DOCSLIB.ORG

Frederic Leighton As a Collector of Contemporary Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Frederic Leighton As a Collector of Contemporary Art See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/323541880 'The Artistic Economy of the House': Frederic Leighton as a Collector of Contemporary Art Thesis · August 2016 DOI: 10.13140/RG.2.2.15100.64649 CITATIONS READS 0 1,701 1 author: Pola Durajska The University of York 3 PUBLICATIONS 0 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: 'I saw Nature unfold before my eyes': Nature, Science, and Myth in the Landscape Art of Frederic Leighton View project Frederic Leighton as a Collector of Contemporary Art View project All content following this page was uploaded by Pola Durajska on 03 March 2018. The user has requested enhancement of the downloaded file. ‘The Artistic Economy of the House’: Frederic Leighton as a Collector of Contemporary Art Pola Durajska Submitted in partial fulfilment of the requirements for the Degree of Master of Letters in Art History: History of Collections and Collecting in the School of Culture and Creative Arts, University of Glasgow, 16 August 2016. Words: 15,402 Acknowledgements I am indebted to Mr Daniel Robbins (Leighton House Museum) and Prof. Elizabeth Prettejohn (University of York) for their generous comments and sharing their work with me. Many thanks to the staff of the Watts Gallery, especially to Dr Beatrice Bertram for her incredible help and support, and to Mr Mark Pomeroy of the Royal Academy of Arts Archive. I am also very grateful to Dr John Bonehill (University of Glasgow) for his insightful comments on the many drafts, and to my academic supervisor, Dr Patricia de Montfort (University of Glasgow). 2 Table of Contents List of Illustrations …………………………………………………………………………………………………………….. 4 Introduction ……………………………………………………………………………………………………………………. 10 1. The Origins of the Silk Room …………………………………………………………………….…………………. 15 1.1. French Influence on Leighton ……………………………………………………..……………. 15 1.2. The Silk Room ………………………………………………………………………………………….. 16 1.3. The Academy and the Gallery ………………………………………………………………….. 18 1.4. Leighton and Collectors from His Circle …………………………….……………………… 21 2. ‘An Artist Among Artists’ ………………………………………………………….……………………………..….. 24 2.1. Rival ‘Palaces of Art’ ……………………………………………………………………….……….. 24 2.2. Watts and Burne-Jones ……………………………….……………………………….…………. 28 2.3. Collector in the Public Eye ………………………….………….……….……………..………… 31 3. Collector Artist …………………………………………………….………………………………………..….……….. 36 3.1. Leighton as a Virtuoso ………………………………..…..….………………………………….. 36 3.2. Artistic Exchanges ………………………………..…….………….………………..…………….. 38 Conclusion …………………………………………………………………………………….……………………………….. 42 Bibliography ……………………………………………………………………………….………………………………….. 44 Illustrations ……………………………………………………………………………….……..……………………………. 54 3 List of Illustrations Fig. 1. First floor plan of Leighton’s house in 1896. Source: http://www.qub.ac.uk/schools/SchoolofEnglish/visual-culture/painting/Leighton- House.html. Accessed June 23, 2016. Fig. 2. George Aitchison, Design for the Elevation of a Wall of the Picture Gallery, 1895, watercolour. RIBA Collections, London. Source: https://www.architecture.com/image- library/RIBApix/image-information/poster/design-for-the-elevation-of-a-wall-of-the-picture- gallery-leighton-house-12-holland-park-road-london/posterid/RIBA4032.html. Accessed June 20, 2016. Fig. 3. The Silk Room, photograph, 1895. Reproduced from: Closer to Home: The Restoration of Leighton House and Catalogue of the Reopening Displays 2010 (London: The Royal Borough of Kensington and Chelsea, 2010), 76. Fig. 4. The Silk Room, 1895, photograph. Leighton House Museum, London. Source: https://www.rbkc.gov.uk/lhleightonhouse/housetour/silkroom.asp. Accessed July 5, 2016. Fig. 5. After William Powell Frith, A Private View at the Royal Academy, 1881, published 1885, photogravure, 47,5 x 90,8 cm. Royal Academy of Arts, London. Source: http://www.racollection.org.uk/ixbin/indexplus?