In high school, I listened to Heavy Metal music and also played Dungeons and Dragons. Back in those days, I hung out at the mall with friends and girlfriends. The mall had this one poster shop and …
Dante Gabriel Rossetti - Woman in yellow / Annie Miller (1863)
This picture was inspired by the Pre-Raphaelite painters as well as lovely artist Isabela Lepek. This past weekend I went to the Salton Sea and the nearby sand dunes. The Salton Sea is a little known treasure in California. It used to be a sea and it got its water from runoff from the Colorado River, but since that water stopped flowing it has been in the process of dying. The beaches have fish bones all over the place, there are abandoned things everywhere...a surreal place. I didn't get to explore a ton of it because, like the blonde that I am, I got my car stuck in the sand while trying to drive to the beach. 4 hours and a drastic drop of temperature later, someone managed to pull us out. I did this picture right after that on the beach and lit the scene with the car headlights. A picture from the sand dunes to follow :) facebook | formspring | website | blog | twitter
Christian Martyr ~ 1880/88 ~ Evelyn De Morgan (English painter whose works were influenced by the style of the Pre-Raphaelite movement, a follower of Edward Burne-Jones, 1855-1919)
Gustave-Max Stevens 1871-1946 | Belgian The Twelve Princesses Oil on canvas Signed and dated “G.M. Stevens / 1899” (lower right) The greatest triumph of the artist’s career, this extraordinary and monumental oil on canvas by Gustave-Max Stevens perfectly represents the highly detailed compositions and richly hued palettes championed by the Pre-Raphaelite Brotherhood. The composition’s larger-than-life-size, brilliant coloring and myriad details enhance the drama of its subject, the Grimm Brothers’ fairy tale, The Twelve Princesses. The artist exhibited this work extensively, including at the 1901 Paris Salon, testifying to both the artist’s regard for the work and its exceptional quality. Monumental in subject, style and size, it is clear that the artist himself knew that The Twelve Princesses was his masterpiece, and he took every opportunity to show it publicly. It was first shown shortly after its creation at an exhibition of the artist’s work at the Cercle Artistique et Littéraire in Brussels in 1899 and then at the Salon d’Art Idéaliste in Brussels. It was then accepted into the prestigious Paris Salon of 1901, the annual exhibition where artists showcased only the very best examples of their work. The artist also exhibited it with Sächsischer Kunstverein (Saxon Art Association) in Dresden in 1900, the Antwerp Triennial Salon of 1901 and the Salon des Beaux-Arts d’Ostende of 1907. Additionally, Stevens kept The Twelve Princesses in his own personal collection for the entirety of his life, and it descended within his family — a testimony to the artist’s particular attachment to this work. The fairy tale The Twelve Princesses, or The Shoes That Were Danced to Pieces, tells the story of twelve sisters who are kept locked up in their bedroom every night by their father, the king. Despite this, the king finds his daughters’ shoes “danced to pieces” every morning when he releases them. He presents a challenge to his kingdom: “Whoever could discover where they went dancing each night could choose one of them for his wife and become king after his death.” After many before him fail, a man accepts the challenge and, with the help of an invisibility cloak, discovers the sisters travel to a magical underground realm where they attend a lavish ball every evening. Stevens chooses to depict the moment of the sisters' escape. They adorn themselves in their finest gowns and jewels, with each princess dressed more extravagantly than the last. His approach to the painting is meticulous yet romantic, and the entire composition is a feast for the senses. The long, graceful silhouettes of the princesses occupy the entirety of the colossal canvas, and the artist revels in a painstaking depiction of detail for each and every figure. Strongly-patterned, iridescent fabrics combine with lush jewel tones to create a highly expressive aesthetic that brings a sense of realism to the mythical narrative. Stevens captures the princesses with the precise detail and symbolism that were tenets of the Pre-Raphaelite Brotherhood. They are shown standing before a window barred with iron, emphasizing the wonder of their nightly escape. The central figure gazes into a mirror, serving not as a symbol of vanity, but rather representing the ephemeral, alternate world they are about to enter. The mirror holds their secret and points beyond exterior appearances. Only two of the sisters look out at the viewer, the oldest and the youngest, who have the most significant roles in the story. The eldest, dressed the most austerely and almost hidden behind her sisters, wears a knowing look of secrecy and mystery, while the youngest looks at us apprehensively, foreshadowing their eventual exposure. Combining thoughtful detail, symbolism and aestheticism, this work showcases the enigmatic, dreamlike style of painting for which the Pre-Raphelites were renowned. Apart from the fact that it is an exceptional example of a Pre-Raphaelite painting, it is also exemplary of the 19th-century