tag:blogger.com,1999:blog-77709085386157629462024-03-14T17:37:11.116+00:00Jan MarshJan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.comBlogger472125tag:blogger.com,1999:blog-7770908538615762946.post-52466260756936805552024-03-07T17:38:00.000+00:002024-03-07T17:38:05.130+00:00'mind you don't all go mad'<p> </p><p><span style="font-family: verdana;">w<span style="font-size: medium;">rote Ruskin to Morris after thanking him for The Defence of Guenevere</span></span></p><p><span style="color: #cc0000; font-family: verdana; font-size: medium;">" You must be wondering much I have not written of your book before now, except in those cold words. Bu I did not know what to make of it. Good it is, in many ways wrong also in many ways but whether the wrong of it ought to be, or can be mended I cannot tell. it is very gorgeous and very intense - but too much of mere sensation in it - there is nothing of human nature but the heart and eyes - your people all live on love, and crimson and gold. Do you suppose that in the middle ages there were no heads fit for using as well as hearts or that people couldn't think inside of helmets? The only thing that I can make out you consider a head good for is to have hair on it - what a blessed book it is for hair-deifiers!</span></p><p><span style="color: #cc0000; font-family: verdana; font-size: medium;">It is also more obscure even than Browning. I am quite certain that the blue closet is beyond all interpretation by any living being. I speak more vexedly about the things than I should otherwise, and can't enjoy them as much as I should because I think you are doing Rossetti mischief with all these crotchets & quaintnesses and that you all live in a state of perpetual excitement about blood and murder and bones and pokes with lances which is inconsistent with good painter's work & proper business generally. Still the book's a fine book as an exponent of what one may call Sacred Animalism - showing the nature of the Man-Animal in an elevated & fine state: and the passionate bits couldn't well be better.</span></p><p><span style="font-family: verdana; font-size: medium;"><span style="color: #cc0000;">The two bits I like best are the prayer of Rapunzel & Alice at page 106. I haven't read Guenevere yet - but it looks good. I don't say I'm right - mind - in all this - but mind you don't all go mad"</span>.</span></p><p><span style="font-family: verdana; font-size: medium;">Ruskin to Morris n.d [MSS RP 2917] in fine literary critical form</span></p><p><br /></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-1411673516193331932024-02-09T15:42:00.000+00:002024-02-09T15:42:23.820+00:00Fanny Eaton CENTENARY<p> </p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtl7OqxqnGFiRBh0vq62h8DNfRD49Cu47B00q0nvVA44EAwk1VpH6ABpuy2NHwGt8bLxewbH_ygIYDb2goWbdMUfrl4FY7UVs68PJ7OzzhaKEp0heL8iSAKdf18QZdFT0G5jCwQuuiCJ78gcrYodyd6yFaWRfNqTujRqllCRO4hECpr23d5qIgBj9BGeY/s400/AFS%20MOrgan%20le%20FAy%20%20BMAG%20%20%201925P104.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="282" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtl7OqxqnGFiRBh0vq62h8DNfRD49Cu47B00q0nvVA44EAwk1VpH6ABpuy2NHwGt8bLxewbH_ygIYDb2goWbdMUfrl4FY7UVs68PJ7OzzhaKEp0heL8iSAKdf18QZdFT0G5jCwQuuiCJ78gcrYodyd6yFaWRfNqTujRqllCRO4hECpr23d5qIgBj9BGeY/s320/AFS%20MOrgan%20le%20FAy%20%20BMAG%20%20%201925P104.jpg" width="226" /></a></div><br /><p></p><p style="text-align: center;"><span> <span> <span> <span style="color: #38761d; font-size: large;"> MARCH 2024 sees the centenary of the death of Fanny Eaton</span></span></span></span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSLxPQHdvNpSYROjw3Tr89Ryq1tSgFs0gODynpTp3_8WdZ67b026wce3uL1DVPOyjKnwwRf9n9TZOfdV3Pciz9uPlEfCBahubeqGIsuiHlfNb_aS4HoWOCoSTpf76y_Cr6Dtnga_QHtQ1YUu-aU1Oj22HMwWn6cp6IV6eoHdMHGxC92hcWDLFkaOCEZo4/s1709/Albert_Moore%5B1%5D%20(2)%20F%20Eaton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1709" data-original-width="1069" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSLxPQHdvNpSYROjw3Tr89Ryq1tSgFs0gODynpTp3_8WdZ67b026wce3uL1DVPOyjKnwwRf9n9TZOfdV3Pciz9uPlEfCBahubeqGIsuiHlfNb_aS4HoWOCoSTpf76y_Cr6Dtnga_QHtQ1YUu-aU1Oj22HMwWn6cp6IV6eoHdMHGxC92hcWDLFkaOCEZo4/s320/Albert_Moore%5B1%5D%20(2)%20F%20Eaton.jpg" width="200" /></a></div><span><span><span><span style="color: #38761d; font-size: large;"><br /></span></span></span></span><p></p><p style="text-align: center;"><span><span><span style="color: #38761d; font-size: large;">#Led by Brian Eaton, her descendants plan to gather at her grave in Margravine Cemetery Hammersmith to celebrate her life and memory.</span></span></span></p><p style="text-align: center;"><span style="color: #38761d; font-size: large;">12.00 noon SUNDAY 3 March and </span></p><p style="text-align: center;"><span style="color: #38761d; font-size: large;">12.00 noon MONDAY 4 March potentially followed by refreshments nearby</span> </p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwjiynYgYrazVEldK8hyphenhyphenVLR0q46v_7YIpgmTceChKdjIEGxJZW0Hb-ZVyc5DrMVMneS0D-iZtMOcOMNzEyzOVImw6b-WxXwtckRkW6YFiPoSihE-l_sFmghahTrc8AmPsgOmuU0azfBSktE31IVZGhWaC3-3i2ngkYpGSQLf7IEA2_jCKCGip2GQ20hYw/s2064/tombstone%202023%2009%2018%20%20.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2064" data-original-width="1548" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwjiynYgYrazVEldK8hyphenhyphenVLR0q46v_7YIpgmTceChKdjIEGxJZW0Hb-ZVyc5DrMVMneS0D-iZtMOcOMNzEyzOVImw6b-WxXwtckRkW6YFiPoSihE-l_sFmghahTrc8AmPsgOmuU0azfBSktE31IVZGhWaC3-3i2ngkYpGSQLf7IEA2_jCKCGip2GQ20hYw/s320/tombstone%202023%2009%2018%20%20.jpg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #6aa84f; font-size: large;">Margravine Cemetery lies between Barons Court underground</span></div><div class="separator" style="clear: both; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #6aa84f; font-size: large;"> and modern Charing Cross Hospital on Fulham Palace Road. The grave plot is close to the Hospital end of cemetery. From that west entrance, 50m from gate turn right and follow path round to right.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZmYPMmjQRjQZrsMkZ7OO1ZfaUiM-kw3wTMprgqju0a0KEE9vkMUAI6tE71jQ7d53qnLjaUO_3sgpC_wOydrBAIa1Pw4kqVZ-MkHkybDLoLJ1Djs2cm4Ag9A2GiejmURr7lZbIQATabl8Hdywn3n89swpW_1vCEOlgczHAcnp6e6EzoGgcpgscNZhSLfA/s400/SimSolomon%20fanny%20eaton.jpg" style="margin-left: 1em; margin-right: 1em;"></a></span></div><div class="separator" style="clear: both; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #6aa84f; font-size: large;">Margravine Cemetery is now a nature reserve.</span></div><div class="separator" style="clear: both; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #6aa84f; font-size: large;"><br /></span></div><span style="margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZmYPMmjQRjQZrsMkZ7OO1ZfaUiM-kw3wTMprgqju0a0KEE9vkMUAI6tE71jQ7d53qnLjaUO_3sgpC_wOydrBAIa1Pw4kqVZ-MkHkybDLoLJ1Djs2cm4Ag9A2GiejmURr7lZbIQATabl8Hdywn3n89swpW_1vCEOlgczHAcnp6e6EzoGgcpgscNZhSLfA/s400/SimSolomon%20fanny%20eaton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="368" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZmYPMmjQRjQZrsMkZ7OO1ZfaUiM-kw3wTMprgqju0a0KEE9vkMUAI6tE71jQ7d53qnLjaUO_3sgpC_wOydrBAIa1Pw4kqVZ-MkHkybDLoLJ1Djs2cm4Ag9A2GiejmURr7lZbIQATabl8Hdywn3n89swpW_1vCEOlgczHAcnp6e6EzoGgcpgscNZhSLfA/s320/SimSolomon%20fanny%20eaton.jpg" width="294" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #38761d; font-size: large;">ALL WELCOME</span></div><br /><br /><br /><br /><p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-87727171560833168342024-01-27T15:37:00.000+00:002024-01-27T15:37:15.461+00:00Now you see us Four Centuries of Women artists<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb_lggbptfRRu0zqLB3SqDt_K-pu2efEVI4ksB5EUGz3xSdz2Kh3n9oU09clmE80uxHzDMg9l9ZhoTCZ8W-fuCJ4Yl-We3IONW1mHZ8p5Dbr97p1Sgm2qQiQzRlUzoaSkpLuUOYhLTbGGFAJAa45dgqXIwU8HdmeyJVYcURcRoNvmcf02KnMnR6evj5Bo/s800/HWard%20Princes%201861%20%20GMI_TORO_30-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="623" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb_lggbptfRRu0zqLB3SqDt_K-pu2efEVI4ksB5EUGz3xSdz2Kh3n9oU09clmE80uxHzDMg9l9ZhoTCZ8W-fuCJ4Yl-We3IONW1mHZ8p5Dbr97p1Sgm2qQiQzRlUzoaSkpLuUOYhLTbGGFAJAa45dgqXIwU8HdmeyJVYcURcRoNvmcf02KnMnR6evj5Bo/s320/HWard%20Princes%201861%20%20GMI_TORO_30-001.jpg" width="249" /></a></div><br /><img alt="Image of Women Artists Exhibition at Tate (ctd.)" src="https://www.arthistorynews.com/i/entries/7720.jpg" style="background-color: white; border: 1px solid rgb(102, 102, 102); color: #1c1a1a; font-family: Georgia, "Times New Roman", Times, serif; font-size: 12px; margin: 6px 0px 12px;" /><p></p><span style="background-color: white; color: #1c1a1a; font-family: Georgia, "Times New Roman", Times, serif; font-size: 12px;"></span><h1 style="background-color: white; color: #1c1a1a; font-family: Georgia, "Times New Roman", Times, serif; margin: 0px 0px 24px; padding: 0px; text-align: left;"><i>Tate Britain May - October 2024</i></h1><span style="background-color: white; color: #1c1a1a; font-family: Georgia, "Times New Roman", Times, serif; font-size: 12px;"></span><p style="background-color: white; color: #1c1a1a; font-family: Georgia, "Times New Roman", Times, serif; font-size: 12px; margin: 0px 0px 24px; padding: 0px;"><em>Picture: tate.org.uk</em></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-7866156743741170862024-01-13T11:58:00.004+00:002024-01-21T09:22:24.738+00:00Enslaved Children in Brazil, 1822 watercolour for sale <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijG4fcusdSYuacIuqFxgBzgV_NtcVfWgm3lDaT1bbN5H_dfQo34jAceRJgsp3-15DCc7EqtSI8ZeBEw5vjYKgTDGaltQaCnWfQCUFF_d2VrJyX_E2N0dxg93ELXdNHLdQpDu62YmcJLYQtoagIJi2YtR-fU_Jvjo3BmAPpRcC3cdmgUqcOsBk8tPbP0FA/s1672/gloria%20cottage%20framed%20%20%20%2020230208_143924_resized_1%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1401" data-original-width="1672" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijG4fcusdSYuacIuqFxgBzgV_NtcVfWgm3lDaT1bbN5H_dfQo34jAceRJgsp3-15DCc7EqtSI8ZeBEw5vjYKgTDGaltQaCnWfQCUFF_d2VrJyX_E2N0dxg93ELXdNHLdQpDu62YmcJLYQtoagIJi2YtR-fU_Jvjo3BmAPpRcC3cdmgUqcOsBk8tPbP0FA/s320/gloria%20cottage%20framed%20%20%20%2020230208_143924_resized_1%20(1).jpg" width="320" /></a></div>SOTHEBYS NY 31 JANUARY 2024 LOT 251<br /><p><a href="https://www.sothebys.com/en/buy/auction/2024/old-master-and-british-works-on-paper/portrait-of-maria-emma-cammondongo-and-a-doll">Portrait of Maria, Emma, 'Cammondongo' and a doll seated at a table at Gloria Cottage, 1822 | Old Master and British Works on Paper | 2024 | Sotheby's (sothebys.com)</a><br /><br /></p><p class="MsoNormal"><span style="color: #0b5394; font-size: medium;"> Gloria Cottage group, Rio de Janeiro 1822, attributed to Maria Graham later Calcott</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDMLPHe0lIwlOnJbdUQTnRfhoeSEWuxt3fl5u227CPhUv_CsUixYHXE3QPtk2g9np7_7Al0GPPngW-ovng-nK9WSMHkS4TGsOB9KYRkes847jcUY1MZkkTeFgoE47gjcX0V8YRFOXmbzLLhdV3VJ28WLNKmj9OsiD8lhhJTO2puUgKwHAUW5zDel8GX0/s1144/Gloria%20Cottage%201822%20%20e3x%20Cato.JPG" style="margin-left: 1em; margin-right: 1em;"><span style="color: #0b5394;"><img border="0" data-original-height="893" data-original-width="1144" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDMLPHe0lIwlOnJbdUQTnRfhoeSEWuxt3fl5u227CPhUv_CsUixYHXE3QPtk2g9np7_7Al0GPPngW-ovng-nK9WSMHkS4TGsOB9KYRkes847jcUY1MZkkTeFgoE47gjcX0V8YRFOXmbzLLhdV3VJ28WLNKmj9OsiD8lhhJTO2puUgKwHAUW5zDel8GX0/s320/Gloria%20Cottage%201822%20%20e3x%20Cato.JPG" width="320" /></span></a></div><p></p><p class="MsoNormal"><span style="font-size: 12pt;"><span style="color: #0b5394;">This very
small drawing – about 3x4ins – appears to come from a sketchbook or block. Showing a figure group in an interior space
illuminated by a single candle, it was presumably sketched in pencil or crayon
and then finished in watercolours with a
fine brush. Despite its
small size, it is finely worked with a
precision akin to that of miniature painting, with especial attention to the
fall of light from the candle flame. Its
size and subject suggest a scene from the artist’s travels.</span></span></p><p class="MsoNormal" style="line-height: 115%;"><span style="color: #0b5394; font-size: 12pt; line-height: 115%;">The domestic scene centres on the white child wearing a
low-necked white dress. She seems to
hold some red-spotted fabric, which could be needlework or an apron and is seated
behind a small table which holds some scraps of paper or pale fabric as well as
the candlestick, which throws shadows to either side. To the left sits an older girl of African
ancestry, shown in profile, with her right arm raised as if in animated conversation.
