John William Waterhouse "Gone, But Not Forgotten"

"John William Waterhouse was an English painter. He lived from 1849 till 1917. In his paintings many classical themes occur. Inner female aspects can be found in many of his paintings. They are expressed in a beautiful, mystic manner".

"Gone, But Not Forgotten

Artist: John William Waterhouse

Completion Date: 1873

Style: Romanticism

Genre: genre painting

Technique: oil

Material: canvas

Gallery: Private Collection

For more on John William Waterhouse check out my other posts:

John Willaim Waterhouse "Windflowers"

Sundays Art: Pre-Raphaelites, Fair Rosamund and Qu...

Lost Books, Love by Shelia Pickles and Giveaway Wi...

Sundays Art: Pre-Raphaelites Romeo and Juliet 1867...

Sundays Art: Pre-Raphaelites Miranda: The Tempest ...

Sundays Art: Pre-Raphaelites Ophelia 1894

John William Waterhouse "Windflowers"

 "Windflowers"

Artist: John William Waterhouse

Completion Date: 1902

Style: Romanticism

Genre: literary painting

Technique: oil

Material: canvas

Dimensions: 116.52 x 79.06 cm

Gallery: Private Collection

For more on John William Waterhouse check out my other posts:

Sundays Art: Pre-Raphaelites, Fair Rosamund and Qu...
Lost Books, Love by Shelia Pickles and Giveaway Wi...
Sundays Art: Pre-Raphaelites Romeo and Juliet 1867...
Sundays Art: Pre-Raphaelites Miranda: The Tempest ...
Sundays Art: Pre-Raphaelites Ophelia 1894

Lady Washington’s Reception by Daniel Huntington

The Republican Court: Lady Washington's Reception Day by Daniel Huntington (c. 1861). This fanciful painting depicts the Macomb House. The Alexander Macomb House at 39-41 Broadway in Manhattan served as the second Presidential Mansion. President George Washington occupied it from February 23 to August 30, 1790, during New York City's two-year term as the national capital.

The Republican Court (Lady Washington's Reception Day) containing sixty-four careful portraits.

 Daniel Huntington 1816-1906

Date 1861

Medium: oil on canvas

Dimensions 167.7 cm (66 x 109.1 in)

Current location Brooklyn Museum

Signed bottom left: D. Huntington / New York 1861

Sketch for the Republican Court

Between 1859 and 1863

Oil on canvas

Current location Brooklyn Museum

Signed bottom left DH

"He studied at Yale with Samuel F.B. Morse, and later with Henry Inman (painter). From 1833 to 1835 he transferred to Hamilton College in Clinton, New York, where he met Charles Loring Elliott, who encouraged him to become an artist. He first exhibited his work at the National Academy of Design in 1836. Subsequently he painted some landscapes in the tradition of the Hudson River School. Huntington made several trips to Europe, the first in 1839 traveling to England, Rome, Florence and Paris with his friend and pupil Henry Peters Gray. On his return to America in 1840, he painted his allegorical painting "Mercy's Dream", which brought him fame and confirmed his interest in inspirational subjects. He also painted portraits and began the illustration of The Pilgrim's Progress. In 1844, he went back toRome. Returning to New York around 1846, he devoted his time chiefly to portrait-painting, although he painted many genre, religious and historical subjects. From 1851 to 1859 he was in England. He was president of the National Academy of Design from 1862 to 1870, and again in 1877-1890. He was also vice president of the Metropolitan Museum of Art".

~Lizzy~

The Darker Side of Pre-Raphaelites: Lucrezia Borgia

It seems like the modern worlds newest hot new obsession is the Borgia's and after a bit I research I find that not only are we newly obsessed with Lucrezia but famous Pre-Raphaelite painter Dante Gabriel Rossetti was also obsessed with the Borgia's too especially Lucrezia. Rossetti spent 1851-1859 working on various different works on Lucrezia and in the end he was greatly influenced by artist Algernon Swinburne.

