ART HISTORY Journey Through a Thousand Years “The Shapes Arise” Week Eleven: Realism The Aesthetic Movement - William Holman Hunt, The Lady of Shalott – The Wonderful World of Whistler – Harmony in Blue and Gold - Early Photography: Niépce, Talbot and Muybridge - Early Photography: Making Daguerreotypes A Beginner’s Guide to Realism - Gustave Courbet, The Stonebreakers – Rosa Bonheur, Sheep in the Highlands - “Jean-Francois Millet, A Poem” – Life of Jean-Francois Millet – The Angelus - William Powell Frith, Derby Day Konstantin Savitsky: Repair work on the railway, 1874, Tretyakov Gallery The Romantic movement in art transformed as the nineteenth century went on – it took new form in the Aesthetic Movement. John William Waterhouse: Windflowers , Dr. Rebecca Jeffrey Easby, "The Aesthetic Movement" From smARThistory (2016) Art for the sake of art The Aesthetic Movement, also known as “art for art’s sake,” permeated British culture during the latter part of the 19th century, as well as spreading to other countries such as the United States. Based on the idea that beauty was the most important element in life, writers, artists and designers sought to create works that were admired simply for their beauty rather than any narrative or moral function. This was, of course, a slap in the face to the tradition of art, which held that art needed to teach a lesson or provide a morally uplifting message. The movement blossomed into a cult devoted to the creation of beauty in all avenues of life from art and literature, to home decorating, to fashion, and embracing a new simplicity of style. “The Six-Mark Tea-Pot” in Punch, October 30, 1880 (caption reads: Aesthetic Bridegroom. “It is quite consummate, is it not?” Intense Bride. “It is, indeed! Oh, Algernon, let us live up to it!”) In literature In literature, aestheticism was championed by Oscar Wilde and the poet Algernon Swinburne. Skepticism about their ideas can be seen in the vast amount of satirical material related to the two authors that appeared during the time. Gilbert and Sullivan, masters of the comic operetta, unfavorably critiqued aesthetic sensibilities in Patience (1881). The magazine Punch was filled with cartoons depicting languishing young men and swooning maidens wearing aesthetic clothing. One of the most famous of these, The Six-Mark Tea- Pot by George Du Maurier published in 1880, was supposedly based on a comment made by Wilde. In it, a young couple dressed in the height of aesthetic fashion and standing in an interior filled with items popularized by the Aesthetes—an Asian screen, peacock feathers, and oriental blue and white porcelain—comically vow to “live up” to their latest acquisition. John William Waterhouse:Miranda In the visual arts In the visual arts, the concept of art for art’s sake was widely influential. Many of the later paintings of Dante Gabriel Rossetti […] are simply portraits of beautiful women that are pleasing to the eye, rather than related to some literary story as in earlier Pre-Raphaelite paintings.[…] James McNeill Whistler, Symphony in White, No. 1: The White Girl, 1862, oil on canvas 213 x 107.9 cm (National Gallery of Art) “flinging a pot of paint in the public’s face” Most famous of the aesthetic artists was the American James Abbott McNeill Whistler. His early painting Symphony in White #1: The White Girl caused a sensation when it was exhibited after being rejected from both the Salon in Paris (the official annual exhibition) and the annual exhibition at the Royal Academy in London. The simplistic representation of a woman in a white dress, standing in front of a white curtain was too unique for Victorian audiences, who tried desperately to connect the painting to some literary source—a connection Whistler himself always denied. The artist went on to create a series of paintings, the titles of which generally have some musical connection, which were simply intended to create a sense of mood and beauty. The most infamous of these, Nocturne in Black and Gold: The Falling Rocket (1875, Detroit Institute of Arts), appeared in an exhibition at London’s Grovesnor Gallery, a venue for avant garde art, in 1877 and provoked the famous accusation from the critic John Ruskin that the artist was “flinging a pot of paint in the public’s face.” James MacNeill Whistler: Nocturne in Black and Gold – The Falling Rocket The ensuing libel trial between Whistler and Ruskin in 1878 was really a referendum on the question of whether or not art required more substance than just beauty. Finding in favor of Whistler, the jury upheld the basic principles of the Aesthetic Movement, but ultimately caused the artist’s bankruptcy by awarding him only one farthing