Thursday, March 31, 2011
Wednesday, March 30, 2011
Tuesday, March 29, 2011
The Victoria & Albert Museum's exhibition of the 'Cult of Beauty' reflects how art spread into everyday life in the Victorian period
Monday, March 28, 2011
Sunday, March 27, 2011
Saturday, March 26, 2011
Ellen Terry as Lady Macbeth 1889
Friday, March 25, 2011
[Twelve William De Morgan pottery square tiles decorated in blue and green with flowering thistles on an off-white ground, each 6ins square (various impressed marks to backs - mostly crazed to glaze)]
[A pair of late Victorian oak framed blue and white three tile panels, each decorated with standing figure of a woman in the pre-Raphaelite manner, tiles 6ins square (one tile cracked)]
Thursday, March 24, 2011
with inscription 'A Study of/Kelmscott Manor/by Marie Stillman' (on the reverse)
pencil and watercolour heightened with bodycolour, on Whatman watercolour board, unframed
10 5/8 x 14½ in. (27 x 36.8 cm.)
William Michael Rossetti and by descent in his family to the present owner.
Marie Stillman made many studies of Kelmscott Manor, the sleepy old Cotswold house on the upper Thames of which William Morris and D.G. Rossetti became joint tenants in 1871, and where Rossetti and Jane Morris enjoyed the happiest phase of their liaison during the next few years. An example almost identical to the present watercolour is at Wightwick Manor, Wolverhampton (illustrated in John Christian, 'Marie Spartali: Pre-Raphaelite Beauty', Antique Collector, March 1984, p. 46, fig. 7). Another was exhibited at the New Gallery in 1905.
Wednesday, March 23, 2011
Bequeathed by Miss May Morris 1939
Tuesday, March 22, 2011
A new exhibition at the Victoria & Albert Museum illuminates the lives of the daring women who inspired Rossetti and the Aesthetic Movement
I've not often see it emphasised that 1848, the year the PRB formed was a revolutionary year throughout Europe
and perhaps deliberately was designed to shake the art establishment. There are still critics who dismiss the pre-raphaelites as some sot of temporary madness or aberration that filled in the gap till Impressionism arrived (late in their opinion) in Britain.
For me the PRB were about SEEING and feeling what they saw.
Walter Crane wrote "by their resolute and enthusiastic return to the direct symbolism, frank naturalism and poetic or romantic sentiment of medieval art, with the power of modern analysis superadded, and the more profound and intellectual study of both nature and art which the severity of their practice demanded, and last, but not least, their intense love of detail, turned the attention to other branches of design than painting.'
Fortnightly Review, Dec 1892
The work of the PRB, particularly Rossetti and Burne-Jones profoundly affected the French Symblists and on to Picasso and Kadinsky.
Crayon on paper
Death of Chatterton
Monday, March 21, 2011
I'm changing all my blogs but this one only slightly. There will be several pictures and a short feature all published at 6am (UK time) each day.
*** later update ***
Because of my health I'm going to have to move, so updates may be errratic over the next few months - especially if I lose my internet connection.