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The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915

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The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915 THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. Considering the mirror as a stand-alone entity in their works, it not only gives a modern, contemporary relevancy to their images regardless of the subject matter depicted, it also functions as a metaphor for their specific approach to realism mediated through visions in glass. 2 List of Contents Volume I ABSTRACT 2 CONTENTS 3 LIST OF ILLUSTRATIONS 6 APPENDIX ILLUSTRATIONS 22 ACKNOWLEDGMENTS 49 AUTHOR’S DECLARATION 50 INTRODUCTION 51 The Mirror and Art History 56 Velázquez’s Las Meninas 58 Van Eyck’s The Arnolfini Portrait 64 The Mirror in Cultural Studies 67 Pre-Raphaelitism 72 The Pre-Raphaelites Styles: Hunt versus Rossetti 75 Pre-Raphaelite Realism 77 Florence Claxton’s The Choice of Paris 79 Context I: Glass Production 82 Venetian Glass 84 Historical Mirror Representation 86 French Glass 92 Context II: English Mirrors 93 The Crystal Palace (1851) 100 Mirrors and Nineteenth-Century Interiors: Tasteful Décor 103 English Mirror Imagery 113 3 CHAPTER I: WILLIAM HOLMAN HUNT 119 The Lady of Shalott (1850) 122 Van Eyck’s The Arnolfini Portrait 128 Memling’s Mirror 132 The Lady of Shalott (1857) 134 Elizabeth Siddall 137 The Awakening Conscience (1853) 139 Ford Madox Brown: Take Your Son, Sir! 153 Il Dolce Far Niente 156 The Lady of Shalott (1886-1905) 161 CHAPTER II: DANTE GABRIEL ROSSETI 169 Lady Lilith (1864-68) 169 ‘Holman Huntism’? 178 Rossetti’s Early, Medieval Mirrors 182 Venus Surrounded by Mirrors: Rossetti’s Double Works 196 La Bella Mano 203 CHAPTER III: INTERMIRRORALITY IN LATER MIRRORS 219 Categorisation: The Pre-Raphaelite Measles 220 Burne-Jones: ‘a mirror worthy of Van Eyck’ 228 A Pre-Raphaelite Motif 233 The P.R.B. Mirror: Plagiarism or Motif 235 Frank Cadogan Cowper 240 William Orpen and Charles Shannon 242 A P.R.B. Monogram 246 Millais’s Missing Mirrors 249 4 J.W. Waterhouse: Late Nineteenth-Century ‘Pre-Raphaelite Theory’ 253 The Final Pre-Raphaelite Mirror 258 CONCLUSION 262 BIBLIOGRAPHY 273 Newspapers and Periodicals 273 Unpublished Primary Sources 274 Published Primary Sources 274 Secondary Sources 285 Volume II ILLUSTRATIONS 306 APPENDIX: Catalogue of Mirrors, 1850-1915 533 5 Illustrations Figure 1 William Holman Hunt, Study for the Lady of Shalott (1850). Black chalk, pen and ink 23.5 x 14.2 cm. National Gallery of Victoria, Melbourne Figure 2 Page from D.G. Rossetti’s sketchbook, Lady at her Toilet (c.1850). Pencil, pen and ink, 11.4 x 24.13 cm. Glasgow Art Gallery and Museum, Glasgow Figure 3 D.G. Rossetti, Lady Lilith (1864-1868). Oil on canvas, 97.8 x 85.1 cm. Wilmington Society of Fine Arts, Delaware Figure 4 Jan van Eyck, The Arnolfini Portrait (1434). Oil on oak panel, 82.2 x 60 cm. National Gallery, London (acquired 1842) Figure 5 Velázquez, Las Meninas (1656). Oil on canvas, 318 x 276 cm. Museo del Prado, Madrid Figure 6 Walter Sickert, The P.S. Wings in the O.P. Mirror (c.1889). Oil on canvas, 61 x 51 cm. Musée des Beaux Arts, Rouen Figure 7 John Everett Millais, Lorenzo and Isabella (1849). Oil on canvas, 103 x 142.8 cm. Walker Art Gallery, Liverpool Figure 8 Holman Hunt, Rienzi Vowing to Obtain Justice for the Death of his Younger Brother, Slain in a Skirmish Between the Colonna and Orsini Factions (1848-49). Oil on canvas, 86.3 x 122 cm. Private Collection. Figure 9 D.G. Rossetti, Girlhood of Mary Virgin (1848-49). Oil on canvas, 83.2 x 65.4 cm. Tate Britain, London Figure 10 Florence Claxton, The Choice of Paris: An Idyll (1860). Watercolour heightened with gold paint and gum Arabic, 26.8 x 37.8 cm. Victoria & Albert Museum, London Figure 11 Florence Claxton, The Choice of Paris: An Idyll, detail (alternate version) (1860). Watercolour heightened with gold paint over pencil, 27 x 38 cm. Private Collection Figure 12 