in damages. In The Gentle Art of Making Enemies, a collection of essays published in 1890, Whistler himself pointed out the biggest problem for the aesthetic artist was that “the vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell.” No story or moral message The Aesthetic Movement provided a challenge to the Victorian public when it declared that art was divorced from any moral or narrative content. In an era when art was supposed to tell a story, the idea that a simple expression of mood or something merely beautiful to look at could be considered a work of art was a radical idea. However, in its assertion that a work of art can be divorced from narrative, the ideas of the Aesthetic Movement are an important stepping-stone in the road towards Modern Art. John Everett Millais: Ophelia , 1851, tate Britain Dr. Rebecca Jeffrey Easby: “William Holman Hunt, The Lady of Shalott” From smARThistory (2020) William Holman Hunt, The Lady of Shalott, c. 1888–1905, oil on canvas, 74 1/8 X 57 5/8 inches (Wadsworth Atheneum Museum of Art) A Lady Cursed In the 1880s, William Holman Hunt turned to the poetry of Sir Alfred, Lord Tennyson, a favorite Victorian literary source, in his painting The Lady of Shalott. Hunt’s painting is a virtuoso performance, using the meticulous detail of Pre-Raphaelitism to capture the most dramatic moment in the story. The painting was based on a drawing for a lavish edition of Tennyson published in 1857 known as the Moxon Tennyson (after the publisher).[…] The Victorians loved nothing better than a beautiful, tragic heroine, preferably one in medieval clothing, which explains their enduring fascination with Tennyson’s The Lady of Shalott. One of his many poems based on the legends of King Arthur, Tennyson tells the story of a lovely lady confined to “Four gray walls, and four gray towers,” and cursed to constantly weave scenes that she can only observe through a mirror. As the poem explains: No time hath she to sport and play: A charmed web she weaves alway. A curse is on her, if she stay Her weaving either night or day, To look down to Camelot. She knows not what the curse may be; Therefore she weaveth steadily, Therefore no other care hath she, The Lady of Shalott. Unfortunately for the lady, her routine of constantly weaving reflections is quite literally shattered when she observes Sir Lancelot riding by and actually looks out the window rather than at the shadowy images in the mirror. She left the web, she left the loom She made three paces thro’ the room She saw the water-flower bloom, She saw the helmet and the plume, She look’d down to Camelot. Out flew the web and floated wide; The mirror crack’d from side to side; ‘The curse is come upon me,’ cried The Lady of Shalott. Knowing that the end is near, the final part of the poem recounts how the lady writes a message for those that will find her body, gets into a boat, and floats down the river to Camelot. In this, Tennyson’s poem ends as did many, many other stories popularized during the era, with the untimely demise of the lovely heroine. John William Waterhouse, The Lady of Shalott, 1888, oil on canvas, 153 × 200 cm (Tate Britain) The subject was frequently illustrated, the most familiar example being John William Waterhouse’s The Lady of Shalott, which depicts a beautiful but stricken looking lady dying as she slowly floats down the river. In selecting this of the part of the story, Waterhouse was not alone, as the vast majority of renditions of this subject focused on the trip down river, with the lady either already dead or about to die. In contrast, Hunt illustrated the most active part of the poem, when the lady actually looks out the window, causing the mirror to crack. According to the text, “she made three paces thro’ the room,” and in Hunt’s figure, the swinging arms and the wild, wind-blown look of her flowing hair create the sensation of a slow rhythmic dance. The lady struggles to remove threads of her tapestry, which “out flew the web and floated wide,” creating long colored strings that bind the figure. Much of this can also be seen in the original drawing and were elements not appreciated by Tennyson himself who complained that her hair was like a “tornado” and that the threads encircling her body were an addition to the actual text of the poem. Mirror (detai;), William Holman Hunt, The Lady of Shalott, c. 1888–1905, oil on canvas, 74 1/8 X 57 5/8 inches (Wadsworth Atheneum Museum of Art) Hercules, shoes and irises (detail), William Holman Hunt, The Lady of Shalott, c. 1888– 1905, oil on canvas, 74 1/8 X 57 5/8 inches (Wadsworth Atheneum Museum of Art) Symbols and Meanings In the painting, Hunt added many symbolic references.