"Here, Lucrezia Borgia is seen in the act of washing her hands--a symbolic gesture to indicate that she had just poisoned her husband. As he so often did, Rossetti has given her a thick neck and masculine-set jaw. Interestingly, her forearms are also very masculine, with prominent muscle definition. This may be due partially to Rossetti's predilection toward masculinizing women, but it is also indicative of her masculine act of murder".

It can also be said that fellow Pre-Raphaelites artist Sir Edward Coley Burne-Jones who at this time worked closely Rossetti followed Rossetti in working on a Lucrezia piece. "Both portrayed strong women in similar physical attitudes and their clothing are extremely similar. It is likely that Rossetti began his piece first".

Though the piece below is not a Pre-Raphaelite I felt it necessary to include the piece because it brings to light some of the darker sides to the Borgia family including Lucrezia. In reality there is no official portrait of Lucrezia so we can continue to let our imaginations run wild.

"A Glass of Wine with Caesar Borgia" by John Collier

"Not so holy family: Lucrezia Borgia with father Rodrigo (Pope Alexander VI) and brother Caesare. The figure in the foreground may be a depiction of the messenger Perotto. All three men were rumored to be the father of Lucretia's first son".

Be sure and check out Showtime's new series The Borgias which premiers April 3rd at 9pm ET/PT

Sundays Art: The Black Brunswicker by John Everett Millais

John Everett Millais

1860

Oil on Canvas

104 cm x 68.5 cm or 41 in x 27 in

I know it has been a long time since I have posted a Sundays art, I figure this one will be a little bit easier than the Pre-Raphaelites. Millais is one of the prominent Pre-Raphaelites artists and has created some of my favorite works. This one though has a special place in my heart becasue of the hidden clues in the picture. There are many things about this piece that screem to me tragity. One of them is the picture of Napoleon on the wall, the red ribbon on her arm and the tiny ribbons on his uniform. The way in which he is leaning from her is unusual for her pose.

Here is what the web says:

"It was inspired in part by the exploits of the Black Brunswickers, a volunteer corps of the Napoleonic Wars, during the Waterloo campaign and in part by the contrasts of black broadcloth and pearl-white satin in a moment of tender conflict.The painting was originally exhibited with the plural title The Black Brunswickers, but is most commonly known by the singular form of the title.

The painting depicts a Brunswicker about to depart for battle. His sweetheart, wearing a ballgown, restrains him, trying to push the door closed, while he pulls it open. This suggests that the scene is inspired by the Duchess of Richmond's ball on 15 June 1815, from which the officers departed to join troops at the Battle of Quatre Bras.

In a letter to his wife, Effie Gray, Millais described his inspiration for the work, referring to a conversation with William Howard Russell, the war correspondent of The Times:

My subject appears to me, too, most fortunate, and Russell thinks it first-rate. It is connected with the Brunswick Cavalry at Waterloo...They were nearly annihilated but performed prodigies of valour... I have it all in my mind's eye and feel confident that it will be a prodigious success. The costume and incident are so powerful that I am astonished it has never been touched upon before. Russell was quite struck with it, and he is the best man for knowing the public taste. Nothing could be kinder than his interest, and he is to set about getting all the information that is required". Wiki

Study piece

"Millais spent three months painting ‘The Black Brunswicker’. Studies for the work exist both in the Lady Lever Art Gallery’s archives as well as in Tate Britain. Millais used Charles Dickens’s daughter Kate as the model for the girl and a private in the Life Guards for the soldier. Each had to model separately using a lay figure to lean against.


Millais wished to be historically accurate in making the girl’s dress look quite antique (it is actually a compromise between the fashions of 1859 and 1815 when waists were still kept high). The intensity of emotions is well conveyed in the close encounter of the couple, the girl’s body attempting to obstruct the soldier from his task and prevent his destiny.