interest in legends and fairy tales; the story of the dancing princesses would have been a well-known tale in affluent households of the age. These tales were popularized by Andrew Lang’s Fairy Book series, a collection of 12 volumes that was hugely successful. The Twelve Dancing Princesses was the first story printed in the Red Fairy Book edition of the series in 1890 — an edition the artist would have certainly been familiar with. Born in Saint-Gilles, Belgium, just outside of Brussels, in 1871, Stevens began his artistic studies at the Académie Royale des Beaux-Arts in Brussels in 1886 under the instruction of Jean-François Portaels. He then studied with Fernand Cormon and Louis-Joseph-Raphaël Collin at the École des Beaux-Arts in Paris. He then returned to Brussels, a city that at the time was a major center for artistic innovation. There, he co-founded and led Le Sillon in 1893, an artistic movement that sought a different approach to painting from the Neo-Impressionists and instead espoused a philosophy of decorative realism and luminous coloring. The great Pre-Raphaelite Edward Burne-Jones was a supporter and honorary member of Le Sillon, and the group hosted an exhibition of the master’s works in 1895. Stevens, who was already an admirer of Burne-Jones, was heavily involved in the planning of this exhibition and must have taken immense inspiration from his aesthetic approach. He completed The Twelve Princesses only a few years after the Burne-Jones show, embracing the Pre-Raphaelite ideals of truth to nature, complexity of composition and brilliance of color. He also won a coveted bronze medal at the Paris Exposition Universelle of 1900 for Annunciation, another painting with strong Pre-Raphaelite connections. Today, his works reside in the National Gallery of Canada (Ottowa), Minneapolis Institute of Art, Musées royaux des Beaux-Arts de Belgique (Brussels) and the British Museum (London), but none surpass the current painting. Staggering in size, magnificent in palette, exceptional in technique, and fascinating in subject, The Twelve Princesses represents the very best from the artist. Dated 1899 Canvas: 76 1/8" high x 114" wide (193.36 x 289.56 cm) Frame: 100 1/4" high x 138 5/8" wide (254.64 x 352.11 cm) Exhibited: Exhibition Gustave-Max Stevens, Cercle Artistique et Littéraire, Brussels, 1899 Salon d’Art Idéaliste, Brussels Paris Salon, 1901, number 846, p.27 (illustrated under the title “Filles de Rois”) Sächsischer Kunstverein, Dresden, 1900, number 1864 Triennial Salon, Antwerp, 1901, number 46 Salon des Beaux-Arts d'Ostende, 1907 Provenance: Collection of the artist, Brussels Thence by descent Private collection, Paris M.S. Rau, New Orleans
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Explore the intriguing life of Christina Rossetti, a Pre-Raphaelite poet who overcame gender barriers to establish a remarkable and celebrated career.
signed and inscribed with the artist's address on an old label attached to the reverse oil on canvas 65 by 45cm.; 26 by 18in. ESTIMATE 200,000 - 300,000 GBP London, New Gallery, Summer Exhibition, 1907, no.12 Steven Kolsteren, 'The Pre-Raphaelite Art of John Melhuish Strudwick (1849-1937)', The Journal of Pre-Raphaelite and Aesthetic Studies, vol. I: 2, Fall 1988, p.8 and 12 no. 3 in the checklist of paintings by Strudwick (marked 'present whereabouts unknown') 'How sad it were for Arthur, should he live, To sit once more within the lonely hall, And miss to hear high talk of noble deeds As in the golden days before thy sin.' TENNYSON, IDYLLS OF THE KING Of all the painters who formed the late nineteenth-century manifestation of Romantic Pre-Raphaelitism, a movement which owed much to the example of Edward Burne-Jones and more remotely to Dante Gabriel Rossetti, John Melhuish Strudwick is the most remarkable. Because he painted so slowly, and in such a meticulous style which he never attempted to adapt or simplify so as to be less technically exacting, he is represented by a small but precious corps of works. The present painting which was exhibited at the New Gallery in 1907, his last exhibit there, exemplifies the essential qualities of refinement and other-worldliness of his art. Strudwick was preoccupied by the subject of passing time or of an imagined golden age, from Passing Days of 1878 (sold in these rooms, 10 November 1981, lot 39), The Gentle Music of a Bygone Day of 1889 (private collection) and When Apples were Golden and Songs were Sweet, But Summer had Passed Away of 1906 (Manchester City Art Gallery). As Steven Kolsteren has pointed out; 'Strudwick's private dreamworld is not a perfect hiding place, being continually affected by time and decay' (Steven Kolsteren, 'The Pre-Raphaelite Art of John Melhuish Strudwick (1849-1937)', The Journal of Pre-Raphaelite and Aesthetic Studies, vol. I: 2, Fall 1988, p.8) The subject shows three beautiful female figures in a medieval chamber at the bottom of a staircase. On the left sits a damsel clad in rose-coloured robes playing a type of archaic lute, whilst beside her, dressed in green is a second girl holding a song-book. A third girl, dressed in a darker red robe, lifts a veil from her ear and stoops forward to listen to the music played by the other two figures. At the side of the girl dressed in green are pale wild roses