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Pre-Raphaelite Sisters
Mariëlle Ekkelenkamp exhibition review of Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Mariëlle Ekkelenkamp, exhibition review of “Pre-Raphaelite Sisters ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.13. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ekkelenkamp: Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Pre-Raphaelite Sisters National Portrait Gallery, London October 17, 2019–January 26, 2020 Catalogue: Jan Marsh and Peter Funnell, Pre-Raphaelite Sisters. London: National Portrait Gallery Publications, 2019. 207 pp.; 143 color illus.; bibliography; index. $45.58 (hardcover); $32.49 (paperback) ISBN: 9781855147270 ISBN: 1855147279 The first exhibition devoted exclusively to the contribution of women to the Pre-Raphaelite movement opened in the National Portrait Gallery in London in October. It sheds light on the role of twelve female models, muses, wives, poets, and artists active within the Pre- Raphaelite circle, which is revealed as much less of an exclusive “boys’ club.” The aim of the exhibition was to “redress the balance in showing just how engaged and central women were to the endeavor, as the subjects of the images themselves, but also in their production,” as stated on the back cover of the catalogue accompanying the exhibition. Although there have been previous exhibitions on the female artists associated with the movement, such as in Pre-Raphaelite Women Artists (Manchester City Art Galleries, Birmingham Museum and Art Gallery, Southampton City Art Gallery, 1997–98), the broader scope of this exhibition counts models and relatives among the significant players within art production and distribution. -
Fanny Eaton: the 'Other' Pre-Raphaelite Model' Pre ~ R2.Phadite -Related Books , and Hope That These Will Be of Interest to You and Inspire You to Further Reading
which will continue. I know that many members are avid readers of Fanny Eaton: The 'Other' Pre-Raphaelite Model' Pre ~ R2.phadite -related books , and hope that these will be of interest to you and inspire you to further reading. If you are interested in writing reviews Robeno C. Ferrad for us, please get in touch with me or Ka.tja. This issue has bee n delayed due to personal circumstances,so I must offer speciaJ thanks to Sophie Clarke for her help in editing and p roo f~read in g izzie Siddall. Jane Morris. Annie Mine r. Maria Zamhaco. to en'able me to catch up! Anyone who has studied the Pre-Raphaelite paintings of Dante. G abriel RosS(:tti, William Holman Hunt, and Edward Serena Trrrwhridge I) - Burne~Jonc.s kno\VS well the names of these women. They were the stunners who populated their paintings, exuding sensual imagery and Advertisement personalized symbolism that generated for them and their collectors an introspeClive idea l of Victorian fem ininity. But these stunners also appear in art history today thanks to fe mi nism and gender snldies. Sensational . Avoncroft Museu m of Historic Buildings and scholnrly explorations of the lives and representations of these Avoncroft .. near Bromsgrove is an award-winning ~' women-written mostly by women, from Lucinda H awksley to G riselda Museum muS(: um that spans 700 years of life in the Pollock- have become more common in Pre·Raphaelite studies.2 Indeed, West Midlands. It is England's first open ~ air one arguably now needs to know more about the. -
GENDER STUDIES 19(1)/2020 1 10.2478/Genst-2021-0001
GENDER STUDIES 19(1)/2020 10.2478/genst-2021-0001 SISTERS OF INSPIRATION. FROM SHAKESPEAREAN HEROINE TO PRE-RAPHAELITE MUSE DANA PERCEC West University of Timișoara [email protected] Abstract: The paper aims to make a connection between the female models of the Pre-Raphaelite Brotherhood and the portrayal of Shakespearean heroines, given that the 19th-century school of painting was using the Bard not only as a source of legitimation and authority, but also as a source of displacement, tackling apparently universal and literary subjects that were in fact disturbing for the Victorian sensibilities, such as love and eroticism, neurosis and madness, or suicide. As more recent scholarship has revealed, the women behind the Brotherhood, while posing as passive and contemplative, objects on display for the public gaze, had more agency and mobility than the average Victorian women. Keywords: Pre-Raphaelite brotherhood, female models, Victorian sensibilities, Shakespearean heroines, sisterhood. 1. Introduction The Pre-Raphaelite movement has received a lot of critical attention both in artistic terms and in terms of the literary sources of inspiration this school of painting used. The founders, Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt were members of the same generation of young imaginative artists, but even half a century after the first PRB exhibition in 1848, a late Pre-Raphaelite like John William Waterhouse had the same technical and aesthetic approach. Escapist and nostalgic, the Pre-Raphaelite painting favours medieval settings, Biblical or mythological themes, lavish costumes and vivid colours. Above all, it brings to the forefront the female subject: beautiful young women in a melancholy pose, enigmatic and inactive, statuesque and aloof. -