_IXSESSION_=de0qjdpnyDs&_IXSR_=&_IXA CTION_=display&_MREF_=102925&_IXSP_=1&_IXFPFX_=templates/full/&_IXSPFX_=templat es/full/&_IXTRAIL_=Academicians. Accessed June 23, 2016. Fig. 6. Interior of the Grosvenor Gallery’s West Gallery, published in The Illustrated London News, 5 May 1877. Source: http://preraphaelitepaintings.blogspot.co.uk/2013_01_01_archive.html. Accessed July 5, 2016. Fig. 7. Edward Burne-Jones, Chaucer’s Dream of Good Women, 1871, watercolour and gouache, 45,7 x 60,9 cm. Reproduced from: Oliver Garnett, ‘The Letters and Collection of William Graham – Pre-Raphaelite Patron and Pre-Raphael Collector,’ The Volume of the Walpole Society 62 (2000): 145-343. 4 Fig. 8. Anna Alma-Tadema, Drawing Room, 1a Holland Park, 1887, watercolour on paper, 27 x 18 cm. Russell-Cotes Art Gallery and Museum, Bournemouth, UK. Source: https://www.artrenewal.org/pages/artwork.php?artworkid=13440. Accessed July 5, 2016. Fig. 9. Photograph of Lawrence Alma-Tadema in the Hall of Panels, published 1897. Reproduced from: M. H. Spielmann, ‘Laurence Alma-Tadema, R.A.: A Sketch,’ Magazine of Art (Jan 1897): 42-50. Fig. 10. Photograph of Lawrence Alma-Tadema in the Hall of Panels, published 1911. Reproduced from: Rudolph de Cordova, ‘The Hall of Panels in the House of Sir Lawrence Alma-Tadema, R.A.,’ Scribner’s Magazine (1911): 299-314. Fig. 11. Lawrence Alma-Tadema, In My Studio, 1893, oil on canvas, 61.6 x 47 cm. Collection of Ann and Gordon Getty. Source: http://www.wikiart.org/en/sir-lawrence-alma-tadema/in- my-studio-1893. Accessed June 4, 2016. Fig. 12. Plan of Alma-Tadema’s house’s ground floor. Reproduced from: Giles Walkley, Artists’ Houses in London 1764-1914 (Aldershot: Scolar Press, 1994). Fig. 13. Frederic Leighton, A Noble Lady of Venice, c. 1865, oil on canvas, 87,8 x 66,2 cm. Leighton House Museum, London. Source: http://artuk.org/discover/artworks/a-noble-lady- of-venice-180200. Accessed July 20, 2016. Fig. 14. Dante Gabriel Rossetti, Monna Rosa, 1867, oil on canvas, 69 x 53 cm. Private collection. Source: http://www.wikiart.org/en/dante-gabriel-rossetti/monna-rosa-1867. Accessed July 20, 2016. Fig. 15. Valentine Cameron Prinsep, My Lady Betty, c. 1864, oil on canvas, 81.3 x 58.1 cm. Private collection. Source: https://commons.wikimedia.org/wiki/File:My_Lady_Betty_Valentine_Cameron_Prinsep.jpeg Accessed July 20, 2016. Fig. 16. Frederic Leighton, Head of Young Girl, c. 1863. Reproduced from: Emilie Barrington, The Life, Letters and Work of Frederic Leighton, vol. 2 (London: George Allen, Ruskin House, 1906). Fig. 17. Lawrence Alma-Tadema, Anna Alma-Tadema, 1883, oil on canvas, 112 x 76.2 cm. Royal Academy of Arts, London. Source: http://www.racollection.org.uk/ixbin/indexplus?_IXSESSION_=de0qjdpnyDs&_IXSR_=&_IXA 5 CTION_=display&_MREF_=20395&_IXSP_=1&_IXFPFX_=templates/full/&_IXSPFX_=template s/full/. Accessed July 20, 2016. Fig. 18. Lawrence Alma-Tadema, Spring Flowers, 1911, oil on canvas, 24x18 cm. Private collection. Source: http://www.wikiart.org/en/sir-lawrence-alma-tadema/spring-flowers. Accessed July 19, 2016. Fig. 19. George Frederick Watts, Study for Hope, c. 1885, oil on panel, 66 x 53.3 cm. Walker Art Gallery, Liverpool. Source: http://www.liverpoolmuseums.org.uk/onlineshop/prints- posters/print-hope.aspx. Accessed July 12, 2016. Fig. 20. George Frederick Watts, Patient