Class -" by Abraham Solomon presents public visit statistics: monthly visits of this artwork, a comparison with the artist's most viewed works, and where its visitors come from.
"First Class -" by Abraham Solomon is in the public domain - its copyright has expired. Copyright duration runs from the artist's death, which occurred in 1862.