Opening of ROSSETTI’S OBSESSION at the William Morris Gallery on 3 October: its third incarnation this year, centenary of Janey Morris’s death, and an exhibition which has evolved over the year so that each venue has seen a subtly different show, with absences and additions.
First thanks to Jill Iredale
of Bradford Museums [above] who proposed and curated and came up with the title.
Constant elements throughout
include the great pastel drawings from Bradford and the great Honeysuckle embroidery
stitched by Jane and Jenny. These two
elements represent aspects of Janey Morris, showcased in exhibition: the ‘real’ Jane – seen in photographs and
sketches, letters and embroideries – and what can be called the ‘mythical’
Jane, in the roles of Pandora, Persephone, Astarte, Beatrice, seen in Rossetti’s
drawings. We don’t confuse an actress
with the parts she plays but still we interpret Jane through his obsessional
representations of an alluring but moody femme fatale.
Thanks also to Rupert Maas
who offered to the WMG the fine red chalk vision of Jane both as herself and as
Tennyson’s Mariana, which makes a great addition to the show.
Jane remarkably transformed
herself from a poverty-stricken childhood into a woman of culture and creativity,
an active member of the William Morris family firm. It also says something for the
unavailability of divorce in the Victorian age that the Morris marriage
survived the troubles she caused it, becoming a loving and mutually supportive partnership. Jane devoted her widowhood to preserving and
promoting Morris’s legacy, so we should thank her too.
Rossetti’s Obsession is not
a blockbuster but a jewel of an exhibition.
Thanks and congratulations to all involved.
A prompt and appreciative review in Apollo
Thanks for this post saw the exhibition at Lady Lever also enjoyed your lecture there'
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