Featured

Goblin Market by Christina Rossetti

Goblin Market (1862) is a narrative poem by Christina Rossetti. The poem tells the story of two close sisters: Laura and Lizzie, with the river goblins.

Although the sisters seem to be quite young, they live by themselves in a house, and draw water every evening from a stream. As the poem begins, the sisters hear the calls of the goblin merchants selling their fantastic fruits in the twilight. On this evening, Laura, intrigued by their strangeness, lingers at the stream after her sister goes home. Longing for the goblin fruits but having no money, the impulsive Laura offers to pay a lock of her hair and “a tear more rare than pearl.”

Laura gorges on the delicious fruit in a sort of bacchic frenzy. Once finished, she returns home in an ecstatic trance, carrying one of the seeds. At home, Laura tells her sister of the delights she indulged in, but Lizzie is “full of wise upbraidings,” reminding Laura of Jeanie, another girl who partook of the goblin fruits, and then died at the beginning of winter after a long and pathetic decline. Strangely, no grass grows over Jeanie’s grave. Laura dismisses her sister’s worries, and plans to return the next night to get more fruits for herself and Lizzie. The sisters go to sleep in their shared bed.

Illustration for the cover of Christina Rossetti's Goblin Market and Other Poems (1862) by Dante Gabriel Rossetti.
Illustration for the cover of Christina Rossetti’s Goblin Market and Other Poems (1862) by Dante Gabriel Rossetti.

The next day, as Laura and Lizzie go about their housework, Laura dreamily longs for the coming meeting with the goblins. That evening, however, as she listens at the stream, Laura discovers to her horror that, although her sister still hears the goblins’ chants and cries, she cannot. Unable to buy more of the forbidden fruit, Laura sickens and pines for it. As winter approaches, she withers and ages unnaturally, too weak to do her chores. One day she remembers the saved seed and plants it, but nothing grows.

Months pass, and Lizzie realises that Laura is wasting to death. Lizzie resolves to buy some of the goblin fruit for Laura. Carrying a silver penny, Lizzie goes down to the brook and is greeted warmly by the goblins, who invite her to dine. But when the merchants realise that she has no intent to eat the fruit, and only intends to pay in silver, they attack, trying to feed her their fruits by force. Lizzie is drenched with the juice and pulp, but consumes none of it.

Lizzie escapes and runs home, but when the dying Laura eats the pulp and juice from her body, the taste repulses rather than satisfies her, and she undergoes a terrifying paroxysm. By morning, however, Laura is fully restored to health. The last stanza attests that both Laura and Lizzie live to tell their children of the evils of the goblins’ fruits, and of the power of sisterly love.

Illustrations for Goblin Market

Frank Craig (1874-1918), Goblin market, 1911, oil on canvas, 106 x 106 cm. Museum of New Zealand Te Papa Tongarewa
Frank Craig (1874-1918), Goblin Market, 1911, oil on canvas, 106 x 106 cm. Museum of New Zealand Te Papa Tongarewa
Hilda Koe, The Goblin Market, oil on canvas, 96.5 x 116.8 cm. In a private collection
Hilda Koe, The Goblin Market, oil on canvas, 96.5 x 116.8 cm. In a private collection

Read also:
The Pre-Raphaelite Brotherhood and their Muses
Best Pre-Raphaelites Paintings
The Lady of Shalott

Featured

The Lady of Shalott

“The Lady of Shalott” is a lyrical ballad by the English poet Alfred Tennyson. The poem is loosely based on the Arthurian legend of Elaine of Astolat, as recounted in a 13th-century Italian novellina titled La Damigella di Scalot, or Donna di Scalotta. Tennyson focused on the Lady’s isolation in the tower and her decision to participate in the living world, two subjects not even mentioned in Donna di Scalotta. Tennyson wrote two versions of the poem, one published in 1833, of 20 stanzas, the other in 1842, of 19 stanzas. The revised version has a significantly different ending, designed to match Victorian morals regarding gender norms and the act of suicide.

According to Tennyson’s version of the legend, the Lady of Shalott was forbidden to look directly at reality or the outside world; instead she was doomed to view the world through a mirror, and weave what she saw into tapestry. Her despair was heightened when she saw loving couples entwined in the far distance and she spent her days and nights aching for a return to normal. One day the Lady’s mirror revealed Sir Lancelot passing by on his horse. When she impetuously took three paces across the room and looked at him, the mirror cracked and she realised that the curse had befallen her. The lady escaped by boat during an autumn storm, inscribing “The Lady of Shalott” on the prow. As she sailed towards Camelot and certain death, she sang a lament. Her frozen body was found shortly afterwards by the knights and ladies of Camelot, one of whom is Lancelot, who prayed to God to have mercy on her soul.

This is one of the poet’s best-known works, its vivid medieval romanticism and enigmatic symbolism inspired many painters, especially the Pre-Raphaelites and their followers.