She wears an indigo-dyed patterned dress with a white shawl over her shoulder.
Across to the right is a young boy of African ancestry, in profile, seated rather
awkwardly with hands on his thighs, wearing a blue jacket over an open-necked
white shirt and pants of the blue-and-white striped fabric typically sold to
plantation owners for slave clothing. [see for instance striped pants and blue
jacket of workers depicted by William Clark in <i>Ten Views in</i> <i>the
Island of Antigua</i>, 1823 and the sisters in Emma Jones Soyer picture
currently on loan to Tate Britain]<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12pt;"><span style="color: #0b5394;">Both Black
youngsters look towards the White infant, whose lowered gaze is directed
towards the tall doll stood on the opposite side of the table, which appears to
make up a quartet of figures, as in a nursery game. The boy looks up shyly while the older girl
appears emphatically engaged. The room
is shown as sparsely furnished, presumably to enhance the pictorial effect of the intimately and tenderly composed
group. </span></span></p><p class="MsoNormal"><span style="color: #0b5394; font-size: 12pt; line-height: 107%;">One’s
immediate impression is that, if the drawing has come from a sketchbook, it was
executed by a member of the family, or perhaps a visitor, struck by the
candle-lit image of the blond child and her dark attendants. Whoever the artist, s/he had some art
training, for the group is skilfully portrayed and rendered, in an accomplished
‘conversation piece’ manner. One’s
impression is certainly of a directly observed scene, of children within an
actual household.<o:p></o:p></span></p><p class="MsoNormal"><span style="color: #0b5394; font-size: 12pt; line-height: 107%;">The overall
feeling is of domestic harmony, but there is no evident affection between the
children. The boy indeed looks uncomfortable, even anxious, although the
miniature scale and possible limitations of the artist’s skill may be
responsible for over-interpretation here.
In any case, the grouping firmly endorses a racialised hierarchy, with
the white child and her doll centre stage and the Black attendants, who must be
enslaved, as subordinate.</span></p><p class="MsoNormal"><span style="color: #0b5394;"><br /><span style="font-size: 12pt; line-height: 107%;"><o:p></o:p></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394;"><span style="font-size: 12pt; line-height: 107%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP2a-V31OMwg8_BAMG1X7rK0CTFacs-y6n4aegE9kLqnw-xxQwZ75njwfstczo1Ee8bM1w7u9xGLcDFsY1wPVSDX91ClWQGv3IvyLeAzqyQws8uEHg1FN2mXyFOf9b-xpFvszYQadk_fnMoGa79muhv3eQv-146qotYLUp0lyM64eU6vBCR3zdzRzuBaA/s1298/Gloria%20Cottage%20label%20(1).JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="541" data-original-width="1298" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP2a-V31OMwg8_BAMG1X7rK0CTFacs-y6n4aegE9kLqnw-xxQwZ75njwfstczo1Ee8bM1w7u9xGLcDFsY1wPVSDX91ClWQGv3IvyLeAzqyQws8uEHg1FN2mXyFOf9b-xpFvszYQadk_fnMoGa79muhv3eQv-146qotYLUp0lyM64eU6vBCR3zdzRzuBaA/s320/Gloria%20Cottage%20label%20(1).JPG" width="320" /></a></span></span></div><p></p><p class="MsoNormal"><span style="color: #0b5394;"><span style="font-size: 12pt; line-height: 107%;"> </span><span style="font-size: 12pt;">Where are
they? Intriguingly, the now-detached
label gives the date, location and names of the sitters: 1822, Gloria Cottage, and from left to
right Maria, Dolly, Emma and ‘Cammondongo’ (or something similar).</span></span></p><p class="MsoNormal" style="line-height: 115%;"><span style="color: #0b5394; font-size: 12pt; line-height: 115%;">Until Gloria Cottage can be satisfactorily located – and
assuming the inscription is that of the artist - what can be deduced from the label? The handwriting, plus the term ‘cottage’
indicate an Anglophone setting, as do the names Emma and Dolly. Emma was especially popular in this era,
shown in its adoption by Lord Nelson’s paramour Emma Hamilton and in Jane
Austen’s choice for a fictional heroine.
So is this the home of an English family? Taken with the date 1822, the presence of
young Black inmates attending a
privileged white infant strongly suggests a colonial setting, where
African-ancestry ‘house slaves’ typically made up the domestic workforce. This could be in the Caribbean or the United
States. The doll appears to point towards the
latter, although toys being portable
objects that travelled with a family, it could also be European. It certainly looks an elite, manufactured
item, not homemade.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%;"><span style="color: #0b5394; font-size: 12pt; line-height: 115%;">If the setting is Caribbean, contemporary topographical
illustrations of islands there can be invoked.
As Dr Johnson famously said when raising his glass, ‘Here’s to the next
insurrection of the Negroes in Jamaica!’ because the enslaved population were
in regular revolt. Plantation owners
sought to counter this, plus the calls for abolition that were recurrent within
Britain, by presenting the Caribbean colonies as peaceful, productive,
well-governed. Clark’s <i>Ten Views of
Antigua</i>, was preceded by James Hakewill’s <i>Picturesque Tour of the Island of Jamaica
from Drawings made in the years 1820 and 1821</i>, published as aquatints in
London 1824.</span></p><p class="MsoNormal"><span style="color: #0b5394;"><span style="background: white; font-size: 12pt; line-height: 107%;">As Miles
Ogborn has noted, these colonialist images ‘present Jamaica in terms of a
Georgic landscape of agricultural labour: a sublime landscape of mountains,
rivers and forests or a picturesque landscape of ordered settlement’. [British
Library online]. </span><span style="font-size: 12pt; line-height: 107%;">Enslaved Jamaicans working this
idyllic land are presented as pictorial staffage, which visually occludes the
actuality of European owners and African-ancestry human livestock. <o:p></o:p></span></span></p><p class="MsoNormal"><span style="color: #0b5394; font-size: 12pt; line-height: 107%;">(Curiously,
at Montego Bay in Jamaica today is an air bnb named ‘Glory Cottage’, sited in
the grounds of a mansion named ‘Victory’. The names surely allude to the
post-Napoleonic era, though on googlemaps the ‘cottage’ is new built and despite
its well-wooded surroundings the mansion is not much older.) <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%;"><span style="color: #0b5394; font-size: 12pt; line-height: 115%;">Another plausible location for the present work is indicated
by the names identifying the subsidiary sitters and in particular the boy
called ‘Cammondongo’. This can hardly be
a proper name, even for an enslaved person.
It must be a phonetic rendering of the Portuguese word camundongo, for a
house-mouse of the Beatrice Potter kind. It is in familiar use in Brazil, and seems
apt to the presentation of the timid boy in this group, whom we may suppose was
nicknamed ‘mouse’.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%;"><span style="color: #0b5394;"><span face="Calibri, sans-serif" style="background-color: #fffefb; font-size: 12pt; line-height: 115%;">A
Brazilian location for Gloria Cottage sets the inquiry in a new direction,
which proves unexpectedly promising. In
Rio de Janeiro is the old-established district of Gloria, named after the
cathedral there. The wonders of internet
searching reveal references to this in the travel book <i> </i></span><i style="background-color: #fffefb;"><span face=""Calibri",sans-serif" style="border: 1pt none windowtext; font-size: 12pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-hansi-theme-font: minor-latin; padding: 0cm;">Journal of a voyage to Brazil and residence there during
part of the years 1821, 1822, 1823</span></i><span face=""Calibri",sans-serif" style="background-color: #fffefb; border: 1pt none windowtext; font-size: 12pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-hansi-theme-font: minor-latin; padding: 0cm;"> composed by Maria
Graham and published in London in
1824 by Longmans and Murray. Mrs Graham
(later Lady Calcott) was the wife of a British naval commander who accompanied
her husband en route for his posting in Chile.
Her voyage there and back [minus husband who died at sea] involved two
visits to Brazil. On the return journey she stayed at Rio for several
weeks. Her book is illustrated with
twenty topographical engravings based on her own sketches, for as her narrative makes clear, Mrs Graham
was always on the lookout for scenic views and local colour. Plate VII is ‘a
view of Rio from the Gloria Hill’; vignette III shows ‘slaves dragging a hogshead
through the streets’.</span></span></p><h1 style="background: rgb(255, 254, 251); line-height: 115%; vertical-align: baseline;"><span face=""Calibri",sans-serif" style="border: 1pt none windowtext; color: #0b5394; font-size: 12pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-hansi-theme-font: minor-latin; padding: 0cm;">Maria Graham was well-educated and resourceful,
her journal being chiefly devoted to political personalities and events in
Brazil at the moment when the colony was detaching itself from Portuguese
control. Like other Britons of the time,
she opposed slavery in principle, but regarded it benignly in Brazil, believing
that it was in slave-owners’ self-interest to treat their workers well. Like other Britons, she deplored the trade that
brought Africans to Brazil from other Portuguese territories; her book includes
figures for slaves ‘imported’ from Angola, Cabinda. Mozambique and Quelimane in
1821 (21,199) and 1822 (24,934). Elsewhere she remarks that ‘new negroes’ were
‘docile from fear’, having suffered in the slave ships and markets. <o:p></o:p></span></h1><h1 style="background: rgb(255, 254, 251); line-height: 115%; vertical-align: baseline;"><span face=""Calibri",sans-serif" style="border: 1pt none windowtext; color: #0b5394; font-size: 12pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-hansi-theme-font: minor-latin; padding: 0cm;">‘We then came to the hill called the Gloria,
from the name of the church dedicated to N.S.da Gloria, on the eminence immediately
overlooking the sea’, Graham recorded in her journal for 31 December 1822. ‘The
hill is green and wooded and studded with countryhouses’ [sic] [p.167] Shortly afterwards she met one William
May, a long-term resident in Brazil whom
she had known in Britain, and with whose wife she became good friends. Later,
she became a neighbour of the Mays on the Gloria hill. She also met Augustus Erle, ‘an ingenious
young artist’ who spent seven years in
Brazil painting portraits and landscapes, before being marooned on Tristan da
Cunha and travelling on to Australia and New Zealand. <o:p></o:p></span></h1><h1 style="background: rgb(255, 254, 251); line-height: 115%; vertical-align: baseline;"><span face=""Calibri",sans-serif" style="border: 1pt none windowtext; color: #0b5394; font-size: 12pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-hansi-theme-font: minor-latin; padding: 0cm;">My best guess, therefore, is that the present
watercolour scene was drawn by Maria Graham Calcott and depicts a European
family home in the Gloria district of Rio da Janeiro. More research into the residents of Rio at
this date may yield more information about the May family – or another
neighbouring one with an infant daughter.
