GIB
GIB
er. Was born in Edinburgh, March 4, 1827, the son of a portrait painter, by whom he was first taught Left by his father's death to early struggle?, he visited the neighbouring towns and painted por- traits. Of industrious habits, he entered the schools of the Scottish Academy, where he gained a medal in 1845, and then by his savings was -enabled to come to London, and to visit Belgium and the galleries in Paris. His first work which gained notice was 'The Little Stranger/ which with 'Rustic Education ' were his first exhibited works at the Royal Academy in 1855. The following year he sent 'Un Corrillo Andaluz/ and in 1857, after his death his ' Gypseys of Seville ' appeared on the walls of the Academy. His work was of much promise, careful in finish and strong in character. In 1855 he went to Spain to recruit his declining health, but died in London, to which he had returned, October 6, 1856. His life with some of his poetry was published by a brother artist in 1858, and Miss Brightwell has included a short memoir of him in her ' Men of Mark.'
GIBSON, George, architect. Studied his art in Italy, and practised in the middle of the 18th century. James Elmes was his pupil.
GIBSON, Jesse, architect. Practised in London towards the end of 'the 18th century. He designed the church of St. Peter-le-Poor, City, a mediocre erection, finished in 1792; and rebuilt, 1822, the hall of the Saddlers' Company. He held two or three district surveyorships. Died June 24, 1828, aged 80.
GIBSON, Thomas, glass stainer. He is chiefly known as a glass stainer, though he showed some talent as an artist. His works on glass decorate several of the churches at Newcastle-on-Tyne and in the surrounding parishes. He was a member of the Town Council, and served the office of sheriff. He died at Newcastle, Novem- ber 25, 1854, aged 60.
GIBSON, John, sculptor. Was born at Gyffin, near Conway, in 1790. His father, poor but honest, lived by his daily labour as a gardener. As a child he spoke only the Welsh language. When 9 years of age the family purposed to emigrate to America, and with this object went to Liverpool, but there his mother's resolution failed, it is said under the influence of a dream. The family settled in Liverpool and he was put to school. His first atten- tion was attracted by the p^intsellers , win- dows. He was fond of drawing, and for his inveterate habit of scribbling in school he was punished. At 14 he was appren- ticed to a cabinet-maker, and at the end of a year managed to get transferred to a carver, whose trade he thought somewhat allied to art Then still unsettled, and
moved by some marble works he saw on the premises of Samuel Francis, he tried, at the end of another year, to get his in- dentures transferred to him, and by Ids dodged resolution at last succeeded.
He was now on the right road. Some works he had designed gained him the notice of Mr. Roscoe, whose patronage assisted him in every way. He studied anatomy and the works of the great Greek sculptors, and under their influence modelled a life-size 'Psyche,' which was exhibited at Liverpool, and his dawning talent brought him many friends. His ambition was inflamed by a desire to study in Rome, and he made a drawing of ' Psyche borne by Zephyrs/ which he ex- hibited at the Itoyal Academy, with two busts, in 1816. Early in 1817 ne came to London, and with his introductions again found friends. He exhibited two busts that season; but haunted by the idea of Rome, he set out for that capital in the September of the same year, and managed to reach his destination, travelling by Paris and Florence, in the following month. Intro- duced to Canova, he was kindly received and admitted to study with his other pupils. Hitherto he had been without any instruc- tion, and did not know how to set about his work; but getting over the first dif- ficulties, he was admitted to the life academy, where, both assisted and de- pressed by the works of his fellow-students, who had attained a masterly style of draw- ing, he never flagged; while in his lonely lodgings he thought of home.
By the advice of Canova he tried a figure life-size from his own design, which he called 'The Sleeping Shepherd ■' and in 1819 he began a large group, ' Mars and Cupid/ and was, after some months' labour, commissioned by the Duke of Devonshire to execute his group in marble. The work is now at Chatsworth, but he had named so low a price that he was barely remunerated for his materials. In 1821 he commenced his model for * Psyche borne by Zephyrs/ and when his group was well advanced, Sir George Beaumont gave him a commission for it in marble, and the Duke of Devon- shire a second commission for a basso-ri- h'evo, ' The Meeting of Hero and Leander.' Other commissions followed. In 1826 he commenced his 'Hylas surprised by the Nymphs/ now in the National Gallery; and established and happy in his art, was daily inspired with fresh enthusiasm.
In 1827 his * Psyche borne by Zephyrs' was exhibited at the Royal Academy, and his friends urged his return to England, but the temptation of becoming rich did not weigh with his ambition for fame, which he thought would be best gained in Rome. In 1830 he exhibited a ' Nymph seated/ and a monumental statue, his first
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