WILLAERTS lage Recruit (1805). In 1805 he went to London and entered the Royal Academy as a student with a cer- tain reputation which was acknowledged by leading artists. In 1806 he produced the Village Politi- cians, which at once brought him fame. This was followed by the Blind Fiddler (1807, National Gal- lery, London), Alfred in the Neatherd's Cottage (1807), Card Players (1807), and Rent Day (1808). In 1809 he was elect- ed an A.R.A., and in 1811, R.A. In the latter year he painted the Village Festival (National Gallery, London). These works are full of character, well composed, and carefully drawn, but they are thinner in colour and less highly finished than the Blind Man's Buff (1812, Buckingham Pal- ace), Distraining for Rent (1814), Duncan Gray (1814), Rabbit on the Wall (1815), Penny Wedding (1818), Reading the Will (1820, New Pinakothek, Munich), Chelsea Pensioners (1821), Parish Beadle (1822, National Gallery, London), and the High- lander's Home (1825), all of which belong to his middle and best period, in which the influence of the Dutch and Flemish mas- ters is conspicuous. In 1814 Wilkie visited Paris, in 181G Holland, and in 1817 Scot- land, where he was entertained at Abbots- ford, and painted his group of Sir Walter Scott and his Family. In 1832 he exhib- ited John Knox preaching before the Lords of the Congregration (National Gallery, London), one of his most esteemed pictures in his second manner ; and in 1835 a series of Irish subjects, a portrait of Queen Ade- laide, for the Bodleian Library at Oxford, and that of William IV., by whom he was knighted in 1836, for Waterloo Chapel at Windsor. In 1825 Sir David again went to Paris, and visited also Italy, Germany, and Spain, returning to London in 1828. In 1840 he went to the East for his health, but grew worse in the following year, and dying on shipboard in Gibraltar Bay he was buried at sea. In his third manner, the re- sult of his Italian and Spanish studies, Wil- kie aimed at Venetian effects of colour, and produced pictures less esteemed than those of an earlier time in which subject, concep- tion, and technical treatment are in har- mony. Other works : The Bagpiper (1813), Newsmongers (1820), Wooded Landscape (1822), The First Ear-Ring (1834), National Gallery, London ; John Knox dispensing the Sacrament at Calder House, Pitlessie Fair, Portrait of his Sister, National Gal- lery, Edinburgh ; Cotter's Saturday Night (Moore sale, 1872, 590 guineas) ; Only Daughter (do., 630 guineas) ; Errand Boy (Knowles sale, 1864, 1,050 guineas) ; Cut Finger ; Sunday Morning ; Jews -Harp ; Pedlar ; Village School ; Maid of Saragos- sa ; Guerilla Council of War ; Monks in Cathedral of Toledo ; Columbus at La Rt't- bida ; and many portraits. Most of his pictures have been engraved. Cunning- ham, Life (London, 1843) ; Redgrave ; Ch. Blanc, ficole anglaise ; F. de Conches ; Mollet, Biog. Great Artists ; Heaton, Works of Sir D. W. (London, 1868) ; Painters of Georgian Era, 49 ; L' Artiste (1882), ii. 97 ; Sandby, i. 336. WILLAERTS, ABRAHAM, born at Utrecht in 1613 (?), died there in 1671 (?). Dutch school ; marine and portrait painter, son and pupil of Adam Willaerts, then stud- ied under Jan Bylert, arid in Paris under Si- mon Vouet ; master of the guild at Utrecht in 1624. Works : Portrait of an Admiral, 432