Life of Unrequited Toil, 1890-1891, oil on canvas, 182.9 x 167.6 cm. Watts Gallery, Compton. Source: http://www.wattsgallery.org.uk/en- gb/collections/highlights-permanent-collection/#item-7844. Accessed July 12, 2016. Fig. 21. After George Stubbs, The Anatomy of the Horse, c. 1815, etching. Private collection. Source: http://www.christies.com//lotfinder/lot/stubbs-george-the-anatomy-of-the- 1932451-details.aspx?from=searchresults&intObjectID=1932451&sid=a0ad4d05-0fee-4f73- 9608-0218886577cd. Accessed July 12, 2016. Fig. 22. The drawing-room, 1 Holland Park, 1883-1884. Reproduced from: Charles Harvey, Jon Press, and Mairi Maclean, William Morris, Cultural Leadership, and the Dynamics of Taste. Fig. 23. Edward Burne-Jones, Luna, 1872-1875, oil on canvas, 101 x 71 cm. Private collection. Source: http://www.christies.com/lotfinder/paintings/sir-edward-coley-burne-jones-bart- ara-rws-5157409-details.aspx. Accessed August 2, 2016. Fig. 24. View of the Watts display at the Manchester Royal Jubilee Exhibition, 1887. Reproduced from: Representations of G. F. Watts: Art Making in Victorian Culture, ed. Colin Trodd and Stephanie Brown (Aldershot: Ashgate, 2004), fig. 14. Fig. 25. Edward Burne Jones, The Annunciation, 1876-1879, oil on canvas, 98 x 44 cm. Lady Lever Art Gallery, Liverpool. Source: http://www.liverpoolmuseums.org.uk/picture-of- month/displaypicture.aspx?id=14. Accessed June 25, 2016. Fig. 26. Frederic Leighton, Lieder Ohne Worte, exhibited 1861, oil on canvas, 101.6 x 62.9 cm. Tate Britain, London. Source: http://www.tate.org.uk/art/artworks/leighton-lieder-ohne- worte-t03053. Accessed June 25, 2016. 6 Fig. 27. Edward Burne-Jones, Summer Snow, 1863, wood engraving on paper by the Dalziel Brothers, 14,6 x 10,8 cm. Tate Britain, London. Source: http://www.tate.org.uk/art/artworks/burne-jones-summer-snow-engraved-by-the-dalziel- brothers-n04047. Accessed July 12, 2016. Fig. 28. Frederic Leighton, Odalisque, 1862, oil on canvas, 90.8 x 45.7 cm. Private collection. Source: https://commons.wikimedia.org/wiki/File:1862_Frederick_Leighton_- _Odalisque.jpg. Accessed July 12, 2016. Fig. 29. Edward Burne-Jones, Chaucer’s Dream of Good Women, 1865, watercolour. Private collection. Source: http://preraphaelitepaintings.blogspot.co.uk/2009/11/edward-burne-
Load more

Recommended publications
  • KYK-OVER-AL Volume 2 Issues 8-10
    KYK-OVER-AL Volume 2 Issues 8-10 June 1949 - April 1950 1 KYK-OVER-AL, VOLUME 2, ISSUES 8-10 June 1949-April 1950. First published 1949-1950 This Edition © The Caribbean Press 2013 Series Preface © Bharrat Jagdeo 2010 Introduction © Dr. Michael Niblett 2013 Cover design by Cristiano Coppola Cover image: © Cecil E. Barker All rights reserved No part of this publication may be reproduced or transmitted in any form without permission. Published by the Ministry of Culture, Youth and Sports, Guyana at the Caribbean Press. ISBN 978-1-907493-54-6 2 THE GUYANA CLASSICS LIBRARY Series Preface by the President of Guyana, H. E. Bharrat Jagdeo General Editors: David Dabydeen & Lynne Macedo Consulting Editor: Ian McDonald 3 4 SERIES PREFACE Modern Guyana came into being, in the Western imagination, through the travelogue of Sir Walter Raleigh, The Discoverie of Guiana (1595). Raleigh was as beguiled by Guiana’s landscape (“I never saw a more beautiful country...”) as he was by the prospect of plunder (“every stone we stooped to take up promised either gold or silver by his complexion”). Raleigh’s contemporaries, too, were doubly inspired, writing, as Thoreau says, of Guiana’s “majestic forests”, but also of its earth, “resplendent with gold.” By the eighteenth century, when the trade in Africans was in full swing, writers cared less for Guiana’s beauty than for its mineral wealth. Sugar was the poet’s muse, hence the epic work by James Grainger The Sugar Cane (1764), a poem which deals with subjects such as how best to manure the sugar cane plant, the most effective diet for the African slaves, worming techniques, etc.
