The patrons, and other players from the social class known as the "gentry", began to classify themselves as "amateurs"[fn 1] to establish a clear distinction vis-à-vis the professionals, who were invariably members of the working class, even to the point of having separate changing and dining facilities. The gentry, including such high-ranking nobles as the Dukes of Richmond, exerted their honour code of noblesse oblige to claim rights of leadership in any sporting contests they took part in, especially as it was necessary for them to play alongside their "social inferiors" if they were to win their bets. In time, a perception took hold that the typical amateur who played in first-class cricket, until 1962 when amateurism was abolished, was someone with a public school education who had then gone to one of Cambridge or Oxford University – society insisted that such people were "officers and gentlemen" whose destiny was to provide leadership. In a purely financial sense, the cricketing amateur would theoretically claim expenses for playing while his professional counterpart played under contract and was paid a wage or match fee; in practice, many amateurs claimed somewhat more than actual expenditure and the derisive term "shamateur" was coined to describe the syndrome.
In the visual arts, notable cricket paintings include Albert Chevallier Tayler's Kent vs Lancashire at Canterbury (1907) and Russell Drysdale's The Cricketers (1948), which has been called "possibly the most famous Australian painting of the 20th century." French impressionist Camille Pissarro painted cricket on a visit to England in the 1890s. Francis Bacon, an avid cricket fan, captured a batsman in motion. Caribbean artist Wendy Nanan's cricket images are featured in a limited edition first day cover for Royal Mail's "World of Invention" stamp issue, which celebrated the London Cricket Conference 1–3 March 2007, first international workshop of its kind and part of the celebrations leading up to the 2007 Cricket World Cup.