The dark and enclosed space enhances the tragedy of the scene. The work appeals both to spectators’ patriotism and sentimentality. The only distraction is perhaps the brilliant shine of the girl’s dress, its creases tempting spectators’ tactile senses. The dog at the soldier’s feet also draws attention to the humanity of the subject. On the wall of the room an engraving of a painting by JL David, depicting Napoleon crossing the Alps serves as a reminder of Waterloo while also alluding to current events in 1860, when Napoleon III entered upon a war in Northern Italy in an attempt to expel the Austrians". Liverpool Museums

Be sure and check out the CSN giveaway for your chance to win a gift code for sixty dollars. Giveaway ends 7.24.10 at 12pm.

Sundays Art Early Edition, The White Queen and Book Review Journal Update

 I know it has been awhile since I have posted much of anything lately and for that I am sorry. Things have been a bit hectic lately in my world and I just have not had the means to be online much lately. I hope that this post makes up for it. I think I have just come down to the decision that I am limiting my number of posts to things that I really must post about. As many of you might have noticed I have been reading Lewis Carroll's "Alice's Adventures In Wonderland" and I decided to update my reading challenges for this year. Which I had been completely slacking on but I made up for it and made a whole page dedicated to my reading challenges. One of the challenges I joined this year was the "Book Review Journal" and I finally have another one to add to the journal challenge.

My inspiration for this one was the lovely new "Alice's Adventures in Wonderland" by Lewis Carroll it is an illustrated version. The illustrator is Camille Rose Garcia and I have to say this Alice is like no other I have ever seen before. To me it seems like Camille's Alice has a bit of a Spanish Gothic vibe which I am sure Carroll never envisioned for his Alice. I found the art work stunning and could not help but let it influence me a bit. Since I also watched the new Alice in Wonderland movie by Time Burton my favorite character was the White Queen. She was played by Anne Hathaway, yep that morbid Gothic feel came into play once again because Anne was pale as a ghost with dark lipstick. I wanted to make my own white queen but I think my queen turned into everything but white. How that happened I am not really sure but here she is.

Once again I sketched her into my review journal first in pencil. Then I transfered the outline onto a bigger piece of paper and took off from there. She is done completely in watercolor pencils, color pencils, and one black pen. I really need to get a better size of watercolor paper because as usual it is a big piece, The White Queen is about 8x10. Enjoy everyone she is a beauty and stayed tuned for my review of "Alice's Adventure in Wonderland" by Lewis Carroll.

HFBRT: Sundays Art: The Huguenot, Pre-Raphaelites 1851-2

To coincide with the HFBRT event of "The Confessions of Catherine De Medici" by C.W. Gortner. I have been saving this one for a loooooong time, this post actually is the very first post I ever made on The Pre-Raphaelites. I was waiting to see how I felt about this painting after my read on Catherine De Medici and it was well worth the wait. This is a moving piece that I have to admit is my favorite of them along with the Highlander.

Sir John Everett Millais (1829-1896)

A Huguenot, on St. Bartholomew's Day, Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge.

"It harks back to Paris of 1572, when many hundreds of French Protestants (Huguenots) were massacred by Catholic hoards. It was decreed that all Catholics should wear a white band on one arm and a cross in their hats to avoid the slaughter.

Millais portrays a Catholic woman's desperate attempt to shield her Huguenot lover, and his determined refusal to deny his religion. The crushed red flower at their feet is symbolic of his certain death."

Pre-Confessions thoughts 
I do not have very much background on the St Bartholomew's massacre which leads me to the point that I have no history I can relate this to. One thing that does strike me is not only the longing in the woman's expression but the smile he gives her like this is the right thing to do, I have to be brave and I have to take my stand even if it means my life.

It is reminiscent of another time when a select group of people were excluded in Europe and forced to wear the mark of their religion.

Post-Confessions thoughts
Wow, that was really interesting I really had no idea how much politics was involved in the massacre. Gortner brought light on a very dark time in France for me. I had no idea it was that brutal or brought about in such a conniving way. This just proves that Gortner is far from the typical boring read.

