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'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:
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 06:10 AM. Reason: to add some words
married for 46 years, a teacher for 35, a writer and editor for 14, and a Baha'i for 54(in 2013).
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 07:05 AM.
From Gegarin's point of view
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.
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!!!
You are terribly corrected...
Whether you are forgiven, is another matter.
From Gegarin's point of view