Equally, further research into the life of Maria Calcott could confirm
or disprove this conjecture. <o:p></o:p></span></h1><p>
</p><p class="MsoNormal"><o:p><span style="color: #0b5394;"> </span></o:p></p><p></p><p class="MsoNormal"><o:p> </o:p></p>
<br />
<p class="MsoNormal"><o:p> </o:p></p><p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-79583183524021494412023-12-31T18:34:00.000+00:002023-12-31T18:34:01.758+00:00Rossetti and Leighton <p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">One knows both how competitive the Victorian art world was, with painters keeping their new subjects secret lest another should 'steal' or forestall it, and also how sensitive Rossetti was regarding his reputation, to the extent of declining to exhibit for fear of critical reviews.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">it must therefore have been distressing when in 1855 the star picture at the Royal Academy was an ambitious multi-figure piece of a procession set in late medieval Florence, centred on Cimabue and Giotto, the heroes of pre-Raphael art. Whom the PRB had celebrated and elevated by their choice of name.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">At the RA to view this marvel, Gabriel and Lizzie ran into Anna Mary Howitt. Surely this subject belonged to the PRB. Was this newcomer, young Frederic Leighton, paying homage or usurping their place ?</span></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEp2jmNT7cQtAuK1pLdzjn4fhtio0zou9XPeX-xI2-T7bwWXKjY5FI9-bg5u1FhHvVilPZ33DmthZNxBFisVEGlj6L0xRV-Anwd8y0J08XSDBV089XIXey9TJPeTQV9VAhF72giShfpAxV6YmAaDxG7WPdPVS2Vw4euYch7toREC5clL1mWQ9WH2ZxFAc/s1190/leighton%2020231213_131117_resized.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1190" data-original-width="1085" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEp2jmNT7cQtAuK1pLdzjn4fhtio0zou9XPeX-xI2-T7bwWXKjY5FI9-bg5u1FhHvVilPZ33DmthZNxBFisVEGlj6L0xRV-Anwd8y0J08XSDBV089XIXey9TJPeTQV9VAhF72giShfpAxV6YmAaDxG7WPdPVS2Vw4euYch7toREC5clL1mWQ9WH2ZxFAc/s320/leighton%2020231213_131117_resized.jpg" width="292" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span face=""gill sans nova medium", "lucida grande", "lucida sans unicode", Verdana, Arial, sans-serif" style="background-color: white; color: red; font-size: medium; text-align: left;">Everyone praised the piece, most especially Q Victoria, who wrote in her journal :</span></div><div class="separator" style="clear: both; text-align: center;"><span face=""gill sans nova medium", "lucida grande", "lucida sans unicode", Verdana, Arial, sans-serif" style="background-color: white; color: red; font-size: medium; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span face=""gill sans nova medium", "lucida grande", "lucida sans unicode", Verdana, Arial, sans-serif" style="background-color: white; color: red; font-size: medium; text-align: left;">'There was a very big picture, by a young man, called Leighton, his 1st attempt … It is a beautiful painting quite reminding one of a Paul Veronese, so bright & full of lights. Albert was enchanted with it - so much so that he made me buy it. The young man’s father said that his future career in life would depend on the success of this picture’.</span></div><div class="separator" style="clear: both; text-align: center;"><span face=""gill sans nova medium", "lucida grande", "lucida sans unicode", Verdana, Arial, sans-serif" style="background-color: white; color: red; font-size: medium; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">DGR was 27 this month, increasingly anxious about his future career. Leighton's success at 25 must have really worried him. Moreover, Leighton had not only taken taken 'his' subject, but had also filled the canvas with a virtuoso series of brilliantly executed figures, each a variation on the attitudes that gave history painting its harmonious strengths as pictorial bit-part players in a visual epic. See, for instance, the masterly depiction of a red-clad musician tuning his violin as he walked. DGR could never manage such a sophisticated figure. In addition, young Leighton had also included a couple of horses, in direct emulation of high art, where horses' heads and rears were admired accessories. [Holman Hunt had indeed included a phalanx of equine rumps in his latest picture of Rienzi, to show his skill.]</span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">worst of all, perhaps, on the far right of the canvas Leighton had placed a figure of Dante Alighieri, leaning as it were on the picture frame to watch the whole procession pass. Was this to challenge a fellow painter calling himself Dante Rossetti?</span></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHjRwTZgEwrEyDGwx54phIa0Cl2zbMowU6uKE3ZzAeHmDT-PCaZ8fddqQ6iE_f4PN7mgGHmnjvf4QyFvrL2dL0NFRztrCnqoBemtBolrBjRYGukT7NI6TptibHWQF1Ol0N_9RmujRnvjbicgv7JPKIY3YoQcTh-XovVQWd-Goyq2HLCHyonra5VbiBFzg/s320/Leighton%20%20Dante%20detail%20%20whole.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="213" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHjRwTZgEwrEyDGwx54phIa0Cl2zbMowU6uKE3ZzAeHmDT-PCaZ8fddqQ6iE_f4PN7mgGHmnjvf4QyFvrL2dL0NFRztrCnqoBemtBolrBjRYGukT7NI6TptibHWQF1Ol0N_9RmujRnvjbicgv7JPKIY3YoQcTh-XovVQWd-Goyq2HLCHyonra5VbiBFzg/w266-h400/Leighton%20%20Dante%20detail%20%20whole.jpg" width="266" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">It raised the question whether Leighton, who had lived abroad until this startling debut in London, seen his own picture - a watercolour study for a larger canvas showing Giotto painting Dante's portrait, with Cimabue looking on.</span> </div><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizp1UIZQVWOCdMsp4ICOEsHKu2JnHb8JUg_yefR9OeqY9dI_fMVytnRZmkHHmsVySmKT5SP3UZ2mhuVIdGzzn6n1TS9D87LNVk_LWW9bRgaoYEUzOANeCMq57FKMxe8ahLt1_o09znIFH5s5u0eXjugUlipbWwpV_uZOJDmDwTvEMBTR0NYTZLFSB5YUQ/s845/DGR%20Giotto%20painting%20Dante.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="651" data-original-width="845" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizp1UIZQVWOCdMsp4ICOEsHKu2JnHb8JUg_yefR9OeqY9dI_fMVytnRZmkHHmsVySmKT5SP3UZ2mhuVIdGzzn6n1TS9D87LNVk_LWW9bRgaoYEUzOANeCMq57FKMxe8ahLt1_o09znIFH5s5u0eXjugUlipbWwpV_uZOJDmDwTvEMBTR0NYTZLFSB5YUQ/w400-h309/DGR%20Giotto%20painting%20Dante.JPG" width="400" /></a></div><br /><span style="color: red; font-size: medium;">This had been exhibited in a watercolour show in London in winter 1852. Had Leighton seen and noted this, then taken the theme to outdo it? </span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">Rossetti was in fact as impressed as anyone. Viewing it again, he admired 'the great richness of arrangement' and agreed that Leighton was destined for greatness. He himself was busy with other scenes related to Dante, including a sweetly conceived image of two young women by a fountain, figured as Rachel and Leah from the<i> Purgatorio</i>. He was enjoying Ruskin's patronage. But public praise was elusive.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">And perhaps the episode was one that helped shape his attitude to ambition, when some while later he told poor James Smetham, who could not rouse himself to confidence, that he lacked ambition, which was not envy, but the simple feeling of rage when others did better, followed by self-analysis and renewed determination. Rossetti had always been competitive, finding in others' achievements a spur to action.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">Rossetti spent the next couple of years deep in medievalism, thanks to Ruskin's misconceived but influential notions on the merits of Gothic architecture, his own discovery of Malory's Morte D'Arthur and enthusiastic new admirers William Morris and Burne Jones. He seized, or proposed, the opportunity to create a fresco sequence on the upper walls of the Oxford Union debating chamber and when this fizzled into failure he disappeared for nearly a year, spent with Lizzie Siddal in Derbyshire.</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;">Where, I suggest, he worked principally on the translations that would appear in the volume <i>Early Italian Poetry from Ciullo d'Alcamo to Dante Alighieri.</i> This was his literary claim to innovation. Ruskin promised to subsidise what was a substantial publication. It may have been well advanced by Rossetti's 30th birthday in May 1858. One of his father's favourite aphorisms was 'what you don't do at thirty, you never will do'</span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhExvRS6KtDDmStPabqELjpz_GRP3Jxhw1fOu3RB_vgt2mGBUffFII7BAFhDf7FPQ0NS3KCzZm223jJoCN388TwZxDyvBUv1nu6gNXbkpHLVp_8u2B7QOS7jbmZlIOCZ3rJCXya13bGEqOQepr0Dz7yvtL_h7KJVk6L6ZAwDrRKm4SOna9ouc6aL9lkOtQ/s300/233px-Frederic_Leighton_-_Pavonia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="232" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhExvRS6KtDDmStPabqELjpz_GRP3Jxhw1fOu3RB_vgt2mGBUffFII7BAFhDf7FPQ0NS3KCzZm223jJoCN388TwZxDyvBUv1nu6gNXbkpHLVp_8u2B7QOS7jbmZlIOCZ3rJCXya13bGEqOQepr0Dz7yvtL_h7KJVk6L6ZAwDrRKm4SOna9ouc6aL9lkOtQ/s1600/233px-Frederic_Leighton_-_Pavonia.jpg" width="232" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span></div>In autumn 1858, when he returned to London with renewed ambition in visual art, he found the art world had moved on, and Leighton was once more in the vanguard, of the latest fashion for compelling female portraits in the 'Venetian' courtesan mode. The new star was a dark-haired Roman model named Anna Risi, or La Nanna. This was not an entirely new pictorial feature, but it was a departure from moralising, sentimental and high-minded subjects.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-size: medium;"><br /></span><span style="color: red; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjac2lDG_0ZUgrebxZ7P4D4W6szduGSZUMJ6J0uHK0Xbv4Rn1d1pkMgz8_kdA29RR67BcR0nl9bQbfm37thApinl4ybNR2lhHk8Tj6XvbZjv-0r4R7ENZwqAwfRpgLVDuK0ESmZ5POngnV8mKJ2rvyqnnughkkQA135Rp1BtLmgEkXAID-brNtmY4XXrEA/s800/La%20Nanna%201859%20LW_LHMU_0376-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="687" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjac2lDG_0ZUgrebxZ7P4D4W6szduGSZUMJ6J0uHK0Xbv4Rn1d1pkMgz8_kdA29RR67BcR0nl9bQbfm37thApinl4ybNR2lhHk8Tj6XvbZjv-0r4R7ENZwqAwfRpgLVDuK0ESmZ5POngnV8mKJ2rvyqnnughkkQA135Rp1BtLmgEkXAID-brNtmY4XXrEA/w275-h320/La%20Nanna%201859%20LW_LHMU_0376-001.jpg" width="275" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWjMOE3VVTGgjQHGe0c8GhtuwyjBBHYZrEvjt2capifR-4G86ZjVgCSCadt97T6KJG2lTj1GDpTt7rO4vOOvyi-nfUrSc6_IZ65pow2i9S3cas7O5BWFSMb1HIb51TuHXVNQxOVKvxpW3-9giT7M6xVXjCpfWhhRgue1LwqQrArD73dTgVl9vSsAqcLsY/s511/LeightonRomanLady.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="330" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWjMOE3VVTGgjQHGe0c8GhtuwyjBBHYZrEvjt2capifR-4G86ZjVgCSCadt97T6KJG2lTj1GDpTt7rO4vOOvyi-nfUrSc6_IZ65pow2i9S3cas7O5BWFSMb1HIb51TuHXVNQxOVKvxpW3-9giT7M6xVXjCpfWhhRgue1LwqQrArD73dTgVl9vSsAqcLsY/s320/LeightonRomanLady.png" width="207" /></a></div> <br /> <span style="text-align: center;"> </span><span style="text-align: center;">Whether titled as 'A Roman Lady' (she looked proud, but every Victorian knew this was no lady) or 'Pavonia', la Nanna was flavour of the season, and a new challenge. </span></div><div><span style="text-align: center;"><br /></span></div><div style="text-align: left;"><span style="text-align: center;">Rossetti rose to it, choosing now to paint in oils and aim for the broad, fluent manner the PRB had reviled. He found Fanny Cornforth as an appropriately sensuous model, and began the sequence of 'Pre-Raphaelite beauties' that would come to define his art. </span></div><div style="text-align: left;"><div style="text-align: center;"><br /></div><span style="text-align: center;"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_Qvl3uyNblJ2MzBoHUKuLsKrYB6HsRxhgTxydc37Q0_2Hn7DhFtLkRIXud9ANJwYo8WGpVhWxamqVzydGoIPll3jZ5p9SFRDAgYAVwuGrGGvSo2i-gBC_j3WIDbhFqh0CpzUkLkugUv8OQ3wb_T3a0MTtL8y1YCg2CqOk36f6JhbhrFx4o2FNAZ79PI/s360/Bocca%20B%20%2041_00379447.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="360" data-original-width="311" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_Qvl3uyNblJ2MzBoHUKuLsKrYB6HsRxhgTxydc37Q0_2Hn7DhFtLkRIXud9ANJwYo8WGpVhWxamqVzydGoIPll3jZ5p9SFRDAgYAVwuGrGGvSo2i-gBC_j3WIDbhFqh0CpzUkLkugUv8OQ3wb_T3a0MTtL8y1YCg2CqOk36f6JhbhrFx4o2FNAZ79PI/w173-h200/Bocca%20B%20%2041_00379447.jpg" width="173" /></div></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_Qvl3uyNblJ2MzBoHUKuLsKrYB6HsRxhgTxydc37Q0_2Hn7DhFtLkRIXud9ANJwYo8WGpVhWxamqVzydGoIPll3jZ5p9SFRDAgYAVwuGrGGvSo2i-gBC_j3WIDbhFqh0CpzUkLkugUv8OQ3wb_T3a0MTtL8y1YCg2CqOk36f6JhbhrFx4o2FNAZ79PI/s360/Bocca%20B%20%2041_00379447.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9U0MQWqL4Mav7ck19Lg6vVbo3t89DGJpmAIa5Yo3mjmeB7JM_gFaQf6EAO7WNsmO2yxFhVVNw8RhUjJl8nyjQE1YnUM2H6X6K5l_lIi9_8jobd1keIahR4_ObB7rjjo34Qa1_bNWfDvyA9EwUHK_RGP86gQ9-ZtuXlcBgHEUS42hT9GCNUwrQV-zVI7g/s600/21%20DGR%20Monna%20Vanna%20Tate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="517" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9U0MQWqL4Mav7ck19Lg6vVbo3t89DGJpmAIa5Yo3mjmeB7JM_gFaQf6EAO7WNsmO2yxFhVVNw8RhUjJl8nyjQE1YnUM2H6X6K5l_lIi9_8jobd1keIahR4_ObB7rjjo34Qa1_bNWfDvyA9EwUHK_RGP86gQ9-ZtuXlcBgHEUS42hT9GCNUwrQV-zVI7g/w277-h320/21%20DGR%20Monna%20Vanna%20Tate.jpg" width="277" /></a></div> </div><div style="text-align: left;"><span style="text-align: center;"> At the same time, he returned to </span><i style="text-align: center;">Giotto painting Dante</i><span style="text-align: center;">, re-drafting the composition to centre on the poet and his coeval Guido Cavalcanti, whose sonnets were key elements in Rossetti's translations, together with an imagined image of Giotto, who has surely borrowed some aspects (nose and full beard) from his latest successor, the painter Frederic Leighton.