Also please do not forget to get your entries on for the HFBRT 2 book Giveaway & The Catherine De Medici Necklace Giveaway 


In the group schedule for today:
Friday, May 14th – Re-cap of CW Gortner’s books at the HFBRT, “The Woman Behind the Legend,” A Guest Post by CW Gortner at Passages to the Past, Book Review by Allie at Hist-Fic Chick.

Thursday, May 13th - Round Table Discussion Q&A at the HFBRT,  Catherine de Medici’s Gift + Nostradamus Giveaway at Enchanted by Josephine, Book Review by Heather at The Maiden’s Court.

Wednesday, May 12th – “Two Women, One King,” A Guest Post by CW Gortner at Hist-Fic Chick, Book Review by Amy at Passages to the Past.

Tuesday, May 11th – Giveaway: Win Catherine’s Necklace! at the HFBRT, “Nostradamus – Visionary or the Best Fraud Ever” by Heather at The Maiden’s Court, Book Review by Arleigh at historical-fiction.com.

Sundays Art: Pre-Raphaelites Mother and Child 1854-57

 Frederic George Stephens 1828-1907

The "Mother and Child" seemed only fitting today to feature for Sundays Art. This piece is abundant in hidden symbolism. The scene of domestic bliss has an underlining commentary on the Crimean War. The war was fought by British soldiers between 1854-1856. The child's toys on the table represent a few things. The lion symbolizes Britain and the solider in the circle is symbolic for Russia. The lion is represented as being far superior in stature. The use of child's toys indicate that Stephens feelings of anger at the conflict and at the way the solders were being used as pawns.

The anguished expression of the mother and the letter in her right hand suggest that her husband has been killed or wounded in the Crimea. The child's futile attempts to offer consolation for something it can't understand and emphasizes the helplessness of the women who were left home alone while their men disappeared to fight a war far away.

Sadly I can relate to this mothers anguish, my younger brother earlier this year returned back home from his seccond tour of duty in Iraq. I had many sleepless nights thinking about his safety. 

On another note today is the two year anniversary of my son's release from the hospital. Upon his release his case was officially labeled misdiagnosis of cancer. Here is to happy year number two and nothing will ever beat my mothers day present two years ago. A healthy happy child that was going to be just fine. When he was sick I was so afraid to leave him that I bought a picture frame that had a voice recorder. I recorded him singing "Twinkle Twinkle little star" so that on the nights that I had (was forced) to go home I remember laying in my bed replaying it over and over until I would fall asleep. A mothers love is a force of nature that makes every fiber of your being cry out to the heavens , thank you for this wonderful chance I have to be a mother. Maybe that is why when in times of distress mothers have been known to have super human powers.

Happy mothers day to all the wonderful mothers out there, I hope you are all having a wonderful holiday with your children.

Sundays Art: Pre-Raphaelites, Fair Rosamund and Queen Eleanor

As I had mentioned before it is time to get into some of the darker Pre-Raphaelites. I figured that starting with this one that has my new favorite leading lady Queen Eleanor of Aquitaine would be perfect. Since I just finished reading "The Queen's Pawn" by Christy English, this is the best starting point to explore some of the darker, more sinister Pre-Raphaelites. Fair Rosamund is not a leading character in "The Queen's Pawn" but is briefly mentioned in Eleanor's thoughts. I would eventually love to read a book on Rosamund but at this moment nothing has peeked my interest.

"Fair Rosamund and Queen Eleanor" 1862

Sir Edward Coley Burne-Jones 1822-98

Pen and ink, watercolour, gouache and gum on paper

"Burn-Jones manages to convey Rosamund's very real terror as she realizes she is unable to escape. Her face, swollen as though with tears, demands sympathy from the viewer; Eleanor's face, determined and cold, only serves to create in the viewer  a dislike for he queen. The artist required the viewer to feel sympathy for the mistress, not the wife; this is in  direct opposition to the prevalent Victorian attitude. Similarly contrary is the artist's decision to clothe the king's mistress in a virginal pale gown, and his wife in witch-like black".

