Albert Joseph Moore

File:Albert Moore - A Garden - Google Art Project.jpg

Moore was born at York on 4 September 1841, the thirteenth son and fourteenth child of well known portrait-painter William Moore and his second wife, Sarah Collingham.{{cite book|title=Moore|author=Moore, A.J.|year=1908|publisher=Bates and Guild Company|url=https://archive.org/details/mooremastersinar00moorrich|page=23|access-date=12 April 2015}}

Several of his numerous brothers were educated as artists, including John Collingham Moore and Henry Moore, R.A., the well-known sea painter. Albert Moore was educated at Archbishop Holgate's School, and also at St. Peter's School at York, receiving at the same time instruction in drawing and painting from his father. He made such progress that he gained a medal from the Department of Science and Art at Kensington in May 1853, before completing his twelfth year.{{sfn|Cust|1894}}

After his father's death in 1851, Moore owed much to the care and tuition of his brother, John Collingham. In 1855, he came to London and attended the Kensington grammar school till 1858, when he became a student in the art school of the Royal Academy. He had already exhibited there in 1857, when he sent A Goldfinch and A Woodcock.

File:Moore Albert Joseph The Mother of Sisera Looked out a Window.jpg looked out a Window]]

His early works shows the influence of Ruskin. In 1859 he was in France with the architect William Eden Nesfield. In 1861, he made a new venture with two sacred subjects, The Mother of Sisera looked out of a Window (Tullie House Museum and Art Gallery, Carlisle) and Elijah running to Jezreel before Ahab's Chariot (Private collection, Canada).{{sfn|Cust|1894}} Meanwhile, Moore had given signs of the remarkable skill which he afterwards displayed as a decorative artist. The 1860s saw Moore designing tiles, wallpaper and stained glass for Morris, Marshall, Faulkner and Co., and working as an ecclesiastic and domestic mural painter. During this period his works began to take on a markedly neo-classical character, Moore making an extensive study of antique sculpture, particularly the Elgin marbles in the British Museum. His concern for decorative, color harmonies became apparent in his paintings of the mid-1860s onwards. His works, typically single female figures with formalized proportions, neo-classical drapery and floral accessories, established a major strand of the Aesthetic Movement.{{cite web|url=http://www.npg.org.uk/collections/search/personextended.php?linkid=mp03147&tab=biography |title= "Albert Joseph Moore (1841–1893), Painter", National Portrait Gallery |publisher=npg.org.uk|access-date=12 April 2015}}

File:Albert Joseph Moore - Elijah's Sacrifice 1863.jpg

About 1860 he painted a ceiling at Shipley, followed by another at Croxteth Park, Lancashire. He spent the winter of 1862–3 in Rome with his brother John Collingham Moore. It was here that he painted Elijah's Sacrifice (1863), which shows the influence of Ford Madox Brown and Edward Armitage.{{cite web|url=http://etchings.arts.gla.ac.uk/catalogue/biog/?nid=MoorA |title="Albert Joseph Moore, 1841–1893", College of Arts, University of Glasgow |author=Professor Margaret MacDonald|publisher=etchings.arts.gla.ac.uk|access-date=12 April 2015}} In 1863 he executed a wall painting for the kitchen of Combe Abbey for the Earl of Craven.{{sfn|Cust|1894}} Moore was a regular exhibitor at the Grosvenor Gallery from 1877 onwards.

In 1864, he exhibited at the Royal Academy a group in fresco, entitled The Seasons, which attracted notice from the graceful pose of the limbs in the figures, and the delicate folds of the draperies.

In 1865, Moore exhibited at the Royal Academy The Marble Seat, the first of a long series of purely decorative pictures, with which his name will always be associated. Henceforth he devoted himself entirely to this class of painting, and every picture was the result of a carefully thought out and elaborated harmony in pose and colour, having as its basis the human form, studied in the true Hellenic spirit.{{sfn|Cust|1894}}

File:Albert Joseph Moore - Canaries - Google Art Project.jpg

From the mid-1860s onwards, Moore increasingly began to paint works of female figures in differing states of consciousness, often sleep.{{Cite journal|last=Merkling|first=Emma|year=2018|title=The Sensate Body: Consciousness in Albert Moore's Art|url=https://courtauld.ac.uk/research/publications/immediations/immediations-online-2/immediations-2018-volume-5-number-1/articles-immediations-2018-volume-5-number-1/emma-merkling|journal=Immediations|volume=4|issue=3|pages=50–70}} This can be seen in works ranging from Lilies (1866) to Dreamers (1879–82) to Midsummer (1887). These paintings relate sensory, bodily experience with consciousness itself, in ways aligned with the ideas of contemporary physiological psychologists like George Henry Lewes. Such depictions suggest Moore's interest in the contemporary science of mind and experience, and he pursued related themes until his death.

The chief charm of Moore's pictures lay in the delicate low tones of the diaphanous, tissue-like garments in which the figures were draped.

The names attached to the pictures were generally suggested by the completed work, and rarely represented any preconceived idea in the artist's mind.

