Дейвид уилки: жизнь и творчество художника

БИБЛИОГРАФИЯ

• Lee, Sidney, ed. (1900). «Wilkie, David». Dictionary of National Biography 61. London: Smith, Elder & Co. p. 253 ff.
• Woodward, John (Ed.). Paintings and drawings by Sir David Wilkie, R.A (1900)
• Bayne, William, Sir David Wilkie, R. A., (Illustrated with twenty plates, etc.), London : Walter Scott Publishing Co., 1903, (Series: The makers of British art)
• Gower, Ronald Sutherland. Sir David Wilkie (London: G. Bell and sons, 1902)
• Pinnington, Edward, Sir David Wilkie and the Scots School of Painters, Edinburgh: Oliphant, Anderson and Ferrier, 1900, («Famous Scots Series»)

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Дейвид Уилки: картины художника

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Career

David Wilkie started one of his first subject paintings, Pitlessie Fair, in 1804. The canvas depicted the annual May Fair in his native parish with portraits of his neighbours and of some members of his family.The first commissions Wilkie received came from the pianoforte maker Robert Stodart who introduced him to widow Countess of Mansfield in 1806. At the painter’s debut Summer Exhibition at the Royal Academy, the same year, countess’s son bought Wilkie’s painting titled Village Politicians. The next patron of the artist became his future lifetime friend Sir George Beaumont who purchased the following year Wilkie’s The Blind Fiddler.In 1812, David Wilkie tried to organize the exposition of his painting at the Pall Mall street in London, but the exhibition had no success because of the financial problems.The following year David Wilkie received a commission on a canvas Blind Man’s Buff from Prince Regent.Other important artwork of David Wilkie was Chelsea Pensioners reading the Waterloo Dispatch of 1816. The painting was commissioned by the Duke of Wellington in order to commemorate the end of the Napoleonic Wars. The canvas was presented at the Summer Exhibition of the Royal Academy of Arts in 1822 and had such success that it needed barriers to preserve it from the audience.The same year, David Wilkie started to produce his other notable artwork, a portrait of King George IV during his visit to Scotland. To finish the canvas, the painter spent seven years.To cure the nervous breakdown, Wilkie had suffered in 1825, he had three years trip to Europe where he explored and admired the art of Italian and Spanish Old Masters. The masterpieces pushed David Wilkie to change his own style. So, the colours on his canvases became more strong.Two years after his return to the United Kingdom, David Wilkie succeeded Sir Thomas Lawrence on his post of the ordinary painter to the King. The notable painting of this period included Columbus in the Convent at La Rabida (1835), Napoleon and Pius VII at Fontainebleau (1836), Empress Josephine and the Fortune-Teller (1837), Queen Victoria Presiding at her First Council (1838) and General Sir David Baird Discovering the Body of Sultan Tippoo Sahib (finished in 1839).The same time, the painter had a lot of commissions for portraits, most of which were royal.When Queen Victoria ascended to the throne, David Wilkie lost his popularity among the royalty.At the end of his life, Wilkie travelled to the East. The trip inspired the master on many paintings, one of the last of which became a portrait of Mehemet Ali, made at Alexandria.

Notes

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6. Pinnington, Edward, Sir David Wilkie and the Scots School of Painters, Edinburgh: (Oliphant, Anderson and Ferrier), 1900, («Famous Scots Series»). Ch. IV, p.32.
7. the Honourable Louisa Cathcart, daughter of Charles Cathcart, 9th Lord Cathcart
8. Hanging in the Long Gallery of the Murray seat, Scone Palace, Scotland (Michelin Green Guide: Scotland).
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Works (selection)