"Burne-Jones treated the story of Fair Rosamund several times in the early 1860s. According to legend, King Henry II created a hidden chamber for his mistress, Rosamund, at the centre of an elaborate maze. There she was discovered and murdered by her rival, Queen Eleanor. While he was a student at Oxford, Burne-Jones visited Godstowe, the presumed site of Rosamund's grave. But a fresh impetus for his group of pictures came from Swinburne's verse drama of 1860, which enacts the confrontation of Rosamund and the Queen". The Tate Gallery

I am unsure if the one below is a Pre-Raphaelite but it is by my favorite Pre-Raphaelite artist and I just could not leave it out of this post. 

"Fair Rosamund" 1917
John William Waterhouse 1849–1917(1849)(1917)

Oil on canvas

Stay tuned next Sunday for more Pre-Raphaelites and I hope you all enjoyed this one. 

HFBRT Special Edition Sundays Art, Edmund Leighton

HFBRT event post time is so exciting I love it. This one is just a give in for me and what I tend to like. I found that during reading "The Greatest Knight" and "The Scarlet Lion" by Elizabeth Chadwick that in my mind I pictured nothing but these famous works of art. In picturing these I had more of a feel of what the times were like during my reads and it enabled me to visualize everything much more clearer.

Edmund Leighton: English Painter Victorian Neo-classicism 1853-1922

"Leighton was the son of the artist Charles Blair Leighton. He was educated at University College School, before becoming a student at the Royal Academy Schools. He married Katherine Nash in 1885 and they went on to have a son and daughter. He exhibited annually at the Royal Academy from 1878 to 1920.
Leighton was a fastidious craftsman, producing highly-finished, decorative pictures. It would appear that he left no diaries, and though he exhibited at the Royal Academy for over forty years, he was never an Academician or an Associate".

"Stitching the Standard" year?Edmund Blair Leighton - A little prince likely in time to bless a royal throne.jpg

"Lady Godiva" 1892

"In time of Peril" 1897

"God Speed!" 1900

"The Accolade" 1901

"Alain Chartier" 1903

"A little prince likely in time to bless a royal throne" 1904

Now here is the hard part tell me which one is your favorite? I find it hard to pick just one but if I had to I would say that "The Accolade" has always been the front runner in my heart with "Lady Godiva" trailing not that far behind.

Be sure and click on the image above to go to the Historical Fiction Bloggers Round Table website to enter the giveaway for your chance to win a copy of the "Greatest Knight" and "The Scarlet Lion". I know WOW a chance to win both copies that is amazing, so just go you know you want to!

Sundays Art: What makes a painting a Pre-Raphaelite?

The guide lines of what constitutes a painting to be regarded as a Pre-Raphaelite is a tricky subject and everyone has their own opinion. In researching this I have noticed one common trend, the trend being that everyone has their own idea of the guidelines and which artists fall under that guideline. I am sticking to what the National Museums Liverpool has listed. I have to believe that if not all, then most of the Pre-Raphaelites have a literary work that accompanies the piece because the inspiration usually comes from a great literary work.

"Toward the middle of the 19th century, a small group of young artists in England reacted vigorously against what they felt was "the frivolous art of the day": this reaction became known as the Pre-Raphaelite movement. Their ambition was to bring English art (such as it was) back to a greater truth to nature. They deeply admired the simplicities of the early 15th century, and they felt this admiration made them a brotherhood".

Dante Gabriel Rossetti

Lady Lilith
Oil on canvas
37 1/2 x 32 in
Delaware Art Museum, Wilmington

Guide lines of Pre-Raphaelites from National Museums Liverpool

Subject matter - Pre-Raphaelite paintings are often about serious or religious subjects
Symbolism - many Pre-Raphaelite paintings contain visual symbols
Technique - Pre-Raphaelite painters often used bright, clear colours and small detailed brushwork with paint put onto a wet white 'ground'. Landscape painting was often done out-of-doors with and concerned with 'truth to nature'
Literary links - the painters' inspiration often came from literature.