    [Show full text]
  • Pre-Raphaelites. an Extraordinary Exhibition in Milan
    Ressort: Kunst, Kultur und Musik Pre-Raphaelites. An extraordinary Exhibition in Milan Rome/Milan, 05.06.2019 [ENA] In 1848, political and social revolutions involving almost all nations break out in Europe. In England, seven students joined to produce an artistic revolution: freeing British painting from conventions and dependence on old masters. The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. The men and women of the so-called Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) experienced new beliefs, new lifestyles and personal relationships, as radical as their art. Their splendid paintings will be on exhibition for the first time in Milan thanks to the extraordinary collaboration project between Palazzo Reale Milan and Tate Britain.The exhibition “Preraffaelliti. Amore e desiderio” (Pre-Raphaelites. Love and desire ), promoted and produced by the Municipality of Milan-Culture, Palazzo Reale and 24 ORE Cultura-Gruppo 24 ORE is organized in collaboration with Tate and curated by Carol Jacobi, Curator British Art of the London museum. Maria Teresa Benedetti’s scientific contribution highlited the relationship of the Pre-Raphaelites with Italy. It will thus be possible to admire about 80 works in Milan, together with some iconic paintings difficult to see outside of the UK, such as the Ophelia by John Everett Millais, The Awakening of Consciousness by William Holman Hunt, Love of April by Arthur Hughes, the Lady of Shalott by John William Waterhouse.The Palazzo Reale exhibition, open to the public from 19 June to 6 October 2019, reveals the universe of art and values of the 18 pre-Raphaelite artists.
    [Show full text]
  • A Field Awaits Its Next Audience
    Victorian Paintings from London's Royal Academy: ” J* ml . ■ A Field Awaits Its Next Audience Peter Trippi Editor, Fine Art Connoisseur Figure l William Powell Frith (1819-1909), The Private View of the Royal Academy, 1881. 1883, oil on canvas, 40% x 77 inches (102.9 x 195.6 cm). Private collection -15- ALTHOUGH AMERICANS' REGARD FOR 19TH CENTURY European art has never been higher, we remain relatively unfamiliar with the artworks produced for the academies that once dominated the scene. This is due partly to the 20th century ascent of modernist artists, who naturally dis­ couraged study of the academic system they had rejected, and partly to American museums deciding to warehouse and sell off their academic holdings after 1930. In these more even-handed times, when seemingly everything is collectible, our understanding of the 19th century art world will never be complete if we do not look carefully at the academic works prized most highly by it. Our collective awareness is growing slowly, primarily through closer study of Paris, which, as capital of the late 19th century art world, was ruled not by Manet or Monet, but by J.-L. Gerome and A.-W. Bouguereau, among other Figure 2 Frederic Leighton (1830-1896) Study for And the Sea Gave Up the Dead Which Were in It: Male Figure. 1877-82, black and white chalk on brown paper, 12% x 8% inches (32.1 x 22 cm) Leighton House Museum, London Figure 3 Frederic Leighton (1830-1896) Elisha Raising the Son of the Shunamite Woman 1881, oil on canvas, 33 x 54 inches (83.8 x 137 cm) Leighton House Museum, London -16- J ! , /' i - / .
