Sunday, March 29, 2009

Edward Hughes - First Tooth

oil on canvas
Edward Hughes (1851 - 1917) was the nephew of the much more famous Arthur Hughes and Edward studied under him and Holman Hunt, sometimes serving as an assistant to the latter. There seems some influence of Millais in this pictures as well. particularly the little girl. The clothes are from the 1860's but it may have been painted later and some have speculated that it is a parody of Millais after he had gone away from the 'pure' PRB ideals.

Charles Allston Collins

[Convent Thoughts]

Frederick Sandys - Valkyrie

Frederick Sandys - Portrait of Adelaide Bedingfeld

Oil on oak panel.

Evelyn De Morgan - Night and Sleep

Friday, March 27, 2009

Dante Gabriel Rossetti - Before the Battle

1858, watercolor. Elizabeth Siddal is the model.

Tomb of Frederick Richards Leyland in Brompton cemetery

Designed by Edward Burn Jones

Henry Nelson O'Neil:"The Pre-Raphaelite"

a satire on the PRB
O'Neil was a member of The Clique, a group of artists in the 1840s who, like the later Pre-Raphaelite Brotherhood, met regularly to discuss and criticize one another's works. The other members of The Clique were Augustus Egg, Alfred Elmore, Richard Dadd, William Powell Frith, John Phillip, Edward Matthew Ward.
Most of the Clique opposed the Pre-Raphaelites, but O'Neil was the most virulent in his condemnation of the movement, attacking them in both paintings and writings.

Proserpine (play)


Proserpine is a verse drama written for children by the English Romantic writers Mary Shelley and Percy Bysshe Shelley. Mary wrote the blank verse drama and Percy contributed two lyric poems. Composed in 1820 while the Shelleys were living in Italy, it is often considered a partner to the Shelleys' play Midas. Proserpine was first published in the London periodical The Winter's Wreath in 1832. Whether the drama was ever intended to be staged is a point of debate among scholars.

Tuesday, March 24, 2009

James Thomas Watts - Winter landscape

[A Woodland landscape in winter]
pencil and watercolour heightened with white and scratching out
(an autumn version of this landscape is also known)

James Thomas Watts - Wooded Landscape

[A wooded landscape with sheep in the foreground, near Betws-y-Coed, Wales]
pencil and watercolour heightened with bodycolour

James Thomas Watts

[In a Welsh pine wood]
exhibited 1891
pencil and watercolour with gum arabic and with scratching out
Born in Birmingham (the exact year is unconfirmed). Went to school in Birmingham and then to the Birmingham School of Art where he was influenced by the writings of Ruskin and the works of the Pre-Raphaelites. He was true to nature and tried to be as naturalistic as possible. His use of light seems to owe a debt to Corot and the French luminists. In 1883 he married Louisa Hughes, second daughter of the Rector of Kislinsbury. She was also a landscape painter. From 1874 he seems to have lived in Liverpool but from 1878 exhibited at the RA. He was well known in Liverpool and commanded good prices. He painted in oils and watercolour but seems to have preferred the latter. He painted many landscapes but also subjects from Shakespeare.

Sunday, March 22, 2009

Alfred William Hunt - A River Landscape

pencil and watercolour with gum arabic and scratching out

Alfred William Hunt - Coniston Old Man, Lake District

pencil and watercolour with gum arabic
probably about 1873 when Hunt went to stay with Ruskin at Brantwood.

Alfred William Hunt - Ambleside Mill, Lake District

pencil and watercolour with gum arabic and with scratching out
(another version of this watercolour is also known)

Alfred William Hunt

[A lady by a rocky stream in dappled sunlight] 1858
pencil and watercolour with gum arabic heightened with touches of bodycolour and with scratching out
1830 - 1896.
An English painter. He was son of Andrew Hunt, a landscape painter.
He was born in Liverpool. He began to paint while at the Liverpool Collegiati School; but as the idea of adopting the artist's profession was not favoured by his father, he went in 1848 to Corpus Christi College, Oxford to study classics. His career there was distinguished; he won the Newdigate Prize in 1851 for his poem "Nineveh", and became a Fellow of Corpus in 1857.
He did not, however, abandon his artistic practice for, encouraged by Ruskin, he exhibited at the Royal Academy in 1854, and thenceforward regularly contributed landscapes in oil and water-colour to London and provincial exhibitions. In 1861 he married, gave up his Fellowship, and in 1862 was elected as an Associate of the Old Water-Colour Society, receiving full membership in 1864. His work is distinguished mainly by its exquisite quality and a poetic rendering of atmosphere. He was associated with the Pre-Raphaelite Brotherhood, and the extraordinary detail apparent in his landscapes and the careful rendering of grass, leaves and trees is a consequence of this.

Saturday, March 21, 2009

Albert Goodwin - Whitby Abbey, North Yorkshire

[Whitby Abbey, North Yorkshire] '96
pencil and watercolour with scratching out, on artist's board
a view of Whitby Abbey from the east. There is an oil version of this in the Victoria Art Gallery in Bath dated 1910.
1845 - 1932.
Along with Alfred William Hunt, Goodwin was the most successful artist to follow Ruskin’s appeal to synthesise Turner’s atmospherics with Pre-Raphaelite precision.
(including currently two works foe sale)
(touring exhibition)

Albert Goodwin - Apocalypse

pencil and watercolour with scratching out

Albert Goodwin - Sunset along the shore

pencil and watercolour with scratching out

Albert Goodwin - Wells Cathredral, Somerset, at sunset

Watercolour with scratching out

Friday, March 20, 2009

Edward Burne-Jones - Study for Nimue

[Study for Nimue in 'Merlin and Nimue']
1861 ?
In the final painting the figure was reversed right to left. The model was Fanny Cornforth.

Edward Burne-Jones - Gudrun

[Gudrun setting fire to Atli's Palace] Dec 1897
grisaille* and pencil
the final illustration for William Morris' Sigurd, the Volsung published by the Kelmscott Press.

Edward Burne-Jones - Study for 'The Sirens'

coloured chalks
The fimal painting was never finished though existed in a number of unfinished versions. This was probably made in the early 1890's.