</span></div></span></div><div style="text-align: left;"><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjje8UmSea7jMqpAFk-ZCNpXm0urG2Q1v0LmRs9714lbANun-z-HQxEoo0JerGXId7isN5rURZV90-54YJSiecxJx-6myMm4HDmMDkKH6EpR1_EjO_FrB0YzAA5Of1yFUl5Sc1cOc99wrBfooirweijSaDpL8NPKuxVqElHyDpx8RlOj0WDK6si0sh0t9w/s1024/Dante_Gabriel_Rossetti_-_Giotto_Painting_Dante's_Portrait%20%20%201859%20Fogg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="1024" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjje8UmSea7jMqpAFk-ZCNpXm0urG2Q1v0LmRs9714lbANun-z-HQxEoo0JerGXId7isN5rURZV90-54YJSiecxJx-6myMm4HDmMDkKH6EpR1_EjO_FrB0YzAA5Of1yFUl5Sc1cOc99wrBfooirweijSaDpL8NPKuxVqElHyDpx8RlOj0WDK6si0sh0t9w/s320/Dante_Gabriel_Rossetti_-_Giotto_Painting_Dante's_Portrait%20%20%201859%20Fogg.jpg" width="320" /></a> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5xKPz6xW9BvNF89LsnOk7zLZwH9F11rQ5lPcMw3TJnYQKS3bh9qVEuwwvVOG3oXOwclFzB-8HwtgwpEK1Zq98C3RVqZVaAXKRjF3aQwqtlFqpnmgJni77uOCbmO6J914rE-dXEBgrm_rJOCAX7lktwA1oTT-36v7GWyxfocuwEfeHZ_iFhTIuBYKOPjU/s1446/Leighton%20by%20DWW%20c%201863%20%20%20v.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1446" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5xKPz6xW9BvNF89LsnOk7zLZwH9F11rQ5lPcMw3TJnYQKS3bh9qVEuwwvVOG3oXOwclFzB-8HwtgwpEK1Zq98C3RVqZVaAXKRjF3aQwqtlFqpnmgJni77uOCbmO6J914rE-dXEBgrm_rJOCAX7lktwA1oTT-36v7GWyxfocuwEfeHZ_iFhTIuBYKOPjU/w166-h200/Leighton%20by%20DWW%20c%201863%20%20%20v.webp" width="166" /></a></div></div></div><div style="text-align: left;"><span style="text-align: center;"><br /></span></div></div></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div><br /> <p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-8919782124901552792023-11-21T17:28:00.000+00:002023-11-21T17:28:03.748+00:00Ignatius Sancho<p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNgUY6eyyCeNHjRX_Mhdopxgkd_1GJ-KjCbTUyN7utvZShq9N19nVos9P2hn-hdvWcfjtVHqfYcWKmnxJ2r-PsFGFYpc4zM3xH2-e6uojWXQ2FJ1FOu9VG9QC8oMoMVE4FQHUfDo5LLrSOVq-ya0lr_bOBZci2G-nVexOTdlaFP2wFdME5WV7JNV5jPGw/s680/Ignatius%20Sancho%20miniature%20EaTZv_rXgAIwfDs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="680" data-original-width="586" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNgUY6eyyCeNHjRX_Mhdopxgkd_1GJ-KjCbTUyN7utvZShq9N19nVos9P2hn-hdvWcfjtVHqfYcWKmnxJ2r-PsFGFYpc4zM3xH2-e6uojWXQ2FJ1FOu9VG9QC8oMoMVE4FQHUfDo5LLrSOVq-ya0lr_bOBZci2G-nVexOTdlaFP2wFdME5WV7JNV5jPGw/s320/Ignatius%20Sancho%20miniature%20EaTZv_rXgAIwfDs.jpg" width="276" /></a></div><br /><p></p><p><span style="color: #990000; font-family: inherit;">The conjectural account of Ignatius Sancho's earliest years offered by Prof Brycchan Carey in his talk for the Equiano Society is extremely plausible and answers one puzzle, that presented by his name. while Equiano through and after his years of enslavement acquired several names, as was common for such displaced individuals, Sancho appears to have had only one from the age of around two years - and one that did not change when he was domiciled in Britain - where Ignatius was an unusual appellation.</span></p><p><span style="color: #990000; font-family: inherit;">Enslaved people - boys especially - were often mocked by being given classical names such as Pompey, Caesar, Hector, presumably as a kind of joke, underscoring their utterly powerless status with a heroic comparison. Ignatius wouldn't work in quite the same way. In Britain it was a Papist name, from Ignatius Loyola, founder of the hated Jesuit order which in the early 18th century was still popularly believed to plot to 'return' Britain to Catholicism. Attached to a friendless African orphan, it also would have a mocking element, which might explain why it was not changed to a more easily pronounceable name for a household servant.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjorSb-WNKuVqo9jTIuX2yqtthqI4WVRJB6y-3dHOuxmgJ3NuQThQKBxt1Sug0SeQC1aArSCEuIR5So61GPHU4LoyD-4dtGvAnx-tQ5rThHdXZ_igjhw-6lItw-VMRZsNUCiNmgbioSsehyphenhyphenaDeTAdjq6pVfJH91ChvwokAB0cGLOhibCTUfyOOAEwBCpsg/s563/sancho%20title%20page.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="344" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjorSb-WNKuVqo9jTIuX2yqtthqI4WVRJB6y-3dHOuxmgJ3NuQThQKBxt1Sug0SeQC1aArSCEuIR5So61GPHU4LoyD-4dtGvAnx-tQ5rThHdXZ_igjhw-6lItw-VMRZsNUCiNmgbioSsehyphenhyphenaDeTAdjq6pVfJH91ChvwokAB0cGLOhibCTUfyOOAEwBCpsg/s320/sancho%20title%20page.jpg" width="196" /></a></div><span style="color: #990000; font-family: inherit;"><p><span style="color: #990000; font-family: inherit;"><br /></span></p>In the preface to the <i>Letters of the Late Ignatius Sancho, an African</i>, it is stated that Sancho <span style="background-color: white; font-style: italic;"> </span><span style="background-color: white;">was 'born A. D. 1729, on board a ship in the Slave-trade, a few days after it had quitted the coast of Guinea for the Spanish West-Indies, and, at Carthagena, he received from the hand of the Bishop, Baptism, and the name of Ignatius. </span></span><p></p><p><span style="background-color: white;"><br /><br /><br /><span style="color: #990000; font-family: inherit;">Starting here, Brycchan Carey posits that the boy was in a shipment of captives landed at the slave entrepot of Carthagena [now in Colombia] where the Jesuit order ran the church and organised mass baptism for Africans, in a cathedral dedicated to Loyola. Hence his 'Christian name'. </span></span></p><p><span style="color: #990000; font-family: inherit;"><span style="background-color: white;">Thence he was transported to Cadiz in Spain, another great trading city, where ships of the British Navy were then able to anchor, and where he was acquired or bought by a young naval officer. [If the dates are right, he seems a bit young - under three - for this, but maybe it was comparable to acquiring a puppy] The midshipman was related to </span><span style="background-color: white;">sisters living in Greenwich (conjecturally identified as Elizabeth, Susanna and Barbara Legge) </span><span style="background-color: white;"> to whom on his return to Britain it is suggested young Ignatius was presented as a gift According to the<i> Letters</i> preface, these women '</span><span style="background-color: white;"> </span><span style="background-color: white;">surnamed him Sancho, from a fancied resemblance to the 'Squire of Don Quixote.' A fanciful name for a black servant who had apparently come from Spain.</span></span></p><div class="separator" style="clear: both; font-family: Arial, Helvetica, sans-serif; font-size: 13px; font-style: italic; text-align: center;"><span style="color: #990000; font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMDuofoij7O6ImoHe1UCLw8ngSjyxAtk_fE_uAkgYhtJwWsQXgXWtytfxhYrWkNpdc89tMQePkvZx_f1hY4FiI3wDAl97VGIdy3dLebzLDGwTMgmc_AZp7i6xbH2wsjrvoSzOpKjLG4Y0lreEmDqHb70J4SSY_5uD7AaU_N87JD9qGcMygS-cUPi4LHts/s385/04%20Gainsborough%20Sancho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="385" data-original-width="316" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMDuofoij7O6ImoHe1UCLw8ngSjyxAtk_fE_uAkgYhtJwWsQXgXWtytfxhYrWkNpdc89tMQePkvZx_f1hY4FiI3wDAl97VGIdy3dLebzLDGwTMgmc_AZp7i6xbH2wsjrvoSzOpKjLG4Y0lreEmDqHb70J4SSY_5uD7AaU_N87JD9qGcMygS-cUPi4LHts/s320/04%20Gainsborough%20Sancho.jpg" width="263" /></a></span></div><p></p><br />Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-79201492579280847302023-11-07T14:14:00.003+00:002023-11-08T08:10:55.960+00:00African Hospitality ???<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-mJFSO0i0pFml-JvXMObsM7z43da79jsZGOUG0TU7R3FRCKxh_T6ZIApNeQbWp2fFmnBP_OedZgyzvM3hmxn-EEGlDh5Cd050ipO9ufR05ss_trboJG5JLx8J2bgjHOAVOJQrg1Ohio89nhBvYEyLtZGnNnjIrSwaqKe2cKTZy65iGTxBIeFaAoYfn4/s800/morland%20african%20hospitality%201790%20oil%20Menil%201982_13_DJ_v01_M.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="800" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-mJFSO0i0pFml-JvXMObsM7z43da79jsZGOUG0TU7R3FRCKxh_T6ZIApNeQbWp2fFmnBP_OedZgyzvM3hmxn-EEGlDh5Cd050ipO9ufR05ss_trboJG5JLx8J2bgjHOAVOJQrg1Ohio89nhBvYEyLtZGnNnjIrSwaqKe2cKTZy65iGTxBIeFaAoYfn4/w400-h283/morland%20african%20hospitality%201790%20oil%20Menil%201982_13_DJ_v01_M.jpg" width="400" /></a></div><br /><p></p><p></p><p class="MsoNormal"><span style="color: #0070c0;"><span style="font-family: times; font-size: medium;"><i>African Hospitality</i>, a painting by
George Morland from 1790, was companion piece to the artist's <i>Execrable Human
Traffic</i> <span style="mso-spacerun: yes;"> </span>known as the <i>Slave Trade</i>.<span style="mso-spacerun: yes;"> </span>The latter (RA 1788)<span style="mso-spacerun: yes;"> </span>shows African captives forced on onto a slaving
ship.<span style="mso-spacerun: yes;"> </span>African Hospitality depicts local
people rescuing shipwrecked Europeans off the African coast, an imagined scene
from an actual event.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #0070c0;"><span style="font-family: times; font-size: medium;">Both works
were engraved for sale within the nascent campaign to abolish the Slave Trade launched
in London in 1787.<span style="mso-spacerun: yes;"> </span>Both found their way
into the collection of Alexander Dennistoun, a Glasgow merchant with family
investments in north American cotton production.<span style="mso-spacerun: yes;"> </span><i>African Hospitality</i> was loaned to the 1857
<i>Art Treasures</i> exhibition in Manchester (#136), together with another Morland
canvas listed in the <i>Art Treasures</i> catalogue as ‘The Englishman’s Return for
African Hospitality’ (#143)<o:p></o:p></span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: #0070c0;">Having vainly searched for an image of 'The Englishman’s Return' I now
assume it was in fact <i>Execrable Human Traffic</i>. Following </span><span style="background-color: white; color: #0070c0;">the death of Alexander Dennistoun’s son, bo</span><span style="color: #0070c0;">th paintings were sold as </span><span style="background: white; color: #0070c0;">'African
Hospitality' and 'Slave Trade', at Christie's, London, 9 June 1894, lot 43 (33.5 x 47 inches) and lot 44
(32 x 47 inches ) [credit to Donato
Esposito - see BM database for images</span><span style="background-color: white; color: #0070c0;"> of </span><span style="background-color: white; color: #0070c0;">both engravings]</span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="color: #0070c0;"><span style="font-family: times; font-size: medium;">So I
am curious as to how and when the extended title was attached to <i>Execrable Human</i> <i>Traffic</i> specifically accusing the 'English'.<o:p></o:p></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="color: #0070c0;"><span style="font-family: times; font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFMnVUZLGx9RcKKxsFi5KfIA07l-alISh-QTG1MsQLP6tSI-XB9PbTNi_d1GueP79vn2uzn8S3TUPoqGrT1jjYxbtVaHQ9SoXg4_Qg1627YFDi9cjUhSRWRVw4udZI38wcUlwMXaJTC0my-vtlIPN_VTZv0JFxKuM3XVWHJC4Q3pWIrcjoLb66k6mgNYQ/s500/09%20Morland%20Execrable.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="500" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFMnVUZLGx9RcKKxsFi5KfIA07l-alISh-QTG1MsQLP6tSI-XB9PbTNi_d1GueP79vn2uzn8S3TUPoqGrT1jjYxbtVaHQ9SoXg4_Qg1627YFDi9cjUhSRWRVw4udZI38wcUlwMXaJTC0my-vtlIPN_VTZv0JFxKuM3XVWHJC4Q3pWIrcjoLb66k6mgNYQ/s320/09%20Morland%20Execrable.jpg" width="320" /></a></span></div><span style="font-family: times; font-size: medium;"><br /><br /></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><o:p><span style="font-family: times; font-size: medium;"> </span></o:p></p><br /><p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-48453230315529249992023-10-10T15:14:00.002+01:002023-10-10T15:14:44.658+01:00Henry James on Vernon Lee<p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh5RiWqqj8KCQNThB4AZtHwrHtRF1UUOVTSOrCaL2ZuDHpGuHhuPQb2gBIo17DLzGSTnfm-Rv1M2vLfauDdX5znheu8QGTwZpzdVcQusSZUwKaAHe9V-KxflwOIFoYYKuuCgT8nRvpLpGojDe9sXAvIur747u7Ys3ht6yfvbKFVGGyInY7MTwX8kzeED20" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1200" data-original-width="945" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEh5RiWqqj8KCQNThB4AZtHwrHtRF1UUOVTSOrCaL2ZuDHpGuHhuPQb2gBIo17DLzGSTnfm-Rv1M2vLfauDdX5znheu8QGTwZpzdVcQusSZUwKaAHe9V-KxflwOIFoYYKuuCgT8nRvpLpGojDe9sXAvIur747u7Ys3ht6yfvbKFVGGyInY7MTwX8kzeED20=w315-h400" width="315" /></a></span></div><span style="font-size: large;"><br /><span style="color: #990000;"> "Receive from me a word of warning about Vernon Lee. my reasons are several, and too complicated, some of them, to go into, but one of them is that she has lately, as I am told [in a volume of tales called <i>Vanitas</i>, which I haven't read] directed a sort of satire of a flagrant and markedly 'saucy' kind at me [!!] - exactly the sort of thing she has done to others [her books - fiction - are a tissue of personalities of the hideous roman-a-clef kind] and of a particularly impudent and blackguardly sort of thing to a friend and one who has treated her with such such particular consideration as I have.</span></span><p></p><p><span style="color: #990000; font-size: large;">"... she is as dangerous and uncanny as she is intelligent - which is saying a great deal. Her vigour and sweep of intellect are most rare and her talk superior altogether, but I don't agree with you at all about her 'style', which I find insupportable, and I find also that she breaks down in her books.. There is a great second-rateness in her first-rateness.... At any rate, draw it mild with her on the question of friendship. She's a tiger-cat!"</span></p><p style="text-align: right;"><span style="color: #990000; font-size: large;">to William James 1893</span></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-78408645679797045742023-10-03T16:06:00.002+01:002023-10-03T16:06:45.472+01:00Henry James on Burne-Jones December 1886<p style="text-align: left;"><span style="color: #0b5394; font-size: medium;">" I see Burne-Jones from time to time but not as often as I should like - I am always so afraid of breaking in on his work. Whenever he is at home he is working - and when he isn't working he's not at home. When I <i>do</i> see him, it is one of the best human pleasures that London has for me. But I don't understand his life - that is the manner and tenor of his production - a complete <i>studio</i> existence - with doors and windows closed, and no search for impressions outside - no open air, no real daylight and no looking out for it. The things he does in these conditions have exceeding beauty - but they seem to me to grow colder and colder - pictured abstractions - less and less observed. Such as he is, however, he is certainly the most distinguished artistic figure among Englishmen today - the only one who has escaped vulgarization and on whom claptrap has no hold. Moreover he is, as you know, exquisite in mind and talk - and we fraternize greatly."