• William Bethune with his wife and daughter (1804 )
• The village politicians,
• The Blind Fiddler
• The Card Players (1808 )
• The wounded finger,
• The lease payment,
• The children on the hunt rats,
• The gamekeeper,
• The Village Fair (1812, in the National Gallery ),
• The blind man’s buff, wood, 63 × 95 cm.
  London, Buckingham Palace.
• Duncan Gray ( 1812),
• The Auspfändung (1815 ),
• The rabbit on the wall ‘ (1816 )
• Breakfast (1817 )
• The small messenger
• The Walter Scott’s Family (1818 )
• The Penny Wedding (1819 )
• The reading of the will ( in the Pinakothek at Munich, 1820 )
• Guess who?
  (1821 ),
• Read Chelsea veterans a report on the Battle of Waterloo, 1822, wood, 94 × 154 cm.
  London, Apsley House.
• King George IV arrived in Leith (1822 ),
• The preaching of John Knox at the Cathedral in St. Andrews
• The beadle of the parish (1824 ) and
• The Mountain Family ( 1825).
• The only daughter (1839 )
• Peep- o’day -boys- cabin,
• The Saturday evening of the day-laborer,
• The first earring, 1835, wood, 74 × 60 cm.
  London, Tate Gallery.
• Empress Josephine and the Fortune Teller, 1837, canvas, 211 × 157 cm.
  Edinburgh, National Gallery of Scotland.
• Mohamed Ali, 1841, canvas, 61 × 51 cm.
  London, Tate Gallery.
• Pitlessie Fair, 1804, canvas, 58 × 107 cm.
  Edinburgh, National Gallery of Scotland.
• William IV, 1833, canvas, 264 × 173 cm.
  London, Apsley House.
• The grace,
• The death of the red deer,
• The Irish whiskey distillery ( in the Hermitage at St. Petersburg)
• William Chalmers -Bethune, his wife Isabella Morison and daughter Isabella, National Gallery of Scotland, Edinburgh
• The Mietpfändung, National Gallery of Scotland, Edinburgh
• The recommendation letter, National Gallery of Scotland, Edinburgh
• Samuel in the Temple, National Gallery of Scotland, Edinburgh
• The Defence of Saragossa, Royal Collection
• The Cotter ‘s Saturday Nighter, Glasgow Art Gallery
• The First Crown Council of Queen Victoria, Royal Collection
• The seated lady by Constantin Opel, British Museum, London

Notable Works of David Wilkie

After becoming an Academician, he went to working and painted “The Village Festival”, “Blindmans Buff” and “Duncan Gray”.

He took a trip to Paris in 1814, along with his co-worker Robert Haydon who had a good time as noted in his diary.

An image of “The Village Festival” by David Wilkie

After their return, Wilkie went back to working on his “Distraining for Rent”. This piece of art was bought by the Directors of the British Institution.

In 1817, he was in Scotland where he covered all the places as any tourist would. He received an opportunity to paint the “Scott family” in the guise of peasants.

The “Distraining for Rent” by Sir David Wilkie.

At this phase, he started painting for the Kings and Noble Lords, some of which were the “Penny Wedding” for the Prince Regent, “The Reading of the Will” for the King of Bavaria and “The Chelsea Pensioners and the Waterloo Gazette” for the Duke of Wellington.

Because of making these constant visits to Scotland every now and then, his health started deteriorating. This led to a massive change in his art.

In 1812, Wilkie lost his father which made him start living with his mother Isabella and sister Helen. They lived in Phillimore Place, Kensington. In 1824, he lost his mother too and this loss was a huge cause of his illness.“The Reading of the Will” by Sir David Wilkie made for the King of Bavaria in 1820.

He traveled all across Europe covering Paris, Milan, Pisa, Genoa, Florence, Naples, Rome, Bologna, Parma, Venice, Innsbruck (Western Austria), Munich, Prague, Vienna. From Italy, he went to Spain, where a crowd of unknown Spaniards changed his art form.

He lived in Spain for a while and sent pictures to the Royal Academy. He returned back to England in 1828.

After this, he became carefree and open with his paintings, giving less attention to detail. During this time, he painted the “Napolean and Pius VII” and “The Queen’s First Council”.

An image of Isabella Lister, mother of Sir David Wilkie.

In 1830, Sir Thomas Lawrence, a British Painter and the fourth president of the Royal  Academy passed away.

Therefore, David Wilkie filled in his position of Painter in Ordinary to the King and was also brought forward to the post of Presidency at the Academy. However, he didn’t receive enough votes to make it to the post.A painting of Napoleon and Pius VII by Sir David Wilkie.

He painted many pictures during this time, namely “The First Earning” that belongs in the Royal Gallery today. He took another tour which became his last one.

The visit of King George IV to Scotland

In 1822 Wilkie visited Edinburgh, in order to select from the Visit of King George IV to Scotland a fitting subject for a picture. The Reception of the King at the Entrance of Holyrood Palace was the incident ultimately chosen; and in the following year, when the artist, upon the death of Raeburn, had been appointed Royal Limner for Scotland, he received sittings from the monarch, and began to work diligently upon the subject. But several years elapsed before its completion; for, like all such ceremonial works, it proved a harassing commission, uncongenial to the painter while in progress and unsatisfactory when finished. His health suffered from the strain to which he was subjected, and his condition was aggravated by heavy domestic trials and responsibilities.