    [Show full text]
  • Victorian Paintings Anne-Florence Gillard-Estrada
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings. Polysèmes, Société des amis d’inter-textes (SAIT), 2016, L’or et l’art, 10.4000/polysemes.860. hal-02092857 HAL Id: hal-02092857 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092857 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian Paintings This article proposes to examine the treatment of Greek myths of the golden apples in paintings by late-Victorian artists then categorized in contemporary reception as “classical” or “classic.” These terms recur in many reviews published in periodicals.1 The artists concerned were trained in the academic and neoclassical Continental tradition, and they turned to Antiquity for their forms and subjects.
    [Show full text]
  • Alphonse Legros (1837 - 1911)
    Alphonse Legros (1837 - 1911) The Viol Player (Le joueur de viole) Brown ink, brown wash and black chalk, extensively heightened with white, on buff paper. Signed and dedicated a mon ami Holloway / A. Legros at the lower left corner of the backing sheet. 212 x 223 mm. (8 3/8 x 8 3/4 in.) This drawing is a preparatory study, in reverse, for Legros’ etching Le joueur de viole of c.1868. As one modern scholar has noted, both the drawing and the print ‘strongly evoke Italian prototypes. The viola player set in a landscape suggests Venetian sources. The reserved bystanders in the print are similar to the angels in Piero della Francesca’s famous Baptism of Christ that was acquired by the National Gallery, London in 1861. Contact with latter-day Pre-Raphaelite artists such as Burne-Jones may have motivated Legros to draw upon such sources.’ A related etching by Legros entitled Le joueur de contrebasse may also be dated to the same period. The present sheet bears the artist’s dedication to the printseller Marseille Holloway (d.1910). Holloway dealt in old and modern prints from premises in London, first in Henrietta Street and later in Bedford Street, and published a number of etchings by Legros. The drawing later entered the collection of Frank E. Bliss, who assembled one of the finest and most comprehensive collections of etchings and lithographs by Legros. Together with a large number of drawings and paintings by the artist, these were exhibited at the Grosvenor Gallery in London in 1922. Many of the paintings and drawings, including the present sheet, were sold at Christie’s the following year.