</span></p><p style="text-align: right;"><span style="color: #0b5394; font-size: medium;"><i>to Charles Eliot Norton</i></span></p><p style="text-align: right;"><span style="color: #0b5394; font-size: medium;"><i><br /></i></span></p><p style="text-align: right;"><span style="color: #0b5394; font-size: medium;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394; font-size: medium;"><i><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhE-elbVFArI6FVSBsjszxgI1cLI7slyMszL9nnTRfp4kuVPTg-ckqfjRPv0r-1dj08rpaYaun5Az6xClKURvak93eYDmjCnmJK-ySZCqGarGbK8MSVdRLWh4aCJFmQtPkylAjjGSDCcmjWOducVkA8LHiaeQY-Bkjv7YXbrR-c-wKPk17rwcoXmG39POY" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1028" data-original-width="850" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhE-elbVFArI6FVSBsjszxgI1cLI7slyMszL9nnTRfp4kuVPTg-ckqfjRPv0r-1dj08rpaYaun5Az6xClKURvak93eYDmjCnmJK-ySZCqGarGbK8MSVdRLWh4aCJFmQtPkylAjjGSDCcmjWOducVkA8LHiaeQY-Bkjv7YXbrR-c-wKPk17rwcoXmG39POY=w330-h400" width="330" /></a></i></span></div><span style="color: #0b5394; font-size: medium;"><i><br /><br /></i></span><p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-43373265703197303262023-07-31T16:09:00.000+01:002023-07-31T16:09:13.700+01:00P R Sisters 2<p> </p><p><br /></p><p></p><p class="MsoNormal"><span style="color: #bf9000; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #BF9000; mso-style-textfill-fill-colortransforms: lumm=75000; mso-style-textfill-fill-themecolor: accent4; mso-themecolor: accent4; mso-themeshade: 191;"><span style="font-size: medium;">ANNIE MILLER<span style="mso-spacerun: yes;"> </span>1835-1925<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #bf9000; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #BF9000; mso-style-textfill-fill-colortransforms: lumm=75000; mso-style-textfill-fill-themecolor: accent4; mso-themecolor: accent4; mso-themeshade: 191;"><span style="font-size: medium;">The daughter of a footsoldier, Miller grew up in poverty in the back
streets of Chelsea, close to Holman Hunt’s studio.<span style="mso-spacerun: yes;"> </span>Aged 18 she posed for the figure of a
remorseful ‘fallen woman’ in his <i>The Awakening Conscience</i>.<span style="mso-spacerun: yes;"> </span>Hunt then paid for her to be educated in
literacy and ladylike manners as a suitable wife.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #bf9000; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #BF9000; mso-style-textfill-fill-colortransforms: lumm=75000; mso-style-textfill-fill-themecolor: accent4; mso-themecolor: accent4; mso-themeshade: 191;"><span style="font-size: medium;">During Hunt’s travels in Egypt and Syria in 1854-6 she posed for
John Millais, D.G.Rossetti. Arthur Hughes, Charles Collins and others. ‘She is a good
girl and behaves herself very properly’, Millais reported.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #bf9000; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #BF9000; mso-style-textfill-fill-colortransforms: lumm=75000; mso-style-textfill-fill-themecolor: accent4; mso-themecolor: accent4; mso-themeshade: 191;"><span style="font-size: medium;">In 1859, Hunt ended their engagement on the grounds of Annie’s ‘wilfulness’
and frivolity.<span style="mso-spacerun: yes;"> </span>He offered assisted emigration,
which she rejected in favour of modelling. ‘She <span style="mso-spacerun: yes;"> </span>looks more beautiful than ever’, noted George
Boyce.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #bf9000; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #BF9000; mso-style-textfill-fill-colortransforms: lumm=75000; mso-style-textfill-fill-themecolor: accent4; mso-themecolor: accent4; mso-themeshade: 191;"><span style="font-size: medium;">When she encountered Rossetti at the International Exhibition in
1862, she was with ‘rather a swell’ and looking very handsome.<span style="mso-spacerun: yes;"> </span>Her escort was an officer in the Volunteer
reserve forces related to Lord Ranelagh named Thomas Thompson.<span style="mso-spacerun: yes;"> </span>He and Annie married in 1863.<span style="mso-spacerun: yes;"> </span>With a son and a daughter the couple moved to
Richmond and then the south coast, where Annie died at age 90.<o:p></o:p></span></span></p><br /><p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com1tag:blogger.com,1999:blog-7770908538615762946.post-74965027751288513122023-07-30T17:57:00.001+01:002023-10-03T16:14:55.770+01:00PR Sisters 1<p>Exhibition labels are fugitive texts. They are also compressed and strictly informative. It's instructive to see how they read a few, or many, years later. There follow those from the 2019-20 NPG exhibition</p><p><br /></p><p><span style="font-family: times;"> <span style="font-size: large;"><span style="color: #7030a0;">ELIZABETH SIDDAL</span><span style="color: #7030a0;"> </span><span style="color: #7030a0;">1829-1862##</span></span></span></p>
<p class="MsoNormal"><span style="color: #7030a0;"><span style="font-family: times; font-size: large;">The London-born daughter of a
Sheffield cutler and shopkeeper, she entered the Pre-Raphaelite world modelling
for Walter Deverell, Holman Hunt and John Millais before becoming Dante Gabriel
Rossetti’s model and muse.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #7030a0;"><span style="font-family: times; font-size: large;">Tall, slim and pale, with auburn
hair, she was not considered beautiful by conventional standards, but appeared
so in images like Millais’ Ophelia and Rossetti’s Beatrice.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #7030a0;"><span style="font-family: times; font-size: large;">An aspiring artist, she was the
sole female exhibitor in the 1857 Pre-Raphaelite show that travelled to the
US. Inspired by the poetry of Tennyson and
Browning and Scottish ballads, her watercolour works were on a small scale,
suitable for illustration. <o:p></o:p></span></span></p>
<div style="text-align: left;"><span style="color: #7030a0; line-height: 107%;"><span style="font-family: times; font-size: large;">After a long engagement she
and Rossetti married in 1860, becoming friends with Jane and William Morris and
the Burne-Joneses. In 1861 her daughter
was stillborn, causing post-natal psychosis, and subsequent death from opiate
overdose. Later, Rossetti retrieved
the poems he had placed in her coffin, explaining that ‘art was the only thing
for which she felt seriously [and] had it been possible, I should have found
the book on my pillow the night she was buried.’ </span></span></div>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-33560259074151177832023-07-07T15:08:00.000+01:002023-07-07T15:08:21.815+01:00Bring Winifred home to Yorkshire<p> </p><p><b style="color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 14pt; line-height: 21.4667px; outline: none !important;">Help The De Morgan Museum bring Winifred Home. </span></b></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 3pt; outline: none !important;"><b style="outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 14pt; line-height: 21.4667px; outline: none !important;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="outline: none !important;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3DEh7iAW4FluEjCeLyl_KCAFGRkoWrwjGLvdi0oX7IxBeVvOxgiQy_2EilRxrLgqxBUDJyO8C8k5_U8JQ2l4Zp3kmeri61G5OGymY_Wfxwk4aG9qMHXBsLUgvRT8rKxFeOd-uJy0AivrpN8UinKD0OtbBRj8L8b5OaebBHd8XwQUJHIMM3BkG7XZNY6E/s323/EDM%20%20Winifred%20Bulmer%20niece%201880.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="323" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3DEh7iAW4FluEjCeLyl_KCAFGRkoWrwjGLvdi0oX7IxBeVvOxgiQy_2EilRxrLgqxBUDJyO8C8k5_U8JQ2l4Zp3kmeri61G5OGymY_Wfxwk4aG9qMHXBsLUgvRT8rKxFeOd-uJy0AivrpN8UinKD0OtbBRj8L8b5OaebBHd8XwQUJHIMM3BkG7XZNY6E/s320/EDM%20%20Winifred%20Bulmer%20niece%201880.png" width="320" /></a></b></div><b style="outline: none !important;"><br />Support the public display of a rare portrait by Evelyn De Morgan.</b><span lang="EN-US" style="font-size: 14pt; line-height: 21.4667px; outline: none !important;"></span><p></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 16pt; outline: none !important;"><a name="m_9217647798848816689_m_8533918145066041708__bmxkrmeo5imf" rel="nofollow noopener noreferrer" style="outline: none !important;"></a><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">The De Morgan Museum is launching an urgent appeal to bring home and display this captivating portrait by celebrated Victorian female artist, Evelyn De Morgan. Depicting her young cousin, Winifred Bulwer, on one of their family holidays to Cannon Hall, this is a unique example of De Morgan’s seldom-seen portraiture</span></p><p align="center" class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important; text-align: center;"><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><div class="img-preview-wrapper" style="background-color: white; color: #1d2228; font-family: arial, sans-serif; font-size: 13px; outline: none !important;"><img alt="image.png" class="preview" height="23" src="https://apis.mail.yahoo.com/ws/v3/mailboxes/@.id==VjN-_MEbglCqQWVJDU1Cf5DCpMoh1fM46JUYgoOY5-3XEvmdb62VJHRYXGxUYG4yoy6bL8SavZqbqRMOY8DFnuCWyg/messages/@.id==ANfZtBotUNcbZKfMlgSjgDrq3Tk/content/parts/@.id==1.2/thumbnail?appid=YMailNorrin&downloadWhenThumbnailFails=true&pid=1.2" style="cursor: zoom-in; max-width: 100%; outline: none !important; text-indent: -9999px; width: 323px;" width="200" yahoo_partid="1.2" />Ch<b style="font-family: Arial, sans-serif; font-size: 11pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">ampioning a female artist</span></b></div><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">‘Portrait of Winifred Bulwer' (1880) is a stunning oil painting by Evelyn De Morgan (1855 - 1919), one of the most prominent female artists of the Victorian period. De Morgan rose to fame despite the challenges of social convention preventing women from becoming artists. At the beginning of her career, De Morgan made no fewer than three intimate portraits of close family members. With an arresting forward gaze and obvious ease with the artist, these intriguing artworks are unlike De Morgan’s historical and mythological subjects for which she is best known.</span><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important; text-align: center;"><b style="outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">Saving local history</span></b><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">This portrait has been acquired for free public display at the De Morgan Museum at Cannon Hall, Barnsley, once a stunning 16th century mansion at which both artist and sitter spent happy summers with extended family. Displaying the painting here would at once enhance the understanding of De Morgan’s full artistic range and add an important piece of local history. The portrait will be displayed alongside scrapbooks of photographs and drawings which depict Winifred playing in the grounds of Cannon Hall, an activity still enjoyed by thousands of families today.</span><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">With your help, the De Morgan Museum now has the exciting opportunity to ensure this portrait will remain on public display in perpetuity from July 2023, for all to enjoy.</span><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important; text-align: center;"><b style="outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">Please donate</span></b><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">This painting has been purchased with support by Art Fund and <span style="color: black; outline: none !important;">the Arts Council England/V&A Purchase Grant Fund who have recognised the importance of this painting</span> for the De Morgan Museum at Cannon Hall, its audiences, and researchers.</span><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">The De Morgan Museum needs to raise £10,000 to prepare this portrait for display at its museum by Friday 21 July.</span><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">With just two weeks to reach our target, the De Morgan Foundation needs your help urgently. Please give as generously as you can: all donations, no matter how much, bring us one step closer to displaying this masterpiece for everyone to enjoy.</span><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">#BringWinifredHome</span><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important; text-align: center;"><b style="outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">Associated Events</span></b><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">Friday 14 July, 12pm | Online Event</span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"><a fg_scanned="1" href="https://www.eventbrite.co.uk/e/recently-discovered-portrait-by-evelyn-de-morgan-talk-with-jan-marsh-tickets-672888326097?aff=oddtdtcreator" rel="nofollow noopener noreferrer" style="color: blue; outline: none !important;" target="_blank">https://www.eventbrite.co.uk/e/recently-discovered-portrait-by-evelyn-de-morgan-talk-with-jan-marsh-tickets-672888326097?aff=oddtdtcreator</a></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">Learn more about the history of this beautiful painting and the artist who made it with the Director of the De Morgan Museum, Sarah Hardy, in conversation with renowned art historian and Pre-Raphaelite specialist, Jan March.