Simeon Solomon Was a Pre-Raphaelite Artist Who Navigated the Modernity of Victorian
TRUTH TO (HIS) NATURE: JUDAISM IN THE ART OF SIMEON SOLOMON Karin Anger Abstract: Simeon Solomon was a Pre-Raphaelite artist who navigated the modernity of Victorian England to create works revolving around explicitly Jewish themes; often creating overtly Jewish images, highly unusual among the generally explicitly Christian movement. This article will deal with how Solomon constructed and dealt with his own identity as a Gay, Jewish man in the modern, and heavily Christian environment of mid-nineteenth century Victorian London. Using contemporary approaches to historicism, observation, and spirituality, his works deal with the complexities of his identity as Jewish and homosexual in a manner where neither was shameful, but rather, sources of inspiration. 1 Simeon Solomon was born in London to a middle class Ashkenazi Jewish family in 1840. Two of his older siblings, Abraham and Rebecca, were artists while his father worked as an embosser and had some training in design. Simeon was close to Rebecca; it is likely she introduced him to drawing and encouraged him in pursuing art.1 Simeon was admitted to the Royal Academy when he was fourteen and was quickly drawn to the Pre-Raphaelites. The Pre-Raphaelite Brotherhood only lasted from1848-53 and had lost cohesion by the time Solomon was admitted to the Royal Academy in 1854. However, PRB art and ideas stuck around, meaning Solomon was exposed to their ideas and art through the PRB publication The Germ as well as displays of paintings and drawings by the movement during his time at the academy.2 Solomon had begun working in Pre-Raphaelite circles by the time he turned eighteen and became greatly admired by his colleges for his imagination and innovation.3 The Pre-Raphaelite ideas about art as fundamentally spiritual, that nature should be studied carefully, and honouring artistic tradition aside from what was deemed rote, were part of religious discourse in modern Britain. -
A Cosmopolitan Victorian in the Midlands: Regional Collecting and the Work of Sophie Anderson (1823-1903)
1 A Cosmopolitan Victorian in the Midlands: regional collecting and the work of Sophie Anderson (1823-1903) Kate Nichols Collections: Birmingham Museums Trust, The New Art Gallery Walsall, New Walk Museum and Art Gallery Leicester, Wolverhampton Art Gallery The Victorian artist Sophie Anderson lived and worked between France, America, England, and Italy. In 1871 she became one of the first living female artists to have art works purchased by a British public museum, but today her work is barely known. Five of the eight paintings by Anderson in public ownership in Britain are in the Midlands. This article provides the first sustained analysis of her work, and the histories of its collection and display in the region. Key words: women artists, Orientalism, classicism, children, collecting This article explores the work of one Victorian artist who happened to be a woman, and whose paintings have, since the 1880s, been housed predominantly in the Midlands. Sophie Anderson was a successful and well-known artist in the nineteenth century, but is barely known today; this is the first published article to substantially engage with more than one of her paintings. The five Anderson paintings in the Midlands span an eclectic range of subjects, and can be understood as one woman’s contributions to contemporary understandings of femininity, childhood, the classical past, an exoticised ‘Orient’, and the Southern Mediterranean. Anderson’s work both fits into and complicates the nineteenth- century limitations placed on her by her gender, and by the twentieth and twenty-first century conceptions of Victorian art and regionality. The appearance of Anderson’s work in Midlands collections from the 1880s onwards offers a concrete example of the ways in which women actively contributed to public culture in Victorian Britain – and far beyond London. -
Stunning Sisters
This is a repository copy of Stunning Sisters. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/166812/ Version: Published Version Article: Prettejohn, Liz orcid.org/0000-0001-6615-0448 (2020) Stunning Sisters. Aspectus. pp. 2-6. ISSN 2732-561X 10.15124/t98e-1m40 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ ASPECTUS A Journal of Visual Culture PROFESSOR ELIZABETH PRETTEJOHN, DR MADDIE BODEN, DR MELISSA L. GUSTIN, CAITLIN DOLEY, MARTE STINIS Pre-Raphaelite Sisters: In Conversation Issue 2 - 2020 ISSN 2732-561X pp. 1-18 DOI: 10.15124/t98e-1m40 University of York Published: 14 October 2020 0 In Conversation; Pre-Raphaelite Sisters INTRODUCTION SUSIE BECKHAM, EDITOR On 12-13 December 2019, the University of York hosted the Pre-Raphaelite Sisters: Making Art conference, held in conjunction with the National Portrait Gallery’s exhibition Pre-Raphaelite Sisters that ran from 17 October 2019 to 26 January 2020. -