Florence Claxton, The Choice of Paris: An Idyll, detail (1860) Figure 13 Florence Claxton, The Choice of Paris: An Idyll, detail (1860) Figure 14 Anonymous, Marcia Painting Self-Portrait Using Mirror from Boccaccio’s De Claris Mulieribus (On Famous Women) (1404). Illuminated manuscript MS fr.12420, fol.101v. Bibliothèque Nationale, Paris Figures 15-16 French Mirror Case (1350-75). Ivory, 11.11 x 10.47 cm. Metropolitan Museum of Art, New York Figure 17 Robert Campin, St John with a Donor, from the Werl Altarpiece (1438). Oil on panel, 101 x 47cm. Museo del Prado, Madrid Figure 18 Petrus Christus, St Eligius the Goldsmith (c.1449). Oil on wood, 98 x 85.2 cm. Metropolitan Museum of Art, New York City, Robert Lehman 6 Collection Figure 19 Juan de Flandes, The Birth and Naming of St John the Baptist (1496-1499). Oil on wood panel, 88.4 x 49.9 cm. Cleveland Museum of Art Figure 20 Quentin Massys, The Moneylender and his Wife (1514). Oil on board, 71 x 68 cm. Musée du Louvre, Paris (acquired 1806) Figures 21-22 Joos van Cleve, The Annunciation (c.1525). Oil on wood, 86.4 x 80 cm. The Metropolitan Museum of Art, New York Figure 23 Hans Furtenagel, The Painter Hans Burgkmair and His Wife Anna (1527). Oil on wood panel, 52 x 60 cm. Kunsthistorisches Museum, Vienna Figure 24 Jan Sanders van Hemessen, Vanitas (c.1535-1540). Oil on panel, 90 x 73 cm. Palais des Beaux-Arts, Lille Figure 25 Jan van Eyck, The Arnolfini Portrait, detail (1434) Figure 26 After Jan van Eyck, Woman at her Toilet, detail (c. 1434, 16th century copy). Oil on panel, 27.2 x 16.3 cm. Fogg Art Museum, Harvard University, Cambridge Figure 27 Petrus Christus, A Goldsmith in His Shop, Possibly St Eligius, detail (c.1449) Figure 28 Juan de Flandes, The Marriage Feast at Cana, detail (c.1498-1500). Oil on panel, 21 x 15.9 cm. The Metropolitan Museum of Art, New York City Figure 29 Parmigianino, Self-Portrait in a Convex Mirror (1523-24). Oil on convex poplar panel, 24.4 cm. Kunsthistorisches Museum, Vienna Figure 30 Velázquez, The Rokeby Venus, detail (1647-51). Oil on canvas, 122 x 177 cm. National Gallery of Art, London Figure 31 Velázquez. The Rokeby Venus (1647-1651). Oil on canvas, 122 x 177 cm. National Gallery of Art, London Figure 32 Titian, Woman with a Mirror (1512-15). Oil on canvas, 99 x 76 cm. Musée du Louvre, Paris Figure 33 Massys, The Moneylender and His Wife, detail (1514) Figure 34 Titian, Woman with a Mirror, detail (1512-1515) Figure 35 Titian, Venus with a Mirror (c.1555). Oil on canvas, 124.5 x 105.5 cm. The National Gallery of Art, Washington, D.C. Figure 36 Velázquez, Las Meninas, detail (1656) Figure 37 Juan Carreño de Miranda, Charles II of Spain (c.1675). Oil on canvas, 201 x 141 cm. Museo Nacional del Prado, Madrid Figure 38 Juan Carreño de Miranda, Charles II as Grandmaster of the Golden Fleece (1677). Oil on canvas, 217 x 141cm. Private Collection 7 Figure 39 Juan Carreño de Miranda, Portrait of Queen Mariana of Austria (c.1670). Oil on canvas, 211 x 125cm. Museo Nacional del Prado, Madrid Figure 40 The Hall of Mirrors, Versailles (completed 1684) Figure 41 François Boucher, Le Dejeuner (Morning Coffee, 1739). Oil on canvas, 81 x 65 cm. Musée du Louvre, Paris Figure 42 Jean-Baptiste Greuze, The Broken Mirror (c.1762-1763). Oil on canvas, 56 x 45.6 cm. The Wallace Collection, London Figure 43 Thomas Chippendale, Mirror (London, 1762-1765). Carved and gilded pine, mirror glass and brass. Victoria & Albert Museum, London Figure 44 Mirror (English pier-glass, 1770-1771). Papier-mache, gilded wood, bevelled mirror glass. Victoria & Albert Museum, London Figures 45-46 William Hogarth, Marriage-à-la-Mode: The Marriage Settlement (c.1743). Oil on canvas, 69.9 x 90.8 cm. National Gallery, London Figures 47-48 William Hogarth, Marriage à-la-Mode: La Toilette (c.1743). Oil on canvas, 69.9 x 90.8 cm. National Gallery, London Figures 49-50 Johann Joseph Zoffany, Queen Charlotte with her Two Eldest Sons (c.1765).
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