</span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">Sarah and Jan will outline De Morgan’s artistic career with a focus on her other portraits; a rare undertaking for the artist who only painted those closest to her. Sarah will also introduce the sitter, Winifred Bulwer, who was a child when her picture was painted. Much about Winifred’s life is known through scrapbooks which document her childhood family holidays at Cannon Hall, a place of importance to artist and sitter.</span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><b style="outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;">Links</span></b><span lang="EN-US" style="font-size: 10pt; line-height: 15.3333px; outline: none !important;"></span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><b style="outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"><a fg_scanned="1" href="https://www.gofundme.com/manage/help-the-de-morgan-museum-bring-winifred-home" rel="nofollow noopener noreferrer" style="color: blue; outline: none !important;" target="_blank">https://www.gofundme.com/manage/help-the-de-morgan-museum-bring-winifred-home</a></span></b></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><b style="outline: none !important;"><br /></b></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><b style="outline: none !important;"><br /></b></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDyuAtnAJPCxrni7GLaBYvm3ovq1SMabZagkIGhO80nQHT1L1JEiyqqmO0xvu-GVIWcVBtlHcWkMcVRoDixx_RCHID4xvYzRtcokaUNd1RVxKAbxpWcUsphTL2gZe8C9rCCzxqcSI7SZ6Jq6J-mH6v7R5vjRr2q_IGXam9v7s4DYXGC7XLRUJF-9z62Y/s323/EDM%20%20Winifred%20Bulmer%20niece%201880.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="323" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDyuAtnAJPCxrni7GLaBYvm3ovq1SMabZagkIGhO80nQHT1L1JEiyqqmO0xvu-GVIWcVBtlHcWkMcVRoDixx_RCHID4xvYzRtcokaUNd1RVxKAbxpWcUsphTL2gZe8C9rCCzxqcSI7SZ6Jq6J-mH6v7R5vjRr2q_IGXam9v7s4DYXGC7XLRUJF-9z62Y/w400-h399/EDM%20%20Winifred%20Bulmer%20niece%201880.png" width="400" /></a></div><br /><b style="outline: none !important;"><br /></b><p></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p class="yiv7727476017MsoNormal" style="background-color: white; color: #1d2228; font-family: Arial, sans-serif; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; outline: none !important;"><span lang="EN-US" style="font-family: sans-serif; font-size: 10pt; line-height: 15.3333px; outline: none !important;"> </span></p><p><br /></p><br /><p><br /></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-35310856407378955692023-06-29T10:06:00.000+01:002023-06-29T10:06:15.946+01:00Annie Miller<p><span style="font-size: medium;"> <span style="color: #2b00fe;">a wonderful portrait drawing of Annie Miller in 1853 by Holman Hunt that's new to public gaze is being sold at Sothebys on 5 July. the house does not allow capture of the image, but it opens here </span></span></p><p><span style="color: #2b00fe; font-size: medium;"><span style="background-color: white; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif;"> </span><span class="yiv3951630714" style="background-color: white; font-family: Calibri, sans-serif; outline: none !important;"><span class="yiv3951630714" style="outline: none !important;"><a class="yiv3951630714" fg_scanned="1" href="https://www.sothebys.com/en/buy/auction/2023/master-works-on-paper-from-five-centuries-2/annie-miller" rel="nofollow noopener noreferrer" style="outline: none !important;" target="_blank">https://www.sothebys.com/en/buy/auction/2023/master-works-on-paper-from-five-centuries-2/annie-miller</a></span></span></span></p><p><br /></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-21656527257608444572023-06-22T15:33:00.004+01:002023-06-23T09:39:29.844+01:00Coming next spring <p> </p><p><br /></p><p><a href="https://www.tate.org.uk/whats-on/tate-britain/women-artists-in-britain-1520-1920?utm_source=emarsys&utm_medium=email&utm_campaign=20230622_1402_CRM_Jun23_w2_PressAnnouncement24_Active_ADD&sc_src=email_4596650&sc_customer=18853&sc_lid=367641202&sc_uid=dYeQZhbBYW&sc_llid=27742">Women Artists in Britain 1520-1920 | Tate Britain</a></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-22500808106881920992023-06-19T13:26:00.000+01:002023-06-19T13:26:36.253+01:00Art and the US Civil War <p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh9RE8k2yMRBEgb_lrtdVxJ9NO5QVHNlTp4-EzN4L41T7-MUI69KiT5pFKzonaClO9ceid-qOHhfLVNMX83tHU0fFH4d3N8OmExSubLANJaUeLbQN5AnSosCYVjL0jY71Ik20QnUj-nld382wG-BFTdeBJVEqi1eTUF44QLnZRyIStx5NsJc4pOMyU5TQ/s2064/beloved%20on%20easel%20%200220907_143832_resized.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2064" data-original-width="1161" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh9RE8k2yMRBEgb_lrtdVxJ9NO5QVHNlTp4-EzN4L41T7-MUI69KiT5pFKzonaClO9ceid-qOHhfLVNMX83tHU0fFH4d3N8OmExSubLANJaUeLbQN5AnSosCYVjL0jY71Ik20QnUj-nld382wG-BFTdeBJVEqi1eTUF44QLnZRyIStx5NsJc4pOMyU5TQ/w225-h400/beloved%20on%20easel%20%200220907_143832_resized.jpg" width="225" /></a></div><br /><span style="color: #ffa400; font-size: medium;"><br /></span><p></p><p><span style="color: #e06666; font-size: medium;">this week I am contributing to a zoom series on 19th century art by discussing the Pictorial and Political resonances of Rossetti's painting The Beloved. As you know, a favourite of mine.</span></p><p><span style="color: #e06666; font-size: large;">the course is listed here, and the date/time/details are for 21 JUNE</span></p><p><span style="color: #e06666; font-size: medium;"><a href="https://www.nationalgallery.org.uk/events/course-stories-of-art-1800-1900" target="_blank">https://www.nationalgallery.org.uk/events/course-stories-of-art-1800-1900</a><br /></span></p><p><span style="color: #ffa400; font-size: medium;"><br /></span></p><p><br /></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-55019487683467412222023-06-10T18:40:00.000+01:002023-06-10T18:40:07.471+01:00Young Teacher<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8DvGmyLCPr7kc3thADXHKAbViD7idfBCP77aS6m7MUP8x_DNWVUouhvk3tS3IfJZeITYMNSwTcDJsnHO2aQ9LS05J9-cvt11uJJX0QMv17vE5wHpnSRZuzFjP3nsvkGEF-pYTEVI_jm-7pPJ6ZjE4KvFF2W-FhDVfla7XeWkdEqhqYK8P1alcOLkd/s1627/Rebecca_Solomon_A_Young_Teacher_1861._Tate_an.width-1440.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1627" data-original-width="1440" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8DvGmyLCPr7kc3thADXHKAbViD7idfBCP77aS6m7MUP8x_DNWVUouhvk3tS3IfJZeITYMNSwTcDJsnHO2aQ9LS05J9-cvt11uJJX0QMv17vE5wHpnSRZuzFjP3nsvkGEF-pYTEVI_jm-7pPJ6ZjE4KvFF2W-FhDVfla7XeWkdEqhqYK8P1alcOLkd/w354-h400/Rebecca_Solomon_A_Young_Teacher_1861._Tate_an.width-1440.jpg" width="354" /></a></div><br /><p><br /></p><p><span style="color: #b45f06; font-family: times; font-size: medium;">the good news is that Rebecca Solomon's Young Teacher, depicting two white children with their ayah or Indian nanny painted from Fanny Eaton, has finally and formally been acquired as a joint acquisition by Tate Britain and the Museum of the Home in London</span></p><p><a href="https://www.tate.org.uk/press/press-releases/tate-and-museum-of-the-home-jointly-acquire-rebecca-solomons-a-young-teacher"><span style="color: #b45f06; font-family: times; font-size: medium;">Tate and Museum of the Home jointly acquire Rebecca Solomon’s A Young Teacher – Press Release | Tate</span></a></p><p><span style="color: #b45f06; font-family: times; font-size: medium;"><span face="foundersLight, Arial, Helvetica, sans-serif" style="background-color: white;"> as they say, it's a painting 'o</span><span style="background-color: white;">f enormous significance</span><span style="background-color: white;"> where the themes of race, class, faith and gender intersect', most notably in respect of the role played by women from India in sustaining the British Raj in the 19th century.</span></span></p><p><a href="https://www.museumofthehome.org.uk/explore/museum-in-action/rebecca-solomon-a-young-teacher/">Museum of the Home and Tate jointly acquire Rebecca Solomon's A Young Teacher | Museum of the Home</a></p><p><span style="color: #b45f06; font-family: times; font-size: medium;"><span style="background-color: white;">It'll shortly be on view at Millbank, in re-ordered British art rooms.</span></span></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-12677113189483690572023-05-14T19:39:00.000+01:002023-05-14T19:39:49.469+01:00Siddal : Her Story <p> </p><p class="MsoNormal"><span style="line-height: 115%;"><span style="font-size: 12pt;">I</span><span style="color: #990000; font-family: helvetica; font-size: medium;">gnore for
the moment the familiar but uncorroborated tale of Walter discovering Lizzie
working in a milliner’s shop. It dates
from the 1880s when all the witnesses were dead, whereas in 1857, Lizzie gave a
different account to relatives in Sheffield. </span></span></p><p class="MsoNormal"><span style="line-height: 115%;"><span style="color: #990000; font-family: helvetica; font-size: medium;">In this, she claimed to have become acquainted with the Deverell family
as a dressmaker and to have shown her own drawings to Walter’s father, who was
principal of the government-funded School of Design in London. Through his encouragement, she met Walter and
the young members of the Pre-Raphaelite Brotherhood, including Rossetti and
Holman <o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="line-height: 115%;"><span style="color: #990000; font-family: helvetica; font-size: medium;">This
narrative is itself untrustworthy, as it proceeds to claim that Walter proposed
marriage to Siddal, and that after his death Hunt introduced her to
Ruskin. </span></span></p><p class="MsoNormal"><span style="line-height: 115%;"><span style="color: #990000; font-family: helvetica; font-size: medium;">But it includes the vital detail
of Lizzie’s artistic endeavours before she met the PRBs – aspirations that shaped
later events. It glides over another
detail, which is her initiative in presenting her work to Mr Deverell,
presumably to ask his opinion. </span></span></p><p class="MsoNormal"><span style="line-height: 115%;"><span style="color: #990000; font-family: helvetica; font-size: medium;">One can’t
immediately imagine what her ‘own designs’ depicted. Perhaps
they illustrated poetic or biblical texts, like some of her later works. Maybe
they were fashion sketches like those printed in the new weekly magazines. </span></span></p><p class="MsoNormal"><span style="line-height: 115%;"><span style="color: #990000; font-family: helvetica; font-size: medium;">One likely response would be advice to study
formally, in the female classes run under the School of Design’s aegis; aimed
at training artisans in draughtsmanship and basic design, these were
appropriate to those working in the fashion trades, or to women seeking
employment in colouring up engraved prints.
</span><span style="font-size: 12pt;"><o:p></o:p></span></span></p><p class="MsoNormal"><span style="line-height: 115%;"><span style="color: #990000; font-family: helvetica; font-size: medium;"><br /></span></span></p><p class="MsoNormal"><span style="line-height: 115%;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="line-height: 115%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQk6pgk_LSfvLf_wib5SHe4fC9DLVxaqbQSV1KjoocSbbCuMGqqhFNULzRK4Kqdd9JSY8VkUbgjGvMML4YXhr2mDBO6FMOXBX-ybDfb2MPtJEvrnXiKU9DkOj6JOc3htuDL8IObkWoRiiLQ4IcARSxfWJ1h7vm-_YMf4dRA8OOBP1WTmM3jtjqk2-e/s1588/EES%20jacket%20%20%2020230514_190654_resized_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1588" data-original-width="1432" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQk6pgk_LSfvLf_wib5SHe4fC9DLVxaqbQSV1KjoocSbbCuMGqqhFNULzRK4Kqdd9JSY8VkUbgjGvMML4YXhr2mDBO6FMOXBX-ybDfb2MPtJEvrnXiKU9DkOj6JOc3htuDL8IObkWoRiiLQ4IcARSxfWJ1h7vm-_YMf4dRA8OOBP1WTmM3jtjqk2-e/w361-h400/EES%20jacket%20%20%2020230514_190654_resized_1.jpg" width="361" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="line-height: 115%;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="line-height: 115%;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="line-height: 115%;"><span style="color: #990000; font-size: large;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="line-height: 115%;"><a href="https://www.networkbooks.biz/shop/elizabeth-siddal-her-story-by-jan-marsh"><span style="color: #990000; font-size: large;">Elizabeth Siddal: Her Story, by Jan Marsh — Pallas Athene and Network Books</span></a></span></div><span style="line-height: 115%;"><br /><span style="color: #990000; font-family: helvetica; font-size: medium;"><br /></span></span><p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-71417682562877350842023-04-22T13:22:00.000+01:002023-04-22T13:22:43.949+01:00Marie Spartali blue plaque<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoj-H1MqqGT-vduEQ6ey7wdWn6jYnkCRyLWors_JzSoHdcqMbEty8Mq9av6GSewh4pcHNJodUYF03TI8W0rBACXfEjnKNNSXFEbbNTY5IXhVQj_ZUvFly2A_0UzhMHNeK0tpPRyCJP84IeQfBOOcXs5l6HpTHoq8iHLWeoRnAl51HecgxqHI95ITPF/s350/mariespartalistillman-blueplaque-studio-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="350" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoj-H1MqqGT-vduEQ6ey7wdWn6jYnkCRyLWors_JzSoHdcqMbEty8Mq9av6GSewh4pcHNJodUYF03TI8W0rBACXfEjnKNNSXFEbbNTY5IXhVQj_ZUvFly2A_0UzhMHNeK0tpPRyCJP84IeQfBOOcXs5l6HpTHoq8iHLWeoRnAl51HecgxqHI95ITPF/w400-h400/mariespartalistillman-blueplaque-studio-web.jpg" width="400" /></a></div><br /><p></p><p>Th<span style="color: #0b5394; font-size: large;">e English Heritage plaque newly installed at the former Spartali family home on Clapham Common, aka 2 Lavender Gardens.</span></p><p><span style="color: #0b5394; font-size: large;"><br /></span></p><p><span style="color: #0b5394; font-size: large;">it was called The Shrubbery, but alas lost its extensive grounds as well as entrance drive to suburban building. </span></p><p><span style="color: #0b5394; font-size: large;">I suspect the lost Shrubbery is depicted in Spartali's early work </span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #0b5394; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_bwa0D_oH_nGXDlFPzN_kQFZ_LYEF9_2-eOIXgBJOYe34JD6c0EHvNdHdByC4LG5OiURNUuGhKoS8ykrddp56w_Vrp1V7kRE5ZMtU0ZCKiyE6Zs5rGt_4vsvXexDdTrK0Eo84g7waFKierJZemYzJYG9yDXh7_WdQ1otASL3Fh0CyIrC68wTJd7-/s1935/L-2014-54.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1403" data-original-width="1935" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_bwa0D_oH_nGXDlFPzN_kQFZ_LYEF9_2-eOIXgBJOYe34JD6c0EHvNdHdByC4LG5OiURNUuGhKoS8ykrddp56w_Vrp1V7kRE5ZMtU0ZCKiyE6Zs5rGt_4vsvXexDdTrK0Eo84g7waFKierJZemYzJYG9yDXh7_WdQ1otASL3Fh0CyIrC68wTJd7-/w640-h464/L-2014-54.jpg" width="640" /></a></span></div><span style="color: #0b5394; font-size: large;">showing the lapdog that La Belle Iseult was given by Sir Tristram recognising him in the garden, according to Malory. sorry image is dark.</span><p></p><p>It</p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-4845618258021680072023-04-17T15:01:00.000+01:002023-04-17T15:01:11.779+01:00Armida's seductive garden <p> </p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJF7JDZ-jP9rQTopw-nOU3GJf1XzaOeKQKzbuU7mYxw9snNLAxWvruXB25XkIFofE600VDovsv6g68AuOesCnn-cw0UyXZ5pblvgl5ZAe8vwrtJE9GQ6g5sxj6CFjJDZBnmnSg2hCjC0dFhR1FqJvZAVC2IYBRT5p0eapBqVpqnHaQW-DCwZCltiOf/s1935/L-2014-53.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1935" data-original-width="1402" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJF7JDZ-jP9rQTopw-nOU3GJf1XzaOeKQKzbuU7mYxw9snNLAxWvruXB25XkIFofE600VDovsv6g68AuOesCnn-cw0UyXZ5pblvgl5ZAe8vwrtJE9GQ6g5sxj6CFjJDZBnmnSg2hCjC0dFhR1FqJvZAVC2IYBRT5p0eapBqVpqnHaQW-DCwZCltiOf/w290-h400/L-2014-53.jpg" width="290" /></a></div><p class="MsoNormal">A London blue plaque for Marie Spartali Stillman is being