Kentucky Ancestors Genealogical Quarterly of the Kentucky Historical Society
CONTENTS KENTUCKY ANCESTORS GENEALOGICAL QUARTERLY OF THE KENTUCKY HISTORICAL SOCIETY Listed below are the contents of Kentucky Ancestors from the first issue in 1965 to the current issue in a searchable PDF format. VOLUME 1 Number One, July 1965 Officers of Kentucky Historical Society.............................................. 1 The Executive Committee ................................................................. 1 The Genealogical Committee of the Kentucky Historical Society and the Reasons for Publishing Kentucky Ancestors.......................... 2 Publications of the Kentucky Historical Society................................. 4 Publications of the Kentucky Daughters of the American Revolution........................................................................................ 5 Genealogical Research Material in the Library of the Kentucky Historical Society .............................................................. 5 Counties of Kentucky, date formed, parent county, county seat........ 7 Walker Family Bible Records, including Samuel Jennings Walker, Christian County, Kentucky; Appomattox County, Virginia............... 10 Queries ............................................................................................ 10 Jonas Rouse Bible Records, Boone County, Kentucky Mrs. Robert C. Eastman, Florence, Kentucky.................................... 11 Number Two, October 1965 Genealogical Workshop was Well Received........................................ 13 Believe It or Not............................................................................... -
Simeon Solomon's Work Before 1873
SIMEON SOLOMON’S WORK BEFORE 1873: INTERPRETATION AND IDENTITY BY AILEEN ELIZABETH NAYLOR A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of History of Art School of Languages, Cultures, Art History and Music The University of Birmingham September 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis has two aims. The first is to demonstrate that commentaries on the work produced by Simeon Solomon (1840-1905) before 1873, an artist who was Jewish and homosexual, have been dominated by critics’ perceptions of him as a marginal figure. Solomon’s Jewish heritage and homosexuality doubly marginalised him in the Christian, heterosexual culture of Victorian England so it is understandable that commentators have focused on his minority position and read signs of difference in his works. However, my second aim is to challenge this perspective. I will show how much Solomon’s art had in common with that of his contemporaries and broaden the discussion by analysing paintings which have been given less critical attention, possibly because they do not present so many opportunities to refer to the artist’s marginality. -
News Release Thursday 13 December 2018
News Release Thursday 13 December 2018 NATIONAL PORTRAIT GALLERY TO STAGE MAJOR NEW EXHIBITONS ON THE WOMEN WHO SHAPED PRE-RAPHAELITE ART AND ELIZABETH PEYTON’S PORTRAITS IN AUTUMN 2019 Images L-R: Thou Bird of God by Joanna Boyce Wells, 1861, Private Collection; Fanny Cornforth is the model for The Blue Bower by Dante Gabriel Rossetti, 1856, The Henry Barber Trust, the Barber Institute of Fine Arts, University of Birmingham; Portrait at the Opera (Elizabeth) by Elizabeth Peyton 2016 Courtesy The Brant Foundation, Greenwich, CT. USA © Elizabeth Peyton. Courtesy the artist and Gladstone Gallery, New York and Brussels / Photography by EPW Studio, NY The National Portrait Gallery, London is to stage the first-ever major exhibition to focus on the untold story of the women of Pre-Raphaelite art as part of a 2019 autumn season that also includes the first exhibition situating leading contemporary artist Elizabeth Peyton within the historical tradition of portraiture. Both exhibitions will include works on public display for the first time in the UK. 160 years after the first pictures were exhibited by the Pre-Raphaelite Brotherhood in 1849, Pre-Raphaelite Sisters (17 October 2019 – 26 January 2020), explores the overlooked contribution of twelve women who contributed to the movement in different ways. Featuring new discoveries and unseen works from public and private collections across the world, the exhibition reveals the women behind the pictures and their creative roles in Pre-Raphaelite’s successive phases between 1850 and 1900. Women, such as Joanna Wells (nee Boyce), a Pre-Raphaelite artist in her own right whose work has been largely omitted from the history of the movement, together with Marie Spartali Stillman and Evelyn de Morgan, whose art also shaped the development of Pre-Raphaelitism alongside their male counterparts. -