Early life

Pitlessie Fair (1804)

Painting by David Wilkie entitled The Chelsea Pensioners reading the Waterloo Dispatch, a huge success in 1822 when it was first exhibited by the Royal Academy on the 7th anniversary of the battle.

The Letter of Introduction, 1813. The painting represents the artist’s own unpleasant experience of having presented a useless introduction letter to a potential patron who didn’t receive it well.

David Wilkie was born in Pitlessie Fife in Scotland on 18 November 1785. He was the son of the parish minister of Cults, Fife. Caroline Wilkie was a relative. He developed a love for art at an early age. In 1799, after he had attended school at Pitlessie, Kingskettle and Cupar, his father reluctantly agreed to his becoming a painter. Through the influence of the Earl of Leven Wilkie was admitted to the Trustees’ Academy in Edinburgh, and began the study of art under John Graham. From William Allan (afterwards Sir William Allan and president of the Royal Scottish Academy) and John Burnet, the engraver of Wilkie’s works, we have an interesting account of his early studies, of his indomitable perseverance and power of close application, of his habit of haunting fairs and marketplaces, and transferring to his sketchbook all that struck him as characteristic and telling in figure or incident, and of his admiration for the works of Alexander Carse and David Allan, two Scottish painters of scenes from humble life.

Among his pictures of this period might be mentioned a subject from Macbeth, Ceres in Search of Proserpine, and Diana and Calisto, which in 1803 gained a premium of ten guineas at the Trustees’ Academy, while his pencil portraits of himself and his mother, dated that year, and now in the possession of the Duke of Buccleuch, prove that Wilkie had already attained considerable certainty of touch and power of rendering character. A scene from Allan Ramsay, and a sketch from Hector Macneill’s ballad Scotland’s Skaith, afterwards developed into the well-known Village Politicians.

In 1804, Wilkie left the Trustees’ Academy and returned to Cults. He established himself in the manse there, and began his first important subject-picture, Pitlessie Fair (illustration), which includes about 140 figures, and in which he introduced portraits of his neighbours and of several members of his family circle. In addition to this elaborate figure-piece, Wilkie was much employed at the time upon portraits, both at home and in Kinghorn, St Andrews and Aberdeen. In the spring of 1805 he left Scotland for London, carrying with him his Bounty-Money, or the Village Recruit, which he soon disposed of for £6 (£512.50 in 2021), and began to study in the schools of the Royal Academy. One of his first patrons in London was Robert Stodart, a pianoforte maker, a distant connection of the Wilkie family, who commissioned his portrait and other works and introduced the young artist to the dowager countess of Mansfield. This lady’s son was the purchaser of the Village Politicians, which attracted great attention when it was exhibited in the Royal Academy of 1806, where it was followed in the succeeding year by The Blind Fiddler, a commission from the painter’s lifelong friend Sir George Beaumont.

Historical scenes

Wilkie now turned to historical scenes, and painted his Alfred in the Neatherd’s Cottage, for the gallery illustrative of English history which was being formed by Alexander Davison. After its completion he returned to genre-painting, producing the Card-Players and the admirable picture of the Rent Day which was composed during recovery from a fever contracted in 1807 while on a visit to his native village. His next great work was the Ale-House Door, afterwards entitled The Village Festival (now in the National Gallery), which was purchased by John Julius Angerstein for 800 guineas. It was followed in 1813 by the well-known Blind Man’s Buff, a commission from the Prince Regent, to which a companion picture, the Penny Wedding, was added in 1818.

Примечания и ссылки

1. Уильям Хогарт , Париж, Хазан, 2006, стр.  34-35 .
2. (in) Джон Миллер Грей , «Грэм, Джон (1754-1817)» , в Словарь национальной биографии , т.  22,1890 г.( читайте в Wikisource ) , стр.  350-351.
3. (in)  «  Ньютон, Гилберт Стюарт  » в Сидни Ли, Национальный биографический словарь , т.  40, Лондон, Smith, Elder & Co,1894 г..
4. (in) Стивен | имя Даффи и Джо Хедли, Картинки из коллекции Уоллеса , Unicorn Press и Lindsay Fine Art,2004 г., 400  с. ( ISBN  0 906290 38 4 ) , стр.  488
5. ↑ и Доминик Пуло , История музеев во Франции , выпуски La Découverte, 2008 г., стр. 126.
6. (in) Бет Райт, Покинутые прошлым. Живопись и история во время французской реставрации , Cambridge University Press, Кембридж, 1997, стр. 122. Цитируется по Poulot (2008), p. 126.
7. (в) в Tate Britain (доступ на 1 — е декабря 2020 года )
8. (в) на Wallace Collection (доступ на 1 — й декабря 2020 года )
9. (в) на Wallace Collection (доступ на 1 — й декабря 2020 года )