installed at the former Spartali home just off Clapham Common.<span style="mso-spacerun: yes;"> </span>Now located at 2 Lavender Gardens, the
Regency-era mansion to which the wealthy, exiled Greek family moved in 1864 was
called The Shrubbery thanks to its extensive grounds.<o:p></o:p></p>
<p class="MsoNormal">The English Heritage plaque memorialises the artist whom
Henry James described as a sincere, spontaneous Pre-Raphaelite in the Victorian
art movement that now carries that name, and one who ‘inherited the traditions
and the temper‘ of the original early Italians who inspired the PRB.<o:p></o:p></p>
<p class="MsoNormal">Marie studied with Ford Madox Brown, who became a lifelong
friend and mentor.<span style="mso-spacerun: yes;"> </span>She was close to
Brown’s daughters Lucy and Catherine, who also became artists, and knew other
members of the art world – Rossetti, Burne-Jones, Julia Cameron, William and
Janey Morris. <span style="mso-spacerun: yes;"> </span>The home circle was Greek
Orthodox, including the Cassavetti, Coronio, Ralli and Ionides families.<span style="mso-spacerun: yes;"> </span>Her first pictures were inspired by her Greek
heritage featuring classical heroines Antigone and Corinna, followed by
medieval figures from the British myths of King Arthur.<o:p></o:p></p>
<p class="MsoNormal">She also produced a range of work in other genres, notably
vibrant flowerpieces and landscapes, mainly set in the Isle of Wight, where the
Spartalis had a summer home, and where they were acquainted with photographer
Julia Margaret Cameron, for whom Marie posed in a number of ‘subject’ pictures,
as Hypatia, as the mother of the Muses and as the Spirit of the Vine. Later, in
the spirit of friendship, she also sat to fellow artists Brown, Rossetti, and
Burne-Jones. <o:p></o:p></p>
<p class="MsoNormal">Unusually for her time, her gender and her social class,
Marie determined on being a professional artist, which was challenging. <span style="mso-spacerun: yes;"> </span>When she sold her first picture, to a rich
shipowner, her father urged her to make it a gift,<span style="mso-spacerun: yes;"> </span>lest a sale suggest he could not maintain his
family.<span style="mso-spacerun: yes;"> </span>Naturally modest, she was also
inhibited by the proscription on women and publicity.<span style="mso-spacerun: yes;"> </span>As Virginia Woolf noted, ‘The chief glory of
a woman is not to be talked of, said Pericles’,<span style="mso-spacerun: yes;">
</span>yet the prime duty of an artist was to ‘make a name’.<span style="mso-spacerun: yes;"> </span>Whereas Rossetti, for example, told each client
that the current painting was his best to date, Marie tended, in the words of
one friend to ‘run down her own work’. <o:p></o:p></p>
<p class="MsoNormal">Her own ambition was further constrained by sympathy for
others.<span style="mso-spacerun: yes;"> </span>She fell for William Stillman,
an American widower with three children whose reports of Ottoman repression in
Crete made him a minor hero in London, and later devoted much time to caring
for her sister with mental health problems.<span style="mso-spacerun: yes;">
</span>When she defied her parents to marry Stillman<span style="mso-spacerun: yes;"> </span>(they suspected him of fortune-hunting) she
redoubled her efforts to paint and sell,<span style="mso-spacerun: yes;">
</span>following the current Aesthetic fashion for half-length female figures
surrounded by flowers, with poetic titles.<span style="mso-spacerun: yes;">
</span>Steadily, these developed into figural scenes from Italian authors
Dante, Petrarch, Boccaccio,<span style="mso-spacerun: yes;"> </span>a trend that
hallmarked mid-period Pre-Raphaelitism.<o:p></o:p></p>
<p class="MsoNormal">Stillman became a foreign correspondent for the Times,
specialising in Balkan and Italian affairs.<span style="mso-spacerun: yes;">
</span>The family therefore lived for some years in Florence, and then Rome,
where Marie painted<span style="mso-spacerun: yes;"> </span>during winter months,
returning to Britain with pictures for the summer exhibitions.<span style="mso-spacerun: yes;"> </span>Her output over five decades was extensive,
and though the titles of many works are known from exhibition records, a substantial
number have vanished from view, only now <span style="mso-spacerun: yes;"> </span>surfacing again via auction houses.<span style="mso-spacerun: yes;"> </span>She exhibited most regularly in London, but
also occasionally in Paris, latterly in Rome, and also in the United
States,<span style="mso-spacerun: yes;"> </span>where her son Michael Stillman
forged a successful architectural career.<span style="mso-spacerun: yes;">
</span>Her daughter Effie became a sculptor and her step-daughter Lisa an
artist in crayon and watercolour.<o:p></o:p></p>
<p class="MsoNormal">Thanks to the support shown to Marie and William by Leslie
and Julia Stephen, the families became close to each after Julia Stephen’s
death, when her daughter Vanessa spent time working in Lisa’s studio,
watchfully observed by the young Virginia Woolf.<span style="mso-spacerun: yes;"> </span>Something of Marie’s determined art practice
seems reflected in Woolf’s insistence that the first need for an artistic
woman<span style="mso-spacerun: yes;"> </span>is a room on her own.<o:p></o:p></p>
<p class="MsoNormal">Marie’s late work, <i>A rose from Armida’s Garden</i> (1894)
brings together several strands in her career.<span style="mso-spacerun: yes;">
</span>Delicately drawn and sweetly coloured, it joins her other ‘Rossettian’
female half-lengths that were so popular with clients and now tend to define
‘PreRaphaelitism’. <span style="mso-spacerun: yes;"> </span>The subject is the
alluring figure of Amida from Gerusalemme Liberata, the fanciful Italian epic about
the Crusades by Torquato Tasso, with elements taken from Ariosto. <span style="mso-spacerun: yes;"> </span>Armida abducts the knight Rinaldo to her
magical garden, where he forgets and forsakes his crusading task, until all
enchantment is defeated and Jerusalem is besieged. <o:p></o:p></p>
<p class="MsoNormal">Spartali’s sorceress <span style="mso-spacerun: yes;"> </span>belongs with other fin de siècle femmes
fatales, who divert romantic heroes from their sterner masculine duties.<span style="mso-spacerun: yes;"> </span>She is also a figure of the allurements of
visual pleasure in art, offering escape from the realities of life, and false
promises of glory.<span style="mso-spacerun: yes;"> </span>In this guise she links
back thirty years to Spartali’s Antigone, the heroine who refuses to forsake
duty, a link that obliquely draws attention to the emptiness most of
late-Victorian art, and does so by very beautiful means.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><br /><p></p><br />Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-52065058747751050602023-03-03T15:05:00.001+00:002023-03-03T15:05:48.660+00:00Bid thy wife her kitchen mind<p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdyPcVrptAYKCxArSM48qxD8L9LNddyqi_kwryAdYw_Ugo2vJFb6KT1PCcoIUE_VhIN8lplqBSqbeZDX3z4X8ktZShEicjN7JU9_rLjF2thLN5NAXAIRGzL5GQINhejk8cKQLs3DkMIJGSLYPr461gOns-tUru7veTOgK49k1d61o_WHRuTQb4aHl-/s2000/Claxton%20women's%20Work%20%20conserved%20%20%20%20%20L23008_CK3GM_T3_02_Cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1284" data-original-width="2000" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdyPcVrptAYKCxArSM48qxD8L9LNddyqi_kwryAdYw_Ugo2vJFb6KT1PCcoIUE_VhIN8lplqBSqbeZDX3z4X8ktZShEicjN7JU9_rLjF2thLN5NAXAIRGzL5GQINhejk8cKQLs3DkMIJGSLYPr461gOns-tUru7veTOgK49k1d61o_WHRuTQb4aHl-/w447-h287/Claxton%20women's%20Work%20%20conserved%20%20%20%20%20L23008_CK3GM_T3_02_Cropped.jpg" width="447" /></a></div><br /><p></p><p><span style="color: #cc0000; font-family: inherit; font-size: medium;">The long-invisible yet frequently invoked painting Women's Work: A Medley by Florence Claxton is being auctioned at Sothebys on 16 March. It has been splendidly cleaned and now looks superb. Here's hoping it will find a new and public home.</span></p><p><span style="color: #cc0000; font-family: inherit; font-size: medium;">In it, Claxton illustrates the many obstacles faced by aspiring female professionals and the few occupations open, all centred around male gender supremacy. </span></p><p><span style="color: #cc0000; font-family: inherit; font-size: medium;">Here's the thing [as we say now] For decades/centuries women's art ambitions were seriously hampered by the dominant [i.e. masculine] belief that no wife should pursue extra-domestic activities, and no husband should permit, let alone assist a wife to do so. In 1782 a satire demanded that Richard Cosway recall Maria to her first duty - 'shirts and shifts be making or be mending'. 'If Madam cannot make a shirt,' this continued; 'Or mend, or from it wash the dirt, Better than paint,' then Richard's stockings would be full of holes and his manhood in shreds. Even when fully capable of managing a household and educating children as well as making and mending, women who had grown up to regard marriage as their first aim - and had no other income - could seldom risk exposing husbands to mockery.</span></p><p><span style="color: #cc0000;"><span style="font-family: inherit; font-size: medium;">When Effie Gray married Everett Millais [as she chose to call him in reaction to the name John] he delegated to her all domestic responsibilities, including his social and professional diary. Friends and clients were told that she made all such arrangements - a duty that was probably not interrupted by the birth of eight children.</span></span></p><p><span style="color: #cc0000;"><span style="font-family: inherit; font-size: medium;">Several mid-20th century artists - a list would be useful - are on record as announcing that there could be only one professional in the house, and he must take precedence in respect of studio space, exhibitions, sales, critical reputation and public esteem. Wikipedia states that when John Bratby did not receive the same recognition as his wife Jean Cooke, he often painted over or slashed her canvases and restricted her painting time to three hours in the morning. </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlC9ocqGvnPfz7vbF6mK_SXpIwL7i4GKLBk07zjh4ddo6JxiI450u9GgEBO-nw3B37QZ1oyrpXn1WmcPxlbtaRpcKavJEH6r8Yt6EhOSygCPF2LqpHMperGTa-Jc5T3flaDHAlRAMFYNc5A6q9gfTWH6Yn-bGYXABQ2IbCS5N9fi-nTFLWot_gnuot/s649/Jean%20Cooke%20Bratby%20%20John%20Bratby%201962%20%20%20%20WMR_RCA_Z09080163-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="300" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlC9ocqGvnPfz7vbF6mK_SXpIwL7i4GKLBk07zjh4ddo6JxiI450u9GgEBO-nw3B37QZ1oyrpXn1WmcPxlbtaRpcKavJEH6r8Yt6EhOSygCPF2LqpHMperGTa-Jc5T3flaDHAlRAMFYNc5A6q9gfTWH6Yn-bGYXABQ2IbCS5N9fi-nTFLWot_gnuot/w296-h640/Jean%20Cooke%20Bratby%20%20John%20Bratby%201962%20%20%20%20WMR_RCA_Z09080163-001.jpg" width="296" /></a></span></div><span style="font-family: inherit; font-size: medium;"><br /></span><p></p><p><span style="color: #cc0000;"><span style="font-family: inherit; font-size: medium;">She retaliated with a great portrait of 'the artist as sulky husband'. and years later with a self portrait 'Not Waving but Painting'. </span></span></p><p><span style="color: #cc0000;"><span style="font-family: inherit; font-size: medium;"> </span></span></p><div class="separator" style="clear: both; font-size: large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrLBFaGIGk3-vvqHPLaUdmzdG2DmRr186Y0CQomJYYqJENgnTf_NnsZk2AKm1Y36f_-CcDBtzfvkOalXIcW-KF7CiaJ7fho2s9ePQoEg_FP8nCMEOhY2dWZ2FcxN5qvEmd4HKgWjGKT6p5FvgwSWaOOw9biZklAo7Xq4puGPzN6iwFktaVIDga7-Y6/s944/Jean%20Cooke%20Bratby%20Not%20Waving%20just%20Painting%20%201996%20LLR_LCNUG_1996_5-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="935" data-original-width="944" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrLBFaGIGk3-vvqHPLaUdmzdG2DmRr186Y0CQomJYYqJENgnTf_NnsZk2AKm1Y36f_-CcDBtzfvkOalXIcW-KF7CiaJ7fho2s9ePQoEg_FP8nCMEOhY2dWZ2FcxN5qvEmd4HKgWjGKT6p5FvgwSWaOOw9biZklAo7Xq4puGPzN6iwFktaVIDga7-Y6/w200-h198/Jean%20Cooke%20Bratby%20Not%20Waving%20just%20Painting%20%201996%20LLR_LCNUG_1996_5-001.jpg" width="200" /></a></div><br /><p></p><p><span style="color: #cc0000; font-size: large;"><br /></span></p><p><span style="color: #cc0000; font-size: large;"> ' </span></p><p><br /></p><p><span style="font-size: large;"><span style="color: #cc0000;"> </span> </span></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-13328401566758048772023-02-27T13:23:00.001+00:002023-02-27T13:23:06.867+00:00Margravine Cemetery<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikWV210rDAhu-Yyps4TjRsgJh2JkXFh9lT7BmGXkO5w0-aozk0LSogVVdeIEH6-fjkos1dowW6FFD6fjY7VNXdGgKK0frvnBg81-Mr1VdLiLUPneVtn3kOp7IWYY0CjJwRkAJrvxAi5IYYCBz-YQL5EhrdPk1VRi6d7chEvuP97A8B0XkdCKdQF1m6/s516/Margravine%20anny%20Eaton%20grave%20spot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #6aa84f;"><img border="0" data-original-height="516" data-original-width="387" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikWV210rDAhu-Yyps4TjRsgJh2JkXFh9lT7BmGXkO5w0-aozk0LSogVVdeIEH6-fjkos1dowW6FFD6fjY7VNXdGgKK0frvnBg81-Mr1VdLiLUPneVtn3kOp7IWYY0CjJwRkAJrvxAi5IYYCBz-YQL5EhrdPk1VRi6d7chEvuP97A8B0XkdCKdQF1m6/w300-h400/Margravine%20anny%20Eaton%20grave%20spot.jpg" width="300" /></span></a></div><span style="color: #6aa84f;"><br /> <span style="font-size: large;">right here, virtually underneath the towering Charing X Hospital in Hammersmith, the location of Fanny Eaton's grave will be permanently marked on Saturday 4 March 2023 at 12.00 noon. </span></span><p></p><p><span style="color: #6aa84f;"><span style="font-size: large;">As this photo shows, Brian and Mary Eaton identified the spot six years ago after ongoing research and following obstacles and procedures of various kinds including covid they have now succeeded in publicly memorialising Brian's great-grandmother. All welcome to come along.