Student Artwork Guide
Copyright This work is in the public domain. Lowes Cato Dickinson died in 1908; copyright lasts 70 years after the artist’s death, so it ended in 1978.
In context
Thomas Hare — Lowes Cato Dickinson
The original measures 79 × 62 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 89 at death.
Painted when the artist was 48. The artist lived to 89. 9 of the 60 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Lowes Cato Dickinson (1819–1908) ▲ this work, 1867 every dated painting, decade by decade
First works: up to 1869 Main working years: 1869–1890 Late works: from 1890
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/lowes-cato-dickinson-thomas-hare-AQSBRH-en/
Measured from the image
Main colour
Black #0c0604
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 77.8% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 74 works by this artist, of which 36 were looked at at least once. This painting ranks 13 of them, with 2.7% of that attention. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Kilburn, United Kingdom
Lowes Cato Dickinson, born in Kilburn, London, in 1819, was a figure deeply embedded within the artistic and social currents of Victorian England. Coming from a family intimately connected to the art world—his father, Joseph Dickinson, being a respected lithographer and publisher on Bond Street—Dickinson’s path seemed preordained. Yet, his journey wasn't merely one of inheritance but of active engagement with the evolving aesthetic sensibilities and progressive social movements of his time. One of eleven siblings, he received his early education at Topsham School and Dr Lord's School in Tooting, grounding him in a solid foundation before fully immersing himself within the family business following his father’s death in 1849. He then joined forces with his brothers, Gilbert Bell Dickinson and William Robert Dickinson, to continue the legacy of Dickinson Brothers on Bond Street, a firm that quickly became synonymous with quality art publishing and photography. This early exposure wasn't simply about commerce; it was an apprenticeship in visual culture, shaping his eye for detail and composition—qualities that would define his later work as a portraitist.
Dickinson’s artistic development took a significant turn with a three-year sojourn in Italy around 1850. This period proved formative, exposing him to the masterpieces of the Renaissance and influencing his evolving style. Upon his return to England, he found himself drawn into the orbit of the Pre-Raphaelite Brotherhood. Though not a formal member, Dickinson engaged in correspondence and collaboration with key figures like Dante Gabriel Rossetti and John Ruskin, absorbing their emphasis on truth to nature and emotional intensity. He even lectured alongside them, solidifying his position within this influential artistic milieu. This association wasn’t purely aesthetic; it was intertwined with a burgeoning sense of social responsibility. Dickinson became deeply involved in the Christian socialist movement, a group advocating for social justice through the lens of faith. His commitment manifested most concretely in 1854 with the co-founding of the Working Men's College in London. This institution, dedicated to providing accessible education to working-class individuals, was a testament to his belief in the transformative power of knowledge and a reflection of his desire to bridge social divides. The presence of Ford Madox Brown, who worked for Dickinson Brothers, further underscores his connection to this vibrant artistic and intellectual network.
Lowes Cato Dickinson carved out a niche as a highly sought-after portrait painter during the Victorian era. His skill lay not in grand historical narratives or dramatic allegories but in capturing the essence of his sitters—the prominent figures who shaped British society. He painted Queen Victoria herself, members of Parliament, leading scientists like Arthur Cayley and James Clerk Maxwell, and fervent Christian socialists such as Charles Kingsley and Thomas Hughes. He developed a remarkable technique, often focusing solely on rendering the faces of his subjects with meticulous detail, leaving the depiction of clothing and accessories to other artists. This collaborative approach allowed him to concentrate on conveying personality and character through nuanced facial expressions and subtle shading. Perhaps one of his most celebrated achievements was the 1868 cabinet portrait of Mr. Gladstone, captured within the iconic Cabinet Room of 10 Downing Street—a work that offers a fascinating glimpse into the inner workings of British politics. He also became renowned for his unique ability to create posthumous portraits, skillfully reconstructing likenesses from photographs or descriptions, ensuring that memory endured beyond physical presence.
The impact of Lowes Cato Dickinson extends far beyond the canvases he filled with faces. His works are prominently displayed in the National Portrait Gallery in London, a testament to his significant contribution to British portraiture. The Working Men's College continues to honor his memory through the annual Lowes Dickinson Award, an art prize recognizing student excellence. Furthermore, his children established a travel award in his name, fostering opportunities for artistic exploration and growth. His papers, meticulously preserved at Princeton, Oxford, and Cambridge Universities, serve as invaluable resources for scholars studying Victorian art, social history, and the intersection of faith and reform. Dickinson’s life embodies a fascinating confluence of artistic talent, social conscience, and intellectual curiosity. He wasn't merely a painter of portraits; he was a chronicler of his time—a visual historian who captured the spirit of an era defined by both progress and profound societal challenges. His legacy endures not only in the images he created but also in the institutions he helped build, continuing to inspire generations with their commitment to education, social justice, and the power of art.
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Look closely
Thomas Hare — Lowes Cato Dickinson
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
The copyright answer for "Thomas Hare" by Lowes Cato Dickinson: the work is in the public domain - its copyright has expired. This determines whether reproductions of the image may be freely made.
In terms of perceived brightness, "Thomas Hare" by Lowes Cato Dickinson is deep_shadow.
"Thomas Hare" is available as a fine art print on cotton canvas or archival canvas paper. Orders are placed on its Fine Art Print page, in the size of your choice.