Who painted G.F. Watts, R.A., 2nd plate?

G.F. Watts, R.A., 2nd plate was painted by Alphonse Legros in 1874.

Where can I see G.F. Watts, R.A., 2nd plate?

G.F. Watts, R.A., 2nd plate is held by National Gallery of Art.

What movement is G.F. Watts, R.A., 2nd plate?

G.F. Watts, R.A., 2nd plate is associated with Romanticism.

Artwork

G.F. Watts, R.A., 2nd plate

Alphonse Legros , 1874

G.F. Watts, R.A., 2nd plate is an ink print by the Romanticist artist Alphonse Legros. It dates from 1874 and is held in the collection of the National Gallery of Art.

About this work

Overview

In 1874 Alphonse Legros produced a transfer lithograph titled *G.F. Watts, R.A., 2nd plate*. The print presents a formal likeness of the Victorian painter Sir George Frederic Watts, a leading figure in the era’s artistic circles. Rendered in monochrome tones, the image conveys a restrained, scholarly atmosphere appropriate to its subject’s stature.

Subject & Meaning

The portrait shows Watts with a long white beard and mustache, dressed in a dark jacket and cap. His eyes glance slightly leftward, and his expression remains neutral, suggesting contemplation rather than overt emotion. The composition emphasizes the artist’s intellectual presence, aligning with the Victorian ideal of the learned, dignified creator.

Technique & Style

Legros employed the transfer lithography process, a method that allows a drawn image to be reproduced with fine tonal variation. The print’s light beige background and deeper shadows behind the head and shoulders create a subtle three‑dimensional effect. The handling of line and shading reflects Legros’s background in etching and his affinity for precise, controlled rendering.

History & Provenance

Born in France and naturalised as a British citizen after moving to London in 1863, Legros was a central figure in the British etching revival. This lithograph, produced during his mature period, was likely intended for circulation among artistic peers and collectors. Its survival in museum collections attests to its continued relevance as a document of Victorian artistic networks.