Albert Joseph Moore,ARWS
181-1893 He showed precocious artistic talent as a child and entered the Royal Academy Schools in London in 1858. His early work shows a Pre-Raphaelite influence common to his generation. The watercolour Study of an Ash Trunk (1857; Oxford, Ashmolean) is very Ruskinian in its precise handling of naturalistic detail. Moore made two visits abroad: in 1859 to France with the architect William Eden Nesfield and in the winter of 1862-3 to Rome with his brother John Collingham Moore. Elijah's Sacrifice (1863; exh. RA 1865; Bury St Edmunds, A.G.), one of Moore's earliest large-scale oil paintings, was executed while he was in Rome. Its biblical subject and sombre tone are typical of his output in the early 1860s and relate to the work of Ford Madox Brown and Edward Armitage.
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Albert Joseph Moore,ARWS Study of an Ash Trunk (mk46) oil painting


Study of an Ash Trunk (mk46)
1857 Watercolour and bodycolour heightened with gum arabic. 30.3x22.9c, Oxford,Ashmolean Museum
Painting ID::  25996 		Albert Joseph Moore,ARWS
Study of an Ash Trunk (mk46)
1857 Watercolour and bodycolour heightened with gum arabic. 30.3x22.9c, Oxford,Ashmolean Museum
   
   
     
Albert Joseph Moore,ARWS Myrtle (mk46) oil painting


Myrtle (mk46)
1886 wATERCOLOUR 28.8X16.5CM
Painting ID::  26039 		Albert Joseph Moore,ARWS
Myrtle (mk46)
1886 wATERCOLOUR 28.8X16.5CM
   
   
     
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     Albert Joseph Moore,ARWS
     181-1893 He showed precocious artistic talent as a child and entered the Royal Academy Schools in London in 1858. His early work shows a Pre-Raphaelite influence common to his generation. The watercolour Study of an Ash Trunk (1857; Oxford, Ashmolean) is very Ruskinian in its precise handling of naturalistic detail. Moore made two visits abroad: in 1859 to France with the architect William Eden Nesfield and in the winter of 1862-3 to Rome with his brother John Collingham Moore. Elijah's Sacrifice (1863; exh. RA 1865; Bury St Edmunds, A.G.), one of Moore's earliest large-scale oil paintings, was executed while he was in Rome. Its biblical subject and sombre tone are typical of his output in the early 1860s and relate to the work of Ford Madox Brown and Edward Armitage.

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