Margaretta
Frederick and I are currently preparing an exhibition for Delaware Art Museum
on the work of Marie Spartali Stillman, which will open towards the end of the
year. This will be the first solo show
of pictures by an artist hitherto known
chiefly as a ‘Pre-Raphaelite follower’ and will allow a fuller appraisal of her
career than has been previously possible.
Over the next few months I’ll periodically post on the project, partly
because of its intrinsic scholarly interest and partly because Spartali is
still relatively unknown and misrepresented (as a ‘Pre-Raphaelite follower’).
She
was born in 1844 in the suburbs of London, to parents from different areas of
the Ottoman empire who belonged to the Greek merchant diaspora in Britain
alongside the Ionides, Cassavettis, Lascarides.
Marie had a sister Christina and two brother Demetrios and Eustratius,
whose role was to continue the family business.
Her father Michael Spartali served some years as Greek consul in London
and prospered as an import-export merchant; around 1865 the family moved to a fine
mansion called the Shrubbery on Clapham Common northside. They also had a very pleasant summer home
outside Shanklin on the Isle of Wight which is now a bijou hotel.
By this
date Marie had determined to study art, which was an unusual decision for a
young woman of her background, educated at home to become a wife, mother and accomplished
hostess. The family socialised chiefly
within the Greek community, through which
they met a number of artists, including those patronised by Constantine Ionides. As is well-known, Whistler asked Christine
Spartali to model for his Princesse
du
Pays de la Porcelaine, and Marie accompanied her to the seemingly endless sittings. She recalled that Whistler often scraped out
the figure just as they thought it was all but finished and day after day they returned
to find everything had to be done over again.
Eventually Christina escaped by falling sick.
Marie’s
original wish was to study with Rossetti, who was just emerging from the customary two
years’ mourning for his wife Lizzie and had moved to a large old house on the
river at Chelsea. But Rossetti did not take pupils, and his life-style was
wholly unsuitable, so the request was passed to Ford Madox Brown, who was
already teaching his own daughters and son. Marie joined this artistic nursery in
1864. Less than three years later, she
made her exhibition debut at the Dudley Gallery – a watercolour venue – with three
pictures depicting The Pasha’s Widow, the Theban Poetess Corinna and a figure from Spenser’s Faerie Queene,
who muses pensively ‘through great desire of Glory and of Fame’.
By all
accounts Marie Spartali was personally modest and retiring, reluctant to pursue
the publicity and promotion necessary for a successful career. Yet her pictures speak of ambition and the desire for renown.
Thank you for this! Delaware is a long way from the UK and I am wondering if the exhibition will travel.
ReplyDeleteMeanwhile, I shall have to be content with my copy of David B Elliott's "A Pre-Raphaelite Marriage" and with the catalogue to the 2004 Uffizi exhibition "I Giardini delle Regine" which featured a few of Marie Spartali's paintings.
Thanks again.
Is there any chance of the exhibition being shown here in the UK?
ReplyDeleteIt's wonderful to hear that Spartali Stillman is to get her own exhibition. In my opinion in technical skill she was as good as Rossetti and maybe even as good as Millais and Waterhouse. I would put her in the top 10 pre-raph movement artists. It's typical that she is judged for being a model turned painter and regarded a bit like the sort of people who write fan fiction...
ReplyDeleteShe was very beautiful as well!
ReplyDelete