Collin Chronicles
COLLIN CHRONICLES ISSN 1060-0949 VOLUME XXX, NUMBER 1 & 2 2009/2010 A publication of the Collin County Genealogical Society P O Box 865052, Plano, TX 75086-5052 Aurora Howard Chancy, Editor Mary Ann Thompson, co-editor http://freepages.genealogy.rootsweb.com/~collincotx/ CONTENTS Purpose of the Society 2 Officers contact Information 3 In Memory, Robert Meadows 3 Ash Family/Jane Webb 4 Query 5 William Snider family/Diane Erwin 6 William Columbus Dotson 7 Descendants of William Gallagher 10 Finding the Family - Ann Retta Sparlin Gallagher 18 Watson Family/Louise Godwin 24 Nancy Ross’ Ahnentafel Chart 27 Query 39 Marriage Book 10 conclusion 40 Lovell to Texas/ Nathan White 49 Queries from website 50 Collin County Birth Register 1873-1875 51 The Collin County Genealogical Society meets on the second Wednesday of each month, September through June, at the HAGGARD LIBRARY, on Coit Rd, between Park and Parker Rds, Plano TX at 7 p.m. Individual Membership is $20.00 per year. All memberships start July 1, and include a subscription to the Society’s publication - the Collin Chronicles and a bi-monthly newsletter. A cumulative index is published at the end of the volume. PAGE 2 Vol 30 No 1:2009-2010 COLLIN CHRONICLES COLLIN COUNTY GENEALOGICAL SOCIETY PURPOSE: The Collin County Genealogy Society is a non-profit, educational society created to foster and maintain interest in genealogy among citizens of Collin County and surrounding areas. Out of state members with Collin County ancestors are encouraged to join. The Society publishes and disseminates genealogical and historical information to the public and assists the Haggard Library in acquisition of genealogical and historical research material. -
Kinigopoulo Udel 006
THE GROTESQUE VISIONS OF A GENTEEL ROGUE: FREDERICK E. COHEN’S DETROIT PAINTINGS, 1845 - 1853 by Anastasia Kinigopoulo A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2020 © 2020 Anastasia Kinigopoulo All Rights Reserved THE GROTESQUE VISIONS OF A GENTEEL ROGUE: FREDERICK E. COHEN’S DETROIT PAINTINGS, 1845 - 1853 by Anastasia Kinigopoulo Approved: __________________________________________________________ Marie-Stephanie Delamaire, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Martin Brückner, Ph.D. Interim Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ John A. Pelesko, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College ACKNOWLEDGMENTS I extend my deepest gratitude to my advisor, Stephanie Delamaire, for her support and suggestions from the inception of this project to its completion. This study would not have been possible were it not for her unfailing encouragement and input throughout my time at Winterthur. I am so grateful for the many wonderful scholars and curators whom I had the pleasure to meet and work with over the past two years at Winterthur and at the University of Delaware. Numerous individuals were especially helpful throughout my research and writing. Early on, Wendy Bellion’s recommendations for how to approach Great Lakes scholarship were enormously valuable. Ritchie Garrison’s suggestions and thoughts were integral to my early research into Fredeick E. -
Access Guide
Access Guide We hope this guide supports your visit. Please speak to any member of staff for more information. Map Entrance 2 Contents Effie Gray Millais 8 Christina Rossetti 14 Elizabeth Siddal 24 Annie Miller 34 Fanny Cornforth 38 The Brotherhood 48 Joanna Boyce Wells 58 Fanny Eaton 64 Georgiana Burne-Jones 69 Maria Zambaco 78 Jane Morris 86 Marie Spartali Stillman 97 Evelyn De Morgan 107 3 4 Entrance Introduction Today, the phrase Pre-Raphaelite evokes images of young women with loose hair and flowing garments, as seen in so many paintings of the art movement. The exhibition, Pre-Raphaelite Sisters, opens a new view on the women within and behind the art. How did these women relate to the images? What did they really look like? How did they become involved? How did they fare? What happened to them in later life? The exhibition invites you to explore the creative contribution of women in the Pre-Raphaelite circle and reveals their own artistic ambitions and glimpses of their private lives. Supported by The Tavolozza Foundation, The Michael Marks Charitable Trust and The Peter Cadbury Charitable Trust Belcolore By Dante Gabriel Rossetti (1828–82) This is a fine example of the sexually-alluring type of image for which one of the most recognizable Pre-Raphaelite models, Fanny Cornforth (1835–1909), sat in the 1860s. She is shown in a ‘boudoir’ pose with unbound hair and low-cut gown and holds a rose provocatively to her lips. The title Belcolore is the name of a ‘buxom country wench’ in the Decameron by the fourteenth-century Italian writer, Giovanni Boccaccio.