</span></span></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-16311194748627968632023-01-31T13:09:00.000+00:002023-01-31T13:09:18.677+00:00blue plaques<p> new blue plaques in London</p><p>for CLAUDIA JONES</p><p>and </p><p>MARIE SPARTALI STILLMAN </p><p>and</p><p>EMILY DAVIDSON </p><p>and </p><p>SOPHIA DULEEP SINGH </p><p>and </p><p>ADA SALTER</p><p>announced by English Heritage, in its efforts towards gender and diversity levelling </p><p> here is the EH press release. Below: The Shrubbery on Clapham Common, the Spartali family home </p><p><br /></p><p><span style="background-color: white; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; font-weight: 700;">In 2023 English Heritage blue plaques will be unveiled to, among others: *</span></p><p style="background-color: white; box-sizing: border-box; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; line-height: 1.6; margin: 0px 0px 1.25rem; padding: 0px; text-rendering: optimizelegibility;"><span style="box-sizing: border-box; font-weight: 700; line-height: inherit;">Princess Sophia Duleep Singh (1915–1964):</span> Daughter of the deposed Maharajah Duleep Singh (who already has a plaque in Holland Park) and goddaughter of Queen Victoria, Princess Sophia Duleep Singh was an active suffragette and made full use of her royal title to generate support for female enfranchisement. She was a dedicated member of the Women’s Social and Political Union (WSPU) and the Women’s Tax Resistance League (WTRL). The plaque will mark the large house near Hampton Court Palace which was granted to Sophia and her sisters as a grace and favour apartment by Queen Victoria in 1896.</p><p style="background-color: white; box-sizing: border-box; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; line-height: 1.6; margin: 0px 0px 1.25rem; padding: 0px; text-rendering: optimizelegibility;"><span style="box-sizing: border-box; font-weight: 700; line-height: inherit;">Claudia Jones (1915–1964):</span> The plaque to journalist and anti-racism activist Claudia Jones will mark the shared dwelling in Vauxhall that was her home for nearly four years, making it her longest place of settled residence in London. It was during this time that Jones founded the West Indian Gazette and came up with the idea of bringing Caribbean carnival to London. The first carnival took place St Pancras Town Hall on 30 January 1959, and later evolved into an outdoor event, the Notting Hill Carnival.</p><p style="background-color: white; box-sizing: border-box; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; line-height: 1.6; margin: 0px 0px 1.25rem; padding: 0px; text-rendering: optimizelegibility;"><span style="box-sizing: border-box; font-size: 1.125rem; font-weight: 700; line-height: inherit;">Ada Salter (1866–1942):</span><span style="font-size: 1.125rem;"> </span><span style="font-size: 1.125rem;">Ada Salter became Mayor of Bermondsey in 1922 – London’s first female mayor of a London borough and the first Labour woman to be elected as a mayor in Britain. She also served as a Bermondsey borough councillor and represented Bermondsey West on the London County Council. She had a profound and lasting impact on the hitherto deprived borough, which, by the end of the 1930s, boasted a public health service, palatial baths and wash-houses, and ambitious programmes to clear slums, build new housing and playgrounds, and plant thousands of trees. This revolution was largely due to Ada Salter, who never wavered in believing that beauty, health and welfare were inseparable. The plaque will mark the Southwark building where Ada lived in the late 1890s.</span></p><p style="background-color: white; box-sizing: border-box; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; line-height: 1.6; margin: 0px 0px 1.25rem; padding: 0px; text-rendering: optimizelegibility;"><span style="box-sizing: border-box; font-weight: 700; line-height: inherit;">Marie Spartali Stillman (1844–1927):</span> As a Pre-Raphaelite model, Marie Spartali Stillman featured in paintings by artists including Dante Gabriel Rossetti and Edward Burne-Jones. While she became renowned for her classic beauty, she was equally admired as painter. Trained by the Pre-Raphaelite painter, Ford Madox Brown, Spartali Stillman was one of only a small number of professional women artists of the late nineteenth century. She will be commemorated in Clapham, at the house where she first began to realise her ambition of becoming an painter.</p><p style="background-color: white; box-sizing: border-box; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; line-height: 1.6; margin: 0px 0px 1.25rem; padding: 0px; text-rendering: optimizelegibility;"><span style="box-sizing: border-box; font-weight: 700; line-height: inherit;">Emily Wilding Davison (1872–1913):</span> Emily Wilding Davison is one of the best-known suffragettes. Her tireless campaigning for women’s suffrage led to repeated arrests and imprisonment, when she would have endured numerous bouts of solitary confinement and force-feeding. Davison’s actions at the Derby on 4 June 1913 – when an act of protest led to her death – continue to resonate over a century after her death. Her plaque will mark the Kensington house where she lived as she completed her schooling at Kensington High School and embarked on her course at Royal Holloway College, only to have her plans dashed by the severe financial hardship caused by her father’s sudden death.</p><p style="background-color: white; box-sizing: border-box; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; line-height: 1.6; margin: 0px 0px 1.25rem; padding: 0px; text-rendering: optimizelegibility;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG1BlMcFtTqwbphIjBRpuvLYsaqlE9QoDYskJMFVQ3xpPLcULkjsN2O86nWZS7tGcktGaY_x4f8VXzoQUlWD1UDHaPtCXRzwyh18C6-jl3dYhkouGlCECz8U60JjRiijMOpRRbGw6L0kLloLHLaDTG3SFJNERzBpEyHlnIsiwDKwUTU1cGJFJ1WZNZ/s1930/Shrubbery%20rear%20view.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1287" data-original-width="1930" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG1BlMcFtTqwbphIjBRpuvLYsaqlE9QoDYskJMFVQ3xpPLcULkjsN2O86nWZS7tGcktGaY_x4f8VXzoQUlWD1UDHaPtCXRzwyh18C6-jl3dYhkouGlCECz8U60JjRiijMOpRRbGw6L0kLloLHLaDTG3SFJNERzBpEyHlnIsiwDKwUTU1cGJFJ1WZNZ/w400-h266/Shrubbery%20rear%20view.JPG" width="400" /></a></div><br /><p style="background-color: white; box-sizing: border-box; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; line-height: 1.6; margin: 0px 0px 1.25rem; padding: 0px; text-rendering: optimizelegibility;"><br /></p><p><br /></p><p><br /></p><p style="background-color: white; box-sizing: border-box; color: #373737; font-family: "Gill Sans Light"; font-size: 1.125rem; line-height: 1.6; margin: 0px 0px 1.25rem; padding: 0px; text-rendering: optimizelegibility;"><br /></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-63774325364997309782023-01-11T17:51:00.000+00:002023-01-11T17:51:34.208+00:00Ignatius Sancho<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-9R5wFxp9S8iURrKqmRPK0zJx6W-RxH4AeKRun4oTdMA3Omq2Xb90UMRYNeFe98RdcLpqDb1IHsSma_oZ3xkC77gBo1nL5czUvt6mSdbvhB8S9QM2c6-tyaK_6jfctgvGtIVRESE1uc_mwpQ6z1AdOMs5Y0KxaBT3q1NmdLW1mFUH8_pg_IbpP_4r/s385/04%20Gainsborough%20Sancho.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="385" data-original-width="316" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-9R5wFxp9S8iURrKqmRPK0zJx6W-RxH4AeKRun4oTdMA3Omq2Xb90UMRYNeFe98RdcLpqDb1IHsSma_oZ3xkC77gBo1nL5czUvt6mSdbvhB8S9QM2c6-tyaK_6jfctgvGtIVRESE1uc_mwpQ6z1AdOMs5Y0KxaBT3q1NmdLW1mFUH8_pg_IbpP_4r/w329-h400/04%20Gainsborough%20Sancho.jpg" width="329" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #e69138;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #e69138;">the half-length portrait of Ignatius Sancho by Thomas Gainsborough is famous, but sadly for British fans it's now far away in Canada. In compensation, the miniature copy by an unknown artist that recently came to light is now on display at Gainsborough House in Sudbury, as centrepiece of a room devoted to the Abolition campaign in the 18th century, to which Sancho was a prime contributor.</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXKNQoa3ztNeFXeVqVcowEa6rnlQMnMWbz9xkDXYEe4IR26blxU4QCWnBE_0gMMJGdWe_cqUfIZU_ReUo6RSJ7qLcvPSqBiVTZcLYmIKKEQfg42vviNYFT08dpZXlMUIjju1YT487hMEOcZcfccx7vwvRlehG_ux2vGmlTYRP4rtaXtwNRi8wWv-W1/s657/Ignatius%20Sancho%20miniature%20EaTZv_rXgAIwfDs.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="color: #e69138;"><img border="0" data-original-height="657" data-original-width="485" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXKNQoa3ztNeFXeVqVcowEa6rnlQMnMWbz9xkDXYEe4IR26blxU4QCWnBE_0gMMJGdWe_cqUfIZU_ReUo6RSJ7qLcvPSqBiVTZcLYmIKKEQfg42vviNYFT08dpZXlMUIjju1YT487hMEOcZcfccx7vwvRlehG_ux2vGmlTYRP4rtaXtwNRi8wWv-W1/s320/Ignatius%20Sancho%20miniature%20EaTZv_rXgAIwfDs.jpg" width="236" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #e69138;">it's in a period frame, and in a glass case, which makes it rather hard to photograph but the tiny size and somewhat tired condition make it all the more compelling.</span></div><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDC9BK-o4L3wcqh5c_Y50nqwkeZiegy59NViLGhWaGhhro_h-5SIPov6irBjGGXZw15K4HmRErAZAybRqaStF6VR7aZS8gZUG6acEgqUy78o65pHhX1Ojp5bnnA3oFUehthVPib0dinrp0qe5E2vTbRq42YREZFhpkV5TYBIwpbtWPuckZFwRFVVSx/s860/Sancho%20miniature%20%20%20GH%20and%20NPG%20.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="color: #e69138;"><img border="0" data-original-height="860" data-original-width="758" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDC9BK-o4L3wcqh5c_Y50nqwkeZiegy59NViLGhWaGhhro_h-5SIPov6irBjGGXZw15K4HmRErAZAybRqaStF6VR7aZS8gZUG6acEgqUy78o65pHhX1Ojp5bnnA3oFUehthVPib0dinrp0qe5E2vTbRq42YREZFhpkV5TYBIwpbtWPuckZFwRFVVSx/w353-h400/Sancho%20miniature%20%20%20GH%20and%20NPG%20.jpg" width="353" /></span></a></div><br /></div><span style="color: #e69138;">the miniature has been jointly acquired by Gainsborough House and the National Portrait Gallery, and will move between the two museums</span></div><br /><p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-6849519096166448822023-01-10T18:31:00.003+00:002023-01-10T18:31:48.058+00:00Phillis Wheatley<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihOAxMwGg-HaNTqU8j6oPXeK50_ox70rrjgcqDb3kVhBKiDhuBq72flBGM0JrVTc3NoiVYuQSMhQerq6xoCgWjMVFRnWnYo4aD2yxfTD2MaE_yGQrXJUoehovgJQqgu8DbaS3aCjoH81vCM-WjgqN2xR3M6w6jAiPsXrIdZCz8l59kSSEqrVqYPiBV/s792/Wheatley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="792" data-original-width="653" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihOAxMwGg-HaNTqU8j6oPXeK50_ox70rrjgcqDb3kVhBKiDhuBq72flBGM0JrVTc3NoiVYuQSMhQerq6xoCgWjMVFRnWnYo4aD2yxfTD2MaE_yGQrXJUoehovgJQqgu8DbaS3aCjoH81vCM-WjgqN2xR3M6w6jAiPsXrIdZCz8l59kSSEqrVqYPiBV/w330-h400/Wheatley.jpg" width="330" /></a></div><br /> <a href="https://www.bbc.co.uk/programmes/m001gtqg">BBC Radio 3 - Free Thinking, Phillis Wheatley</a><p></p><p><br /></p><p>22.00 11 January BBC 3 </p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0tag:blogger.com,1999:blog-7770908538615762946.post-27611398284362825892022-12-15T13:19:00.001+00:002022-12-15T13:19:10.215+00:00Alice Boyd's Peacock<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOrrEmkGAOa_1fwu5ePbA382tMCu5sDoDhzi-dvlu28d3HJ-6KN-BgiJNdu-wtC3QPeBpVPydDZ78EKzIxwe5oukWxxbtIi6Lg5pmnDOXOR-zcnoCnaTfSMxKMXgyc4fCbAThn-XYiubjx9leBeIOmf3kyr2FWtG5zIF1k2v6hr18IKr45ajF_-HZH/s2270/A.%20Boyd.%20Penkill%20Studio%20steps%20and%20peacock%20wc%201875%20%20NGS%20%20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2270" data-original-width="1634" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOrrEmkGAOa_1fwu5ePbA382tMCu5sDoDhzi-dvlu28d3HJ-6KN-BgiJNdu-wtC3QPeBpVPydDZ78EKzIxwe5oukWxxbtIi6Lg5pmnDOXOR-zcnoCnaTfSMxKMXgyc4fCbAThn-XYiubjx9leBeIOmf3kyr2FWtG5zIF1k2v6hr18IKr45ajF_-HZH/w288-h400/A.%20Boyd.%20Penkill%20Studio%20steps%20and%20peacock%20wc%201875%20%20NGS%20%20.jpg" width="288" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #6aa84f;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #6aa84f; font-family: georgia; font-size: medium;">This nice peacock with swooping tail feathers is pictured on the steps to the studio at Penkill in Ayrshire. It's a characteristic typical watercolour from 1875 by Alice Boyd, laird of Penkill, which is now with the National Galleries of Scotland. Boyd was a rather tentative artist, given to nervous over-working, which is this case makes the fussy foliage effective against the diagonal lines. </span></div><br /> <p></p>Jan Marshhttp://www.blogger.com/profile/09241928547754184216noreply@blogger.com0