Among them were such titles as A Painter's Tribute to Music, Shells, The Reader, Dreamers, Battledore, Shuttlecock, Azaleas.

In so limited a sphere of art, Moore found his admirers among the few true connoisseurs of art rather than among the general public.

His pictures were frequently sold off the easel before completion, but it was not till late in his life that he obtained what may be called direct patronage.

He executed other important decorative works, like The Last Supper and some paintings for a church at Rochdale, the hall at Claremont, the proscenium of the Queen's Theatre, Long Acre, and a frieze of peacocks for Mr. Lehmann.{{sfn|Cust|1894}}

Moore was of an independent disposition, and relied solely on his own judgment in matters both social and artistic.

His somewhat outspoken views proved a bar to his admission into the ranks of the Royal Academy, for which he was many years a candidate, and where his works were long a chief source of attraction.{{sfn|Cust|1894}}

File:Grave of Albert Joseph Moore in Highgate Cemetery.jpg]]

Though suffering from a painful and incurable illness, Moore worked up to the last, completing by sheer courage and determination an important picture just before his death, which occurred on 25 September 1893, at 2 Spenser Street, Victoria Street, Westminster.

He was buried on the eastern side of Highgate Cemetery with his brother Henry Moore. The adjacent plot contains John Collingham Moore and his family.

His last picture, The Loves of the Seasons and the Winds, is one of his most elaborate and painstaking works ; it was painted for Mr. McCulloch, and Moore wrote three stanzas of verse to explain the title.{{sfn|Cust|1894}}

Moore's work is now represented in many important public collections, such as those of Birmingham, Liverpool, Manchester, and elsewhere.

An exhibition of his works was held at the Grafton Galleries, London, in 1894.{{sfn|Cust|1894}}

Several of his pictures are now in public collections throughout the United Kingdom and, in addition to those above, include Blossoms in the Tate, and a watercolor, The Open Book, in the Victoria and Albert Museum, London. The British Museum in London has a group of his early drawings.

• The Quartette (1869)
• Seagulls (1871; Williamson Art Gallery and Museum, Birkenhead)
• Follow-my-Leader (1873)
• Shells (1874)
• Topaz (1879)
• Rose Leaves (1880)
• Yellow Marguerites (1881)
• Blossoms (1881)
• Dreamers (1882; Birmingham Museum and Art Gallery)
• Reading Aloud (1884; Kelvingrove Art Gallery and Museum, Glasgow)
• Silver (1886)
• Midsummer (1887; Russell-Cotes Art Gallery & Museum, Bournemouth)
• A River Side (1888),
• A Summer Night (1890; Walker Art Gallery, Liverpool)
• Lightning and Light (1892; Private collection)
• An Idyll (1893)
• The Loves of the Winds and the Seasons (1893; Blackburn Museum and Art Gallery, large picture finished only a few days before his death)

File:Moore Albert Joseph Lilies.jpg|Lilies, 1866

File:Moore Albert Joseph Pomegranates.jpg|Pomegranates, 1866

File:Moore Albert Joseph Apricots.jpg|Apricots, 1866

File:Albert Joseph Moore - A Musician - Google Art Project.jpg|A Musician, c. 1867

File:Moore Albert Joseph A Reader.jpg|A Reader

File:Moore Albert Joseph Seagulls.jpg|Seagulls

File:Moore Seashells.jpg|Seashells

File:Albert Joseph Moore - Sapphires - Google Art Project.jpg|Sapphires, 1877

File:Albert Moore - Blossoms - Google Art Project.jpg| Blossoms, 1881

File:Albert Joseph Moore - An Open Book.jpg|An Open Book, c. 1884

File:Moore Albert Silver.jpg|Silver, 1886

File:Moore Albert Midsummer.jpg|Midsummer, 1887

File:Albert Joseph Moore - A Summer Night - Google Art Project.jpg|A Summer Night, c. 1887 or 1890

File:Moore Albert Joseph Idyll.jpg|An Idyll, 1893

File:Moore Albert Joseph The Loves of the Winds and the Seasons.jpg |The Loves of the Winds and the Seasons, 1893

{{reflist}}

;Attribution

{{DNB|wstitle=Moore, Albert Joseph|first=Lionel Henry|last=Cust|volume=38}}

{{Commons category|Albert Joseph Moore}}

{{EB1911 poster|Moore, Albert Joseph}}

• {{Art UK bio}}
• [http://www.artcyclopedia.com/artists/moore_albert_joseph.html A J Moore online] (ArtCyclopedia)
• [http://www.artrenewal.org/pages/artist.php?artistid=734 A J Moore – biography and works] (Art Renewal Center)
• [http://www.victorianweb.org/painting/moore/paintings/nagler.html Biography] (Victorian Web)

{{Authority control}}

{{DEFAULTSORT:Moore, Albert Joseph}}

Category:People educated at St Peter's School, York

Category:1841 births

Category:1893 deaths

Category:Burials at Highgate Cemetery

Category:Artists from York

Category:19th-century English painters

Category:English male painters

Category:Academic art

Category:People educated at Archbishop Holgate's School

Category:Artists' Rifles soldiers

Category:19th-century English male artists