Произведение искусства

Его самая известная картина, получившая «значительный успех» во время выставки в 1822 году, — это «Пенсионеры Челси, читающие депешу Ватерлоо» (первоначально называвшаяся «Пенсионеры Челси, получающие лондонскую газету внеочередной выпуск в четверг, 22 июня 1815 года, объявляющая о битве при Ватерлоо» ). По мнению историка искусства Бет Райт, Уилки «первым начал рассматривать историю как опыт, а не действие». Картина размером 158 x 97 см, созданная по заказу герцога Веллингтона в ознаменование его победы над Наполеоном в битве при Ватерлоо , действительно изображает не поле битвы, а реакцию нескольких десятков фигур на объявления о получении новостей. победы. При этом картина «вызывает возможные типы реакций и призывает зрителя резонировать с ними». Картина хранится в Доме Апсли .

• Хижина для мальчиков Peep-o’-Day, Западная Ирландия (1835–18366, выставка 1836), холст, масло, 126 × 175  см , Тейт Британия , Лондон
• Туалет на ферме (1824 г.), масло на панели из красного дерева, 30 × 38  см , Коллекция Уоллеса
• Спортсмен (1824), масло на панели из красного дерева, 27 × 31  см , Коллекция Уоллеса

Travels on the Continent

File:The Highland Family MET DP169629.jpg

The Highland Family, 1824

Sir David Wilkie’s flattering portrait of the kilted King George IV for the Visit of King George IV to Scotland, with lighting chosen to tone down the brightness of his kilt and his knees shown bare, without the pink tights he wore at the event.

In 1814 he executed the Letter of Introduction, one of the most delicately finished and perfect of his cabinet pictures. In the same year he made his first visit to the continent, and in Paris entered upon a profitable and delighted study of the works of art collected in the Louvre. Interesting particulars of the time are preserved in his own matter-of-fact diary, and in the more sprightly and flowing pages of the journal of Benjamin Haydon, his fellow traveller and brother Cedomir. On his return he began Distraining for Rent, one of the most popular and dramatic of his works. In 1816 he made a tour through Netherlands and Belgium in company with Raimbach, the engraver of many of his paintings. Reading the Will, a commission from the king of Bavaria, now in the New Pinakothek at Munich, was completed in 1820; and two years later the great picture of The Chelsea Pensioners reading the Waterloo Dispatch, commissioned by the Duke of Wellington in 1816, at a cost of 1200 guineas, was exhibited at the Royal Academy. On his return to Scotland in 1817, he painted Sir Walter Scott and his Family, (titled The Abbotsford Family) a cabinet-sized picture with small full-length figures in the dress of Scottish peasants, the result of a commission by Sir Adam Ferguson, during a visit to Abbotsford.

David Wilkie Facts

Lord Mulgrave sent him a cheque of three times the agreed amount for his painting – The Blind Fiddler. “The Blind Fiddler” was sent for an exhibition in 1807.

“The Village Politicians” by Sir David Wilkie.

Another painting, called “The Rent Day” was sent for the same exhibition in 1809. After the death of Lord Mulgrave, it was sold for 750 guineas at Christie’s. Later, it was sold for 2000 English pounds.

He also came up with beautiful works such as the “Card Players” and “A sick Lady which did very well in the market and were sold for over 500 guineas.

An image of “The Blind Fiddler” by Sir David Wilkie.

“A Sick Lady” went into the collection of Lord Lansdowne. David Wilkie then became elected as an associate member of the society.

ТВОРЧЕСТВО

Крупнейший шотландский жанрист, Уилки писал также картины на исторические темы и портреты.

Уже первые произведения Уилки имели успех. Его картины, обычно небольшого формата, посвященные деревенской жизни, исполнены непритязательности и искренности. Они не лишены вместе с тем занимательности сюжета, легкой ироничности и характерности.

В живописи мастера было и то, что особенно ценил его век, — повествовательность и назидание, некий моральный урок, заключенный в сюжете и раскрытый средствами живописи.