If the piece has these guide lines then you can bet that it is a Pre-Raphaelite. I do hope that this post will clear up some of the confusion that surrounds these wonderful Pre-Raphaelites. They are very unique in the fact that what you see is not always what you get never take them at face value. There are always deeper meanings in these pieces and I enjoy trying to figure them out. They are like art history puzzles and you never know what you are going to get.

Sundays Art: Pre-Raphaelites The Painter's Honeymoon 1864

Frederick, Lord Leighton 1830-1896

This piece is very near and dear to my heart not just because I am an artist also but because you can just see the love between them. Not just for each other but also for the piece he is working on. If my husband tried to lean over me like this while I was working on something I would kill him for it. To share an intimate moment of creation with someone else is a very heartfelt moment.

This is not the usual composition of Leighton, normally he did nude or classical images. The man's hands are done in incredible detail to show how important they are to his work. The part I found most amusing about this piece is that Leighton deliberately prevented it from being shown publicly in the years following its completion. Many of his contemporaries believed he felt he had betrayed too much of his own emotion to feel comfortable exhibiting the picture. Maybe he at one point or another had a moment like this in his own life and did not want to share with the public.

Happy Valentine's day to all the lovers, may all your days be filled with love and happiness.

Sundays Art: Pre-Raphaelites Study of a Girl Reading 1860s-70s

Valentine Cameron Prinsep 1838-1904

This Pre-Rapaelite was very hard to find anything on. I might be mistaken but I think that this one actually is a mural or that Prinsep's other pieces were murals. The problem with the murals is that there was not enough preparation made to the wall before the paint was laid on. With in months of the pieces completion the paint began to sink into the wall. Today, despite many efforts to revive them, the pictures have almost disappeared. Which is more than likely the reason why I was not able to find a graphic of this piece on the web.

The subject some might view as dull. Prinsep made it compelling in the wonderfully absorbed expression of the reading girl. An absorption suggesting she has a true love of books and is fascinated with the story she reads.

This is for all the lady book lovers who just love books this much too.

Sundays Art: Pre-Raphaelites Romeo and Juliet 1867

In Honor of the Historical Fiction Blogger event for O, Juliet you can only guess that for this weeks Sunday's Art I would pick none other than Juliet to feature.

This lovely beauty is by John William Waterhouse. I know there has been some debate on what makes a Pre-Raphaelite. From my research I have discovered it is not just who the painter was but it has to have a few other things to be considered a Pre-Raphaelite painting. One I do know is that it has to go with a written piece. But we will get more into that later I have a whole post coming up soon that has the Pre-Raphaelites guidelines.
I wish I could have found more on Waterhouse's Juliet but I had no luck with this one.

Ford Madox Brown 1821-1893

The model for Juliet was Brown's own wife Emma. Since she was past the age of early teen years it is felt that is the reason behind the indistinct faces. Not also to mention that at this time Ford and Emma's marriage was on the rocks. Emma's alcoholism was at a breaking point and Ford was in love with one of his pupils. I believe he was at a point where love in his life was just overwhelming.

It is also said that this piece was made in haste and was not given the full attention of Brown. More than likely because he needed to sell it for money.

Be Sure and Enter for your Chance to WIN a Copy of O, Juliet By Robin Maxwell, Giveaway Ends February 4th at 12 pm

O Juliet by Robin Maxwell Cover Art Comparison

The wonderful Robin Maxwell decided to share a juicy tid bit about the history of the cover art for O, Juliet. After talking back and forth about the Pre-Raphaelites she asked me if I had seen The Fisherman and the Syren by the famous Pre-Raphaelite artist Frederic Leighton. One thing led to another and the truth about the chosen cover art came out.





















The final cover art was not her first choice. C.W. Gortner himself did a mock up cover with the The Fisherman and the Syren. The first mock up of the book was taken to the London Book Fair with The Fisherman and the Syren and it was a big hit. It never made it to the final edition but I think both of them are to die for. Since I am one of the more risque people the nudity does not bother me on the Syren cover, I actually really like. What do you all think? Like or dislike? Reasons?