growing over a knight's shield, reminiscent of Burne-Jones' Briar Rose series of pictures painted in the 1880s (Buscot Park, Oxfordshire). The title is taken from Tennyson's Idylls of the King from the part of the poem where Guinevere talks of her regret of her sins and desire to return to the idyllic time of her youth. The central figure dressed in green may therefore depict the young Guinevere, attended by two of her companions before she had met Arthur or Lancelot. The crown depicted on the bronze salver behind her and the lions rampant and Fleur-de-Lis on the heraldry probably relate to King Arthur whilst the knight carrying a golden sword and being crowned by angels, depicted in the panel above the window, is clearly the king her future husband holding Excalibur. The wild roses possibly relate to the illicit love of Lancelot. In the Golden Days contains one of the central themes of the English Aesthetic Movement, the sense of sound evoked by the musical subject. The work follows in a similar vein to Summer Songs of 1901 (sold in these rooms, 13 December 2005, lot 23) which similarly depicts a group of girls making music. Strudwick had also painted a series of various St Cecilia subjects in the late 1890s (Walker Art Gallery in Liverpool, Williamson Art Gallery in Birkenhead and elsewhere). As John Christian has written, 'Like Burne-Jones, Strudwick loved to paint compositions in which a mood of wistful sadness is evoked by a group of female figures playing musical instruments' (The Last Romantics- The Romantic Tradition in British Art- Burne Jones to Stanley Spencer, exhibition catalogue, 1989 (under the discussion of Strudwick's 1897 St Cecilia), p.94).A crucial formative experience in Strudwick's move towards a style of art of technical refinement and aesthetic subtlety occurred in the early 1870s when he was employed as a studio assistant first by John Roddam Spencer Stanhope and then by Burne-Jones. Strudwick's works were repeatedly rejected by the Royal Academy and his professional prospects were uncertain. However, in 1876 his painting Song without Words (sold in these rooms, 8 June 1993, lot 22) did gain admission (it was in fact his only contribution to the Royal Academy summer exhibitions in his entire career). The work caused a great stir among those who were curious to know how such a quaint and yet technically demanding work could have been undertaken by an otherwise unheard of artist. According to George Bernard Shaw, who wrote the article about Strudwick which is the principal source of information about the artist, the sale of Song without Words marked the critical turning-point in the painter's fortunes. He 'promptly hired a studio for himself; and since that time his vocation as an artist has never been challenged. There is no such thing as an unsold picture by Strudwick; and so the story of his early struggles may be said to end there' ('J.M. Strudwick', Art Journal, 1891, pp.97-101). In reply to the accusation that Strudwick was merely an imitator of an historical style of painting, Shaw wrote: 'There is nothing of the fourteenth century about his work except that depth of feeling and passion for beauty which are common property to all who are fortunate enough to inherit them'. His paintings are highly sophisticated expressions of an anti-Utilitarian counter-culture in the late Victorian world, and were esteemed for their complete indifference to all that was modern, or indeed distinctly of any age.
Let me introduce you Christina Rossetti. (In Microsoft Bing's interpretation:)Christina was a poet and an absolute icon - although she's been fairly unknown (except for those being really into her). In retrospect, I think she represents a good tie between being quite traditional but also her own little thing - and both pretty humbly but unapologetically. Born in 1830 in England as the sister of Dante Gabriel Rossetti (a passionate painter), she was around (and maybe also somewhat part of) a newl
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Are you a fan of the Pre-Raphaelite artists visiting London? This is the ultimate guide to famous Pre-Raphaelite paintings in London. The Pre-Raphaelites were a group of Victorian radicals who were inspired by medieval art, literature, and nature.
Pre-Raphaelites drew inspiration from the medieval era, a time steeped in romance, chivalry, and craftsmanship. Their art often depicted medieval themes, featuring flowing gowns, intricate embroidery, and lavish fabrics reminiscent of a bygone era.
On witches, Derrida, and the impossibility of ever being truly known. The inquisitors wanted something old from each witch they tortured—a Sabbath orgy or blood oath or cat demon or wolf-faced baby or some other verification of the stories they already believed. They also wanted something new, so they could feel, with each trial and execution, […]
A modern take on the Pre Raphaelite world. A beautiful red haired Pre Raphaelite woman sitting on a rocky outcrop on the moors with dark clouds and an overcast sky. A brand new line of digital art Pre Raphaelike. Mixing the classic beauty of the period with new innovative technology to create breath-taking, stunning images, designed to be the centre-piece of any room. This is a Digital download of the image only. Frame etc. not included.
