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In Medieval England the first year of life was one of the most dangerous, with as many as 50 percent of children succumbing to fatal illness. During this year the child was cared for and nursed, either by parents (if the family belonged to the peasant class) or (perhaps) by a wet nurse if the child belonged to a noble class.
The trend toward individual ownership of land, typified in England by Enclosure, displaced many peasants from the land and compelled them, often unwillingly, to become urban factory-workers, who came to occupy the socio-economic stratum formerly the preserve of the medieval peasants.
The label "peasant" encompasses a wider range of social classes than previously thought. [3] By the 15th century, wealthier sub-classes of peasants were beginning to emerge under the manorial estates in the rural countryside of at least some parts of England, notably in the pastoral areas more than the heavily agrarian areas of the Midlands. [4]
Most fancy pictures depict children or young women, life-size or somewhat smaller, but some are landscapes with figures. [1] The people depicted are more "democratic" than the upper-class subjects of portraits, [ 2 ] and are characteristically portrayed with what has been termed "a sort of contrived innocence", [ 1 ] sometimes eroticised.
It combines astrological and calendar information at the top, with a combination of the agricultural life of the peasant, the life of the courtiers, and illustrations of the Duke's many castles in the background of several scenes. A typical simple scheme was: [1] January - Feasting; February - Sitting by the fire; March - Pruning trees, or digging
Former woollen weavers' cottages in Wardle, Greater Manchester, England.. A weavers' cottage was (and to an extent still is) a type of house used by weavers for cloth production in the putting-out system sometimes known as the domestic system.
The influence of the peasant procession paintings of French artist Jules Bastien-Lepage (1848–1884) is evident. The outer molding of the present frame is thought to be of American manufacture, while the inner liner is English, and incorporates a rosette motif found on the frames of paintings by some the Pre-Raphaelite artists.
Hilly landscape with peasant family at a Cottage Door, Children playing and Woodcutter returning The Woodcutters Return. Thomas Gainsborough was the first British artist to employ cottages as a major subject, [1] [2] in what has become known as his "Cottage Door" paintings, painted during the final decades of his life; and was in the vanguard of a late 18th century fad of interest in them.