Работы художника отличают большая живость и своеобразная элегантность рисунка. Сильное впечатление на него произвели офорты Рембрандта, он также хорошо знал живопись других европейских стран, с которой знакомился во время многочисленных путешествий на континент.

Его путешествие по Европе в 1825—1828 гг оказалось поворотным в его творчестве. Он испытывает больший интерес к портрету и историческому жанру. Его полотна увеличились в размерах, увеличился масштаб фигур, композиция стала собранней, более четко организованной, строже по рисунку. Даже при обращении к официальным сюжетам ему удавалось наделить персонажей большой долей человечности.

Achievements

Memorial to Wilkie, erected by his sister in the church at his birthplace in Fife

An elaborate Life of Sir David Wilkie, by Allan Cunningham, containing the painter’s journals and his observant and well-considered «Critical Remarks on Works of Art», was published in 1843. Redgrave’s Century of Painters of the English School and John Burnet’s Practical Essays on the Fine Arts may also be referred to for a critical estimate of his works. A list of the exceptionally numerous and excellent engravings from his pictures will be found in The Art Union for January 1840. Apart from his skill as a painter Wilkie was an admirable etcher. The best of his plates, such as the Gentleman at his Desk (Laing, VII), the Pope examining a Censer (Laing, VIII), and the Seat of Hands (Laing, IV), are worthy to rank with the work of the greatest figure-etchers. During his lifetime he issued a portfolio of seven plates, and in 1875 David Laing catalogued and published the complete series of his etchings and dry-points, supplying the place of a few copper-plates that had been lost by reproductions, in his Etchings of David Wilkie and Andrew Geddes.

Into the paths of historical art

Wilkie now turned aside into the paths of historical art, and painted his Alfred in the Neatherd’s Cottage, for the gallery illustrative of English history which was being formed by Alexander Davison. After its completion he returned to genre-painting, producing the Card-Players and the admirable picture of the Rent Day which was composed during recovery from a fever contracted in 1807 while on a visit to his native village. His next great work was the Ale-House Door, afterwards entitled The Village Festival (now in the National Gallery), which was purchased by John Julius Angerstein for 800 guineas. It was followed in 1813 by the well-known Blind Man’s Buff, a commission from the Prince Regent, to which a companion picture, the Penny Wedding, was added in 1818.

Achievements

Memorial to Wilkie, erected by his sister in the church at his birthplace in Fife

An elaborate Life of Sir David Wilkie, by Allan Cunningham, containing the painter’s journals and his observant and well-considered «Critical Remarks on Works of Art», was published in 1843. Redgrave’s Century of Painters of the English School and John Burnet’s Practical Essays on the Fine Arts may also be referred to for a critical estimate of his works. A list of the exceptionally numerous and excellent engravings from his pictures will be found in The Art Union for January 1840. Apart from his skill as a painter Wilkie was an admirable etcher. The best of his plates, such as the Gentleman at his Desk (Laing, VII), the Pope examining a Censer (Laing, VIII), and the Seat of Hands (Laing, IV), are worthy to rank with the work of the greatest figure-etchers. During his lifetime he issued a portfolio of seven plates, and in 1875 David Laing catalogued and published the complete series of his etchings and dry-points, supplying the place of a few copper-plates that had been lost by reproductions, in his Etchings of David Wilkie and Andrew Geddes.

Three more years of foreign travel

In 1825 he sought relief in foreign travel: after visiting Paris, he went to Italy, where, in Rome, he received the news of fresh disasters through the failure of his publishers. A residence at Toplitz and Carlsbad was tried in 1826, with little good result, and then Wilkie returned to Italy, to Venice and Florence. The summer of 1827 was spent in Geneva, where he had sufficiently recovered to paint his Princess Doria Washing the Pilgrims’ Feet, a work which, like several small pictures executed in Rome, was strongly influenced by the Italian art by which the painter had been surrounded. In October he passed into Spain, whence he returned to England in June 1828.

It is impossible to over-estimate the influence upon Wilkie’s art of these three years of foreign travel. It amounts to nothing short of a complete change of style. Up to the period of his leaving England he had been mainly influenced by the Dutch genre-painters, whose technique he had carefully studied, whose works he frequently kept beside him in his studio for reference as he painted, and whose method he applied to the rendering of those scenes of English and Scottish life of which he was so close and faithful an observer. Teniers, in particular, appears to have been his chief master; and in his earlier productions we find the sharp, precise, spirited touch, the rather subdued colouring, and the clear, silvery grey tone which distinguish this master; while in his subjects of a slightly later period – those, such as the Chelsea Pensioners, the Highland Whisky Still and the Rabbit on the Wall, executed in what Burnet styles his second manner, which, however, may be regarded as only the development and maturity of his first – he begins to unite to the qualities of Teniers that greater richness and fulness of effect which are characteristic of Ostade. But now he experienced the spell of the Italian masters, and of Diego Velázquez and the great Spaniards.