    [Show full text]
  • Stephen Ongpin Fine Art
    STEPHEN ONGPIN FINE ART JAMES ABBOTT MCNEILL WHISTLER Lowell, Massachusetts 1834-1903 London Hastings Watercolour. Numbered 9432 on the verso. 136 x 225 mm. (5 3/8 x 8 7/8 in.) Provenance Charles William Dowdeswell (Dowdeswell and Dowdeswells Gallery), London, with the gallery stamp (Lugt 690) on the verso Obach and Co., London, in 1908 Anonymous sale, London, Christie’s, 21 July 1911, part of lot 80 (‘J. M. Whistler. Hastings; and Fishing-Boats, Hastings – a pair. 5 in. by 8 1/2 in.’ P. & D. Colnaghi and Obach, London, by 1912 George Edward Healing, Kingston upon Thames, Surrey, until 1953 Sir Hugh Eyre Campbell Beaver KBE, London and Luxford House, Crowborough, Sussex, until 1967 Anonymous sale, London, Christie’s, 19 July 1968, lot 31 Schweitzer Gallery, New York Acquired from them in 1968 by a private collection, USA Ira Spanierman, New York, in 1970 Private collection With Cavalier Galleries, Greenwich, CT. and New York, in 2018. Literature E. Gallatin, Whistler’s Pastels and Other Modern Profiles, New York, 1911, unpaginated, illustrated (as ‘Hastings: No.II. From the hitherto unpublished water- colour drawing in the possession of Messrs. P. and D. Colnaghi and Obach.’); Margaret F. MacDonald, ‘James McNeill Whistler: 1934-1984 Anniversary Portrait. Notes, Harmonies, Nocturnes’, in New York, M. Knoedler & Company, Notes, Harmonies & Nocturnes: Small Works by James McNeill Whistler, exhibition catalogue, 1984, p.18 Margaret F. MacDonald, James McNeil Whistler. Drawings, Pastels and Watercolors: A Catalogue Raisonné, New Haven and London, 1995, pp.312-313, no.830. Exhibited New York, M. Knoedler & Company, Inc., Notes, Harmonies & Nocturnes: Small Works by James McNeill Whistler, 1984, no.78.
    [Show full text]
  • BOOK REVIEW Modern Painters, Old Masters: the Art of Imitation From
    Tessa Kilgarriff 126 BOOK REVIEW Modern Painters, Old Masters: The Art of Imitation from the Pre-Raphaelites to the First World War, by Elizabeth Prettejohn (London: Yale University Press, 2017). 288 pp. Hardback, £45. Reviewed by Tessa Kilgarriff (University of Bristol) Visual allusion and the transhistorical relationship between works of art and their viewers form the subject of Elizabeth Prettejohn’s illuminating study, Modern Painters, Old Masters. The author proposes that the much-maligned term ‘imitation’ most accurately describes the practice by which artists and viewers form relationships with their counterparts in other historical eras. The book argues that ‘imitation’ came in two distinguishing categories during the period from the 1848 founding of the Pre-Raphaelite Brotherhood to the First World War: ‘competitive imitation’ (in which the artist attempts to transcend their predecessor) and ‘generous imitation’ (in which the artist faithfully copies the earlier model) (p. 15). In chapters on originality and imitation, on the influence of Jan van Eyck’s Portrait of (?) Giovanni Arnolfini and his Wife (1434), on the Pre-Raphaelites’ discovery of early Renaissance painters, on Frederic Leighton’s debts to Spanish painting, and on the tension between making art and looking at it, Prettejohn asks fourteen key questions. The formulation and clarity of these questions is explained by the origins of the book, namely Prettejohn’s Paul Mellon Lectures given at the National Gallery in London and at the Yale Center for British Art in 2011. Prettejohn’s incisive questions stringently rebuff the notion that the significance of visual allusions, or references, is limited to identification.
    [Show full text]
  • PRE-RAPHAELITE STUNNERS at CHRISTIE’S in JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE : 20 A p r i l 2 0 1 5 PRE-RAPHAELITE STUNNERS AT CHRISTIE’S IN JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton London – This summer, Christie’s London presents a stellar collection of Pre-Raphaelite and Victorian drawings and paintings – one of the very best collections in private hands with museum-quality works, some of which have not been seen for decades. Offered as part of the Victorian, Pre-Raphaelite & British Impressionist Art sale on 16 June 2015, this beautiful collection features 45 works and is expected to realise in the region of £2 million. Leading the collection is one of eight works by Dante Gabriel Rossetti (1828-1882), Beatrice: A Portrait of Jane Morris (estimate: £700,000-£1 million, illustrated above left). The collection presents the opportunity for both established and new collectors alike to acquire works at a wide range of price points with estimates ranging from £1,000 to £700,000. Harriet Drummond, International Head of British Drawings & Watercolours, Christie’s: “Christie's is delighted to be handling this important and breath-takingly beautiful collection of paintings and drawings brought together by a couple of anglophile art lovers, who combined their passion for the aesthetic of the Victorian Period with the discerning eye of the connoisseur collector. It is the art of this Victorian era celebrating beauty through its depiction of largely female figures, from the monumentality of ‘Desdemona’ to the intimacy of ‘Fanny Cornforth, asleep on a chaise-longue’ that so strongly influenced our idea of beauty today.” With the recent re-emergence of interest in the Pre-Raphaelite Brotherhood, led by Tate’s Pre-Raphaelites: Victorian Avant-Garde exhibition in 2012, this collection represents many of the ‘Stunners’ who inspired their paintings and made their work truly ‘romantic’, including eight beguiling works by Rossetti.