click on the images below to enlarge Last Saturday, Valerie and I had the humbling experience of travelling to Nashville to see some Pre-Raphaelite paintings that were part of a travelling exhibit at the Frist Center for the Visual Arts. I won't try to cover all of the paintings we saw there but needless to say it was more than worth the drive. Information on the exhibit is at the link below. http://www.fristcenter.org/site/exhibitions/exhibitiondetail.aspx?cid=793 It was Valerie's first viewing of a Rossetti and our first museum trip together so it was quite a significant event for us. The painting above is one of Rossetti's later works where he mostly focused on images of solitary women painted in very lush surroundings. This painting is called Dis Manibus, or Roman Widow. The model for this painting is Alexa Wilding and was one of Rossetti's favourite models towards the end of his life. The painting above is by William Holman Hunt and is called Miss Gladys M. Holman Hunt (The School of Nature). Miss Holman Hunt was 16 at the time of the original sitting and when the model's face was retouched later by the equally incredible Pre-Raphaelite artist, Arthur Hughes, he aged her face a few years. I may edit this post later as I find out more about this. This painting is an example of how Holman Hunt followed the early Pre-Raphaelite painting principles throughout his life, the fidelity to nature, the bright colours even I can see, and yet, as Valerie pointed out to me, as realistic as the dog is painted, a close up examination reveals the animal is painted in a technique very closely resembling pointillism. It would be interesting to find out if the trends of late 19th Century art had any effect on this early to mid Victorian artist. We also saw three of Sir Edward Burne-Jones Briar Rose series paintings displayed together. There was a bench situated in front of them. We needed it. Seeing them together was an emotional experience that at the moment defies my ability to describe it. This painting is called The Sleeping Beauty. Why was it a humbling experience? For the last thirty years, these are some of the artists I've looked to in finding my own way as a painter. No amount of looking in books can prepare you for seeing the real thing. What strides I've made in my own work seem to pale in the reality of those who came before me. You can also see the benefits of a 19th Century English Royal Academy training in giving one the tools to paint what the heart's eyes see. Yet there are things that connect us in mundane ways. Years ago, I was looking at a watercolour by Rossetti and discovered he was using exactly the same D'Arches hot press watercolour paper I was using. The same paper that had been made literally since 1492. There have been times after viewing such work, that I wonder why I continue to paint my strange little pictures and not paint for a few days, but then I don't give up easily. I may never reach the same skill level possessed by these artists of another time, but we do share a love of painting a beautiful romantic world that may have never existed except perhaps in the quantum reality of art.
The work is based on the story of Burd Helen, a tragic heroine from Scottish balladry, who dressed as a boy page to follow her cruel lover on foot while he rode on horseback. After bearing him a child, she was finally acknowledged by him and they married. Here she is shown secretly doffing her female attire and cutting her long hair, in preparation for her journey.
“The Lady of Shalott” ~John William Waterhouse ©1888 I’ve always loved these paintings from Pre-Raphaelite painter, John William Waterhouse (1849-1917). I find his paintings beautiful and ro…
BUY 3 OR MORE ITEMS TOGETHER AND RECEIVE A 10% DISCOUNT AT CHECKOUT WHEN YOU ENTER THE FOLLOWING CODE AT CHECKOUT - 3PRINTSORMORE Original Vintage Print By Lord Frederic Leighton This Print/Plate was removed from a book published in 1995 Genuine item, not a copy. Guaranteed! Image Size inches 12 x 7 Attractive print, would look great framed. Please note a Certificate of Posting is issued by the Post Office for all orders sent. However, in the RARE event of a parcel going missing in transit it is the Buyers responsibility to seek compensation from the Post Office via the Certificate of posting. WE CANNOT BE HELD RESPONSIBLE FOR ANY ITEM LOST IN TRANSIT THAT IS SENT VIA STANDARD DELIVERY! Should you require Tracking for your order please choose this option at checkout.
James Smetham (9 September 1821 - 5 February 1889) was an English Pre-Raphaelite Brotherhood painter and engraver, a follower of Dante Gabriel Rossetti.
Let me introduce you Christina Rossetti. (In Microsoft Bing's interpretation:)Christina was a poet and an absolute icon - although she's been fairly unknown (except for those being really into her). In retrospect, I think she represents a good tie between being quite traditional but also her own little thing - and both pretty humbly but unapologetically. Born in 1830 in England as the sister of Dante Gabriel Rossetti (a passionate painter), she was around (and maybe also somewhat part of) a newl
Pre-Raphaelitism has been taken to the hearts of British art lovers, but without a group of wealthy Liverpool merchants, it may never have existed.
John William Waterhouse (1849-1917) English Pre-Raphaelite painter. Oil on canvas 110 x 206 cm
John William Waterhouse (1849-1917) English Pre-Raphaelite painter. Oil on canvas Private collection
Sir Frank Dicksee, The Two Crowns (detail)
