亨利·纳尔逊·奥尼尔 ARA（1817年俄罗斯 - 1880年）是1 个历史流派的画家和轻微的维多利亚时代的作家。他以历史和文学学科为主的工作，但他最著名的画作处理的印度兵变。向东，何！，日期为1857年8月，但展出的次年，描绘了英国军队走上印度。第二画，回家了（1859），显示回英国部队。他还与浪漫的场景描绘死亡流行的成功莫扎特和拉斐尔，描绘仿佛被本身 的宗教艺术精神运到天堂。在莫扎特的最初 时刻垂死的作曲家听他表演的1 部分歌手安魂曲。拉斐尔的最初 时刻显示了画家考虑基督在他看不见的身材变形。

奥尼尔是1 个成员的桂系，在19世纪40年代1 群艺术家谁，就像后来的拉斐尔前派兄弟会，定期举行会议，讨论和批评彼此的作品。该集团的其他成员为奥古斯蛋，阿尔弗雷德·埃尔莫尔，理查德DADD，威廉·鲍威尔弗里斯，约翰·菲利普，爱德华·马修·沃德。

多数派的反对前拉斐尔派，但奥尼尔是最恶毒的在他的运动的谴责，在绘画和写作攻击他们。这些措施包括他将来 的幻想2000年当前 ，描绘英国在3967年作为由出土冰冻的荒原考古学家来自新西兰。考古学家揭示的英国文明 在十九世纪衰落的证据，让奥尼尔来发泄本身 的明显的反动政治观点，预测的严重后果1867年改革法案。

Henry Nelson O'Neil ARA (1817 in Russia – 1880) was an historical genre painter and minor Victorian writer. He worked primarily with historical and literary subjects, but his best-known paintings dealt with the Indian Mutiny. Eastward, Ho!, dated August 1857 but exhibited the following year, depicts the British troops embarking for India. A second painting, Home Again (1859), shows the troops returning to England. He also had popular successes with romantic scenes portraying the deaths of Mozart and Raphael, depicted as though mentally transported to heaven by their own religious art. In The Last Moments of Mozart the dying composer listens to singers performing part of his Requiem.The Last Moments of Raphael shows the painter contemplating the unseen figure of Christ in hisTransfiguration.

O'Neil was a member of The Clique, a group of artists in the 1840s who, like the later Pre-Raphaelite Brotherhood, met regularly to discuss and criticize one another's works. The other members of The Clique were Augustus Egg, Alfred Elmore, Richard Dadd, William Powell Frith, John Phillip, Edward Matthew Ward.

Most of the Clique opposed the Pre-Raphaelites, but O'Neil was the most virulent in his condemnation of the movement, attacking them in both paintings and writings. These included his futuristic fantasy2000 Years Hence, which portrayed Britain in the year 3967 as a frozen wasteland excavated by anarchaeologist from New Zealand. The archaeologist uncovers evidence of the decline of British culture in the nineteenth century, allowing O'Neil to vent his own distinctly reactionary political views, predicting dire consequences of the Reform Act 1867.