David Wilkie Artist

David was born an artist. He had this flair for art since a very tender age. David could draw even before he could read or write. In school, he would draw portraits of children and in exchange took colors, marbles, and paints.

In 1789, he was sent to Trustee’s Academy at Edinburgh, where he won a prize of ten pounds for drawing the “Diana and Callisto”.

The Birthplace of David Wilkie- Pitlessie, Scotland

He then realized how he could make his living on the basis of art as a career. He continued the same, with great dedication.

He returned to his hometown in the year 1804 and started working on the “Pitlessie Fair” and a couple of other portraits and landscape paintings. This is how he made money to make his way to London.

Литература[править | править код]

Исследования и комментарии

• Лисенков Е. Г. Английское искусство XVIII века = English Art of the XVIIIth Century / Е. Г. Лисенков. — Л. : Издательство Государственного Эрмитажа, 1964. — С. 193. — 287 с., 18 л. ил. — . — OCLC .

Словари и энциклопедии

• Власов В. Г. Уилки Дэвид, сэр // Стили в искусстве : Архитектура, графика. Декоративно-прикладное искусство. Живопись, скульптура : словарь : в 3 т. / В. Г. Власов. — СПб. : Кольна, 1997. — Т. 3 : Словарь имён : М—Я. — С. 401. — 655 с.,  л. ил. : ил. — ISBN 5-88737-010-6. — OCLC .
• Воронина Т. С. Уилки, Дейвид / Т. Воронина // Европейское искусство : Живопись. Скульптура. Графика : энциклопедия : в 3 т. / автор проекта А. Ю. Астахов; ред. коллегия: М. А. Бусев, В. В. Ванслов, И. А. Смирнова, Е. Д. Федотова (отв. ред.). — М. : Белый город, 2006. — Т. III : П—Я. — С. 328–329. — 511 с. — 3000 экз. — ББК . — УДК . — ISBN 5-7793-0920-5. — ISBN 5-7793-0924-8 (т. III).
• Камчатова А. В., Котломанов А. О., Кроллау Н. Е. Германия. Англия. XV–XIX века : биографический словарь / А. В. Камчатова, А. О. Котломанов, Н. Е. Кроллау. — СПб. : Азбука-Классика, 2008. — С. 385, 409–411, 425. — 480 с. : ил., цв. ил. — (Художники Западной Европы). — ISBN 978-5-91181-907-1.
• Сомов А. И. Вильки или Уильки, Давид // Энциклопедический словарь Брокгауза и Ефрона : в 86 т. (82 т. и 4 доп.). — СПб., 1892. — Т. VI. — С. 372–373.
• Уилки, Дэвид // Ужи — Фидель. — М. : Советская энциклопедия, 1956. — С. 52—53. — ( :  / гл. ред. Б. А. Введенский ; 1949—1958, т. 44).
• Bellini P. Dizionario della stampa d’arte : Calcografi, silografi, litografi, stampatori, editori, movimenti artistici, scuole regionali e naz., riv. ill., tecniche :  / Paolo Bellini. — Milano : Vallardi, 1995. — P. 602. — IX, 769 p. — ISBN 88-11-91710-7. — OCLC .
• Vollmer H. Wilkie, Sir David / H. V. // Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, begründet von Ulrich Thieme und Felix Becker : unter Mitwirkung von etwa 400 Fachgelehrten bearbeitet und redigiert :  : in 37 Bd. / von H. Vollmer, B. C. Kreplin, H. Wolff, O. Kellner; herausgegeben von Hans Vollmer. — Leipzig : Verlag von E. A. Seamann, 1947. — Bd. 36 : Wilhelmy – Zyzywi. — S. 4–5. — 616 S. — OCLC .

Справочные указатели

Freitag W. M. Art Books : A Basic Bibliography of Monographs on Artists / Wolfgang M. Freitag, ed.. — 2nd ed. — New York, London : Garland Publishing, 1997. — P. 444. — XXVI, 542 p. — (Garland Reference Library of the Humanities ; vol. 1264). — Nos. 13574–13581. — ISBN 0-8240-3326-4. — LCCN 96-28425. — OCLC 919978279.