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Thread: The Pre-Raphaelites
July 15th, 2011 #31
'The Cult of Beauty' was certainly a super exhibition. Quite transporting, seeing such lush paintings and objects all together. One that was there from the Lever Gallery was Lawrence Alma-Tadema's Tepidarium. I'm surprised how tiny it was, (9x13 inches) scarcely bigger than an A4 page of paper.
Such amazing detail and texture in such a small space. Alma-Thadema also did furniture and jewellery designs, by the way, such as this weird chair which was also there:
And this bracelet:
How well the silk folds are done on this one, 'Mother and Child/Cherries' by Lord Leighton, also made me go 'ooh'.
Awesome how multi-talented many of these 19th century painters were. Leighton was also a decent sculptor. Some of his bronzes were also in the exhibition, including this:
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December 11th, 2011 #32
In the dozen days after my post on the pre-Raphaelites, an entire thread of richly tapestried commentary came in. It came in from people at this site, some of whom clearly know much more about the pre-Raphaelites than I do. My post was originally generated by a retired teacher & lecturer who was and is trying to catch-up on many areas of the intellectual and cultural heritage of his European heritage and civilization. The film on that group of artists was just part of my catch-up.
The ABC1 series in the late afternoon, from 4:30 to 5:00 p.m. from 19 June to 10 July 2011; and Desperate Romantics, a six-part drama, followed on BBC Two in July 2011---I deeply enjoyed partly because of my linkage of the content with history and philosophy, religion and politics in the period. I won't go into detail here for the story of art movements in a wider cultural and intellectual landscape is complex and too much for these little boxes. Belated thanks for your responses folks.-Ron
Last edited by RonPrice; December 11th, 2011 at 07:10 AM. Reason: to add some wordsmarried for 47 years, a teacher for 32, a student for 18, a writer and editor for 15, and a Baha'i for 55(in 2014).
December 11th, 2011 #33
The writings of John Ruskin were fundamental to the movement and he was their champion as well as their mentor. He was a very gifted artist to boot.
Despite all the words that have been spilled on this subject, including those of Ruskin himself, the movement is essentially about nostalgia.
That is; nostalgia for a way of painting, a way of life, a moral code...
But ultimately it was nostalgia pure and simple, and one that was Victorian in its particulars yet 'English' in its generality.
Being English, I recognise the DNA inside these paintings making this nostalgia characteristic of this fair isle:
England is like a walled garden. A sea walled garden. Its climate that of a perpetual misty spring morning. The women daydreamed of are the lavender skinned nymphs who live in the ancient forest. Sunshine; a moment's fulfilment of the yearnings of rainy days. Our fields pock-marked with the standing stones of our ancestors.
The land of shires and wars elsewhere - its great nostalgic poet; Tolkien, writing The Lord of the Rings during a time when it might all have be taken away forever.
Last edited by Chris Bennett; December 11th, 2011 at 08:05 AM.From Gegarin's point of view
December 18th, 2011 #34Registered User
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I have a great affection for the PRs (Frampton excepted), and The Nazarenes as well. I also greatly admire Hunt in particular, even though he did create one of the ugliest paintings of the 19th century (The Triumph of the Innocents).
The documentary linked in a previous post is fairly well done - though why modern film makers insist on not using period music is beyond me. A maddeningly lowbrow practice that alienates knowledgeable viewers without necessarily attracting the serious novice.
December 31st, 2011 #35Registered User
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correct me if i am terribly wrong but weren't they inspired by carvaggio?
this is my art history blog: "teenager traversing art history"
ps i know it has a horrible name...any suggestions are welcome!!!
December 31st, 2011 #36
You are terribly corrected...
Whether you are forgiven, is another matter.
From Gegarin's point of view
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August 24th, 2014 #37
It has been more than 3 years since I posted my initial item on the pre-Raphaelites, and there has been a long and living thread that has resulted. I post a piece that is not about this artistic group, but about the Victorians. This will keep the topic at least in the general ball-park, so to speak and FYI, fellow ConceptArt.org folk.-Ron
RADIANCE AND THE TRAGIC
Elizabeth Barrett Browning(1806-1861) was the most successful woman poet of the Victorian period. In 1840, when her brother Edward died, she became a recluse and spent nearly all her time in her room on the third floor of her father’s house. Here she wrote her famous book of poetry entitled Poems published in 1844. She was seriously considered as a successor to Wordsworth as England’s poet laureate when Wordsworth died in 1850. Another poet, Robert Browning, became attracted to her poetry, especially the poetry in Poems and in 1845 he became attracted to her. They were married in 1846.
That same year Emily Bronte put her Gondal poems, which she had been working on for some years, into a separate collection. The following prose-poem is an expression of my appreciation both Bronte’s and Browning’s poetry and of what I see as a remarkable coincidence between the origins of their poetry and the origins of the Babi-Baha’i Faiths in that year 1844, mirabile dictu. I also include some personal autobiographical comments. I have been interested in poetry for over half a century.
-Ron Price, “Elizabeth Browning Internet Sites,” Pioneering Over Four Epochs, April 2nd 2006.
12 months after He said
I am, I am, I am and your
secret epistolary romance,
turned into a meeting--at last
and you found a husband to be,1
your poems made you famous,
the greatest female poet ever,
most inspired in history: some said.
That same year Emily put her
Gondal saga poems into a book,
her imaginary world that came,
invaded, dominated & destroyed
her real one--became her real one
and she called it Wuthering Heights
and it told of a radiant, a mystical
oneness in the world of existence
with its misery, its insanity, its agony.
And so it was---tragic and mystical.
That same year signaled the start,
the opening of the most glorious
epoch in the greatest cycle which
the spiritual history of humankind
had yet witnessed: the most tragic,
the most spectacular, eventful in
the first century of the Baha’i Era.
1 Elizabeth met Robert Browning in May 1845.
2/4/'06 to 24/8/'14.
married for 47 years, a teacher for 32, a student for 18, a writer and editor for 15, and a Baha'i for 55(in 2014).