Elizabeth Thompson - Paintings

Paintings

  • The Magnificat (1872)
  • Missing (1873)
  • Calling the Roll After An Engagement, Crimea (or The Roll Call (1874) - H.M. The Queen; Buckingham Palace)
  • The 28th Regiment at Quatre Bras (1875 – National Gallery of Victoria, Melbourne)
  • Balaclava (1876 – City of Manchester Art Gallery)
  • Missed (1876)
  • The Return from Inkerman (1877 - Ferens Art Gallery, Kingston upon Hull)
  • The Remnants of an Army (1879 – Tate Gallery)
  • Listed for the Connaught Rangers (1879 – Bury Art Gallery)
  • The Defence of Rorke's Drift (1880 - H.M The Queen; Windsor Castle)
  • Scotland Forever! (1881 – Leeds Art Gallery)
  • Tel-el-Kebir (1885)
  • To the Front: French Cavalry Leaving a Breton City on the Declaration of War (1888-9 - Private Collection)
  • Evicted (1890 - The Irish Folklore Commission University College Dublin)
  • The Camel Corps (1891)
  • Halt in a Forced March (1892 - Shropshire Military Museum, Shrewsbury)
  • The Rescue of the Wounded (1895)
  • The Dawn of Waterloo (1895 - Falkland Palace)
  • Steady the Drums and Fifes (1897 - H.M. The Queen; 57th Regiment, The Middlesex)
  • Floreat Etona (1898 - Private Collection)
  • Dawn at Waterloo (1898 - Private Collection)
  • The Morning of Talavera (1898)
  • The Colours: Advance of the Scots Guards at the Alma (1899 - Scots Guards)
  • Within Sound of Guns (1903 - painted at Bansha Castle; Staff College, Camberley)
  • Stand Fast Craigellachie (1903 - National War Museum Scotland)
  • Rescue of Wounded, Afghanistan (1905 - Staff College, Camberley)
  • In vain! Rally for a last charge of the Cuirassiers (1912-Private Collection)
  • The 16th Light Dragoons saving the remnants of the Union Brigade (1915-Private Collection)
  • On the Morrow of Talavera (1923 - Private Collection)
  • The Dorset Yeoman at Agagia, 26th Feb. 1916 (1917 - Dorset County Council)
  • A Lament in the Desert (1925 - Private Collection)
  • In the Retreat from Mons: The Royal Horse Guards (1927 - Royal Hospital, Chelsea)
  • A Detachment of Cavalry in Flanders (1929 - Private Collection)

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    “When I began to have a fire at evening, before I plastered my house, the chimney carried smoke particularly well, because of the numerous chinks between the boards.... Should not every apartment in which man dwells be lofty enough to create some obscurity overhead, where flickering shadows may play at evening about the rafters? These forms are more agreeable to the fancy and imagination than fresco paintings or other the most expensive furniture.”
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    “Not “Seeing is Believing” you ninny, but “Believing is Seeing.” For modern art has become completely literary: the paintings and other works exist only to illustrate the text.”
    —Tom Wolfe (b. 1931)

    “All photographs are there to remind us of what we forget. In this—as in other ways—they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.”
    —John Berger (b. 1926)