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Florence

Flora, 1894 by Evelyn De Morgan , The De Morgan Foundation, London.

Married to William De Morgan who was associated with the Pre-Raphaelites, Evelyn has also become part of the group of artists who have come to be included in that genre. On the scroll at the bottom right hand corner of the painting is written in Italian:

I am Flora who came from Florence

The City which takes its name from flowers

Amongst the flowers I was born and now changing

home

I have my dwelling in the mountainous north

Welcome and amid the northern mists

Let my treasure be dear to you.

August 2, 2020
Feminist Art or Just Art?

The Dinner Party by Judy Chicago, 1974-79, Brooklyn Museum

There are two exhibitions at the National Museum for Women in the Arts in Washington DC right now that were organized by the Brooklyn Museum. They are a show featuring the work of artist Judy Chicago, often label as a Feminist, but naturally as labels go, she is that and so much more.

detail from The Dinner Party by Judy Chicago

August 1, 2020
Reflection

Symphony in White No.2: Little White Girl by James Abbot McNeill Whistler, Tate Gallery, London.

The Japanese theme in Whistler’s art can be seen in the decorations around the figure of the woman. Around the mid 19th century Japanese influences began to appear in Europe and became quite fashionable.

July 31, 2020
Dance Lesson

Dorothea and Francesca , 1898 by Cecelia Beaux

From Philadelphia, Beaux was a society painter in there and in New York. Her style was similar to the work of the most famous of the portraitists of the era, John Singer Sargent.

July 30, 2020
Kick Up Your Heels

Dance at the Moulin Rouge, 1890 by Henri Toulouse-Lautre c

Toulouse-Lautrec immersed himself in the world of dance halls, becoming friends with the performers. He saw the upper class men of his birth, visit these lower class venues looking for drink and prostitutes and must have felt that at least his working friends in the venues were the more honest about who they really were.

July 29, 2020
Who’s Watching Whom?

Merry Jesters by Henri Rousseau 1906

Rousseau frequently visited the botanical garden in Paris for inspiration, he then concocted scenes with wild animals in his imagination and put them on canvas. His style was admired by other artists for it’s straightforward and untrained style.

July 28, 2020
Peacock

La Libre Esthetique exhibition poster by Gisbert Combaz, Library of Congress

The Art Nouveau style was created as a reaction to the literal styles which dominated most of the 19th century. It is primarily a decorative style which utilizes sinuous shapes and naturalistic plant forms to create flowing movements.

July 27, 2020
All Grown Up

Ophelia (“And he will not come back again”) by Arthur Hughes, The Toledo Museum of Art.

This version of Ophelia is about 12 years after the first version where she looks like a little girl. It is a different interpretation of the character of Ophelia and seems to have more to do with the model, than the play.

July 26, 2020
Little Girl Lost

Ophelia, c. 1851-53 by Arthur Hughes, Manchester City Art Galleries.

Hughes was influenced by Pre-Raphaelite Group after reading their publication The Germ. His painting of Ophelia from Shakespeare’s Hamlet represents a much younger woman then most other artists, even as Hughes himself would later portray her.

July 25, 2020
Delirium or Grief

Ophelia by John Everett Millais, 1851-2, The Tate Gallery, London

Millais’ painting of Ophelia done very early in his career is one of the finest works created by the short-lived Pre-Raphaelite Brotherhood and their movement. The legend of the candles, sickness and the model herself would become the PRB’s most often re-told tale. However, it pales in comparison to the work itself when it stopped me in my tracks at the National Gallery in London (on loan from the Tate at the time) and set me on a whole new path for my Master’s thesis.

July 24, 2020

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