Painted by Frederic Leighton from 1856-1858

Sundays Art: Pre-Raphaelites Miranda: The Tempest 1916

John William Waterhouse 1849-1917

This is one of Waterhouse's last pieces completed just a year before his passing. Shakespeare's The Tempest was the written inspiration behind the piece. Despite its late date, this picture shows a strong Pre-Rapaelite influence. Miranda's stance, clothing, skin, and hair are all redolent of an early Burne-Jones or Millais.

Waterhouse chose to illustrate the following lines of Miranda's speech:
O, I have suffered
With those that I saw suffer! A brave vessel,
Who had no doubt some noble creature in her,
Dash'd all to pieces! O, the cry did knock
Against my very heart.

Miranda is depicted holding her left hand to her heart, reflecting the pain she expresses in the words. Although the viewer can see little of her features, her anguish is portrayed cleverly by the manner in which Waterhouse etched the profile of her face.

Sundays Art: Pre-Raphaelites Love's Shadow 1867

Frederick Sandys 1829-1904

Mary Emma Jones was a London actress she was Sandy's favorite model. She also his lover at this time eventually the two married and later had ten children. This piece was made while the impoverished Sandy's spent time living with Dante Rossetti. Rossetti was renowned for his generosity toward his fellow artist. The relationship turned sour when Rossetti accused Sandy's of plagiarism.

I like this one because she looks so awry or a bit stressed like seeing a lover with another woman after he gave her a flower.

Sundays Art: Pre-Raphaelites The long Engagement 1853-59

Arthur Hughes 1832-1915

This painting actually is a remake. It originally was made to be an illustration for Shakespeare's play As you like it depicting Orlando in the Forest of Arden. It was rejected by the Royal Academy which led Hughes to paint Orlando out. He did keep the background but began his work on adding the lovers.

The lovers standing in the rejected forest, contemplating the financial obstacles that are preventing their wedding. The man is wearing clergy's mans clothes which lead him to look like he is humiliated in his inability to provide for a wife. To the point where he can not face her and his inabilities. She seems ever hopeful rallying his spirit with her devotion and love. Even her dog wants to love him too.

Her name is Amy and it is carved into the tree trunk but it has been there so long that the ivy has begun to cover it. Moss and Lichen are gradually growing up the tree suggesting the frailty and inevitability of time. The man stands in the shadow, his fiancee stands in the light with bright clothes and behind her flowers bloom symbolizing hope and new or renewed life.

The graphic of this does not do it justice. It actually is a very vibrant piece and has much more detail than shown here. This was the only image of it I could find and it took me some time just to find this one. The first time I saw this I was awh struck by the fiancee, Amy. I have much empathy for Amy in her hopeful love. I have seen that look before and not just in my life but the lives of others.

Sundays Art: Pre-Raphaelites Broken Vows 1857

Philip Hermogenes Calderon 1833-1898


This is yet another favorite Pre-Rapaelites of mine. It suggests that the young woman is suffering the agonies of betrayal as she overhears her lover flirting with another woman. Her black clothes suggest that their wedding has been postponed until the end of her mourning period. It seems like he just could not wait for her. The black dress is also indicative of the death of their love, and the dying flowers towards the bottom right.

Anyone who has ever had a significant other betray them can sympathize with the pain the woman is feeling. Calderon gracefully conveys the pain that a body feels when its heart is breaking.

Sundays Art: Pre-Raphaelites Briar Rose Series 1884-90

Painted by Sir Edward Coley Burne-Jones 1833-1898
The fourth and final panel is a Pre-Rapaelite I am uncertain if the whole series is but it does meet the nature aspect of the Pre-Raphaelites brother hood. Burne-Jones also received his inspiration from a written work. Charles Perrault's classic fairy tale "The Sleeping Beauty" was the literary link for what has been deemed his most important work. After looking at all of them together and closely: I would have to say they all qualify as a Pre-Rapaelites.












"The Council Chamber"












"The Garden Court"












"The Briar Rose"