    [Show full text]
  • Leighton's Iconic Painting Flaming June on View in New
    LEIGHTON’S ICONIC PAINTING FLAMING JUNE ON VIEW IN NEW YORK CITY FOR THE FIRST TIME June 9 through September 6, 2015 Born in Scarborough, Yorkshire, in 1830, Frederic Leighton was one of the most renowned artists of the Victorian era. He was a painter and sculptor, as well as a formidable presence in the art establishment, serving as a longtime president of the Royal Academy, and he forged an unusual path between academic classicism and the avant-garde. The recipient of many honors during his lifetime, he is the only British artist to have been ennobled, becoming Lord Leighton, Baron of Stretton, in the year of his death. Nevertheless, he left almost no followers, and his impressive oeuvre was largely forgotten in the twentieth century. Leighton’s virtuoso technique, extensive preparatory Frederic Leighton (1830–1896), Flaming June, c.1895, oil on canvas, Museo de Arte de Ponce. The Luis A. Ferré Foundation, Inc. process, and intellectual subject matter were at odds with the generation of painters raised on Impressionism, with its emphasis on directness of execution. One of his last works, however, Flaming June, an idealized sleeping woman in a semi-transparent saffron gown, went on to enduring fame. From June 9 to September 6, Leighton’s masterpiece will hang at the Frick, on loan from the Museo de Arte de Ponce in Puerto Rico. The exhibition, which is accompanied by a publication and series of public programs, is organized by Susan Grace Galassi, Senior Curator, The Frick Collection. Leighton’s Flaming June is made possible by The Peter Jay Sharp Foundation and Mr.
    [Show full text]
  • Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
    [Show full text]
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • Movimiento Prerrafaelista
    06/02/2007 1845 MOVIMIENTO PRERRAFAELISTA: ORÍGENES, DESARROLLO 1870 Y CONSECUENCIAS 1894 Sir John Everett Millais. John Ruskin. 1854 jamp'07 1 jamp'07 2 ALGUNAS OBRAS: Modern Painters (1843) Modern Painters II (1846) The Seven Lamps of Architecture (1849) Pre-Raphaelitism (1851) The Stones of Venice I (1851) The Stones of Venice II and III (1853) Architecture and Painting (1854) Modern Painters III (1856) The Harbours of England (1856) Political Economy of Art (1857) The Two Paths (1859) The Elements of Perspective (1859) Modern Painters IV (1860) RAFAEL (1483-1520): La Unto This Last (1862) Transfiguración 1518-20 jamp'07 3 jamp'07 4 The Pre-Raphaelite Brotherhood was created in 1848 by seven artists: Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, John Everett Millais, Frederic George Stephens, Thomas Woolner and William Holman Hunt. Their goal was to develop a naturalistic style of art, throwing The Pre-Pre-RaphaeliteRaphaelite away the rules and conventions that were drilled into students' BrotherhoodBrotherhood:: heads at the Academies. Raphael was the artist they considered to have achieved the highest degree of perfection, PRB so muchthttdth so that students were encourage dtdfd to draw from his examples rather than from nature itself; thus they became the "Pre-Raphaelites". The movement itself did not last past the 1850s, but the style remained popular for decades, influencing the Arts and Crafts Movement, the Symbolist painters and the Art Nouveau jamp'07 5 jamp'07 6 1 06/02/2007 El planteamiento inicial de
    [Show full text]