Read also:
The Pre-Raphaelite Brotherhood and their Muses
Best Pre-Raphaelites Paintings
The Lady of Shalott by John William Waterhouse

Best Pre-Raphaelites Paintings

The Pre-Raphaelite Brotherhood founded in 1848 by seven young artists who banded together against what they felt was an artificial and mannered approach to painting taught at London’s Royal Academy of Arts. Inspired by the theories of John Ruskin, who urged artists to ‘go to nature’, they believed in an art of serious subjects treated with maximum realism. Their principal themes were initially religious, but their later works largely focus on medieval subjects from literature and poetry privileging atmosphere and mood over narrative. Althought disolved in the 1850s, the movement gain a lot of attention and many followers continued to paint in their style.

Here you will find a selection of some of the finest Pre-Raphaelite paintings by the founders of the movement and their followers:

John Everett Millais (1829-1896),  Ophelia, 1851, oil on canvas, 76.2 x 111.8 cm. Tate Britain
John Everett Millais (1829-1896), Ophelia, 1851, oil on canvas, 76.2 x 111.8 cm. Tate Britain
Dante Gabriel Rossetti (1828-1882), Proserpine, 1882, oil on canvas, 78.7 x 39.2 cm. Birmingham Museum and Art Gallery
Dante Gabriel Rossetti (1828-1882), Proserpine, 1882, oil on canvas, 78.7 x 39.2 cm. Birmingham Museum and Art Gallery
William Holman Hunt (1827-1910), The Lady of Shalott, 1888-1905, oil on canvas, 188.3 x 146.4 cm. Wadsworth Atheneum Museum of Art
William Holman Hunt (1827-1910), The Lady of Shalott, 1888-1905, oil on canvas, 188.3 x 146.4 cm. Wadsworth Atheneum Museum of Art
John William Waterhouse (1849-1917), The Lady of Shalott, 1888, oil on canvas, 153 x 200 cm. Tate Britain
John William Waterhouse (1849-1917), The Lady of Shalott, 1888, oil on canvas, 153 x 200 cm. Tate Britain
Edward Burne-Jones (1833-1898), The Beguiling of Merlin, 1872-1877, oil on canvas, 186 x 111 cm. Lady Lever Art Gallery
Edward Burne-Jones (1833-1898), The Beguiling of Merlin, 1872-1877, oil on canvas, 186 x 111 cm. Lady Lever Art Gallery
Frederick Sandys (1832-1904), Love's Shadow, 1867, oil on panel, 40.6 x 32.5 cm. In a private collection
Frederick Sandys (1832-1904), Love’s Shadow, 1867, oil on panel, 40.6 x 32.5 cm. In a private collection
John Collier (1850-1934), Lady Godiva, 1898, oil on canvas, 140 x 180 cm. Herbert Art Gallery and Museum
John Collier (1850-1934), Lady Godiva, 1898, oil on canvas, 140 x 180 cm. Herbert Art Gallery and Museum
Edward Robert Hughes (1851-1914), Detail of The Princess Out of School, 1901, gouache and watercolour with some scratching out, 52 x 95.3 cm. National Gallery of Victoria
Edward Robert Hughes (1851-1914), The Princess Out of School, 1901, gouache and watercolour with some scratching out, 52 x 95.3 cm. National Gallery of Victoria
Arthur Hacker (1858-1919), The Temptation of Sir Percival, 1894, oil on canvas, 132.1 x 157.5 cm.
Leeds Art Gallery
Arthur Hacker (1858-1919), The Temptation of Sir Percival, 1894, oil on canvas, 132.1 x 157.5 cm. Leeds Art Gallery
and Hildebrand, the Meeting on the Turret Stairs, 1864, Watercolour and gouache on paper, 95.5 x 60.8 cm. National Gallery of Ireland
Frederic William Burton (1816-1900), Hellelil and Hildebrand, the Meeting on the Turret Stairs, 1864, watercolour and gouache on paper, 95.5 x 60.8 cm. National Gallery of Ireland
Evelyn De Morgan (1855-1919), Night and Sleep, 1878, oil on canvas, 108.8 x 157.8 cm. De Morgan Foundation
Evelyn De Morgan (1855-1919), Night and Sleep, 1878, oil on canvas, 108.8 x 157.8 cm. De Morgan Foundation
Marie Spartali Stillman (1844-1927), Love's Messenger, 1885, watercolor, 81.3 x 66 cm. Delaware Art Museum
Marie Spartali Stillman (1844-1927), Love’s Messenger, 1885, watercolor, 81.3 x 66 cm. Delaware Art Museum
Frank Cadogan Cowper (1877-1958), Venetian Ladies Listening to "The Serenade" on the Grand Canal, 1908-1909, oil on canvas, 88.9 x 128.9 cm. In a private collection.
Frank Cadogan Cowper (1877-1958), Venetian Ladies Listening to “The Serenade” on the Grand Canal, 1908-1909, oil on canvas, 88.9 x 128.9 cm. In a private collection
Edmund Leighton (1852-1922), God Speed, 1900, oil on canvas, 160 x 116 cm. In a private collection
Edmund Leighton (1852-1922), God Speed, 1900, oil on canvas, 160 x 116 cm. In a private collection

Read also:
The Pre-Raphaelite Brotherhood and their Muses
Goblin Market by Christina Rossetti
The Lady of Shalott

Vanity by Frank Cadogan Cowper

Frank Cadogan Cowper (1877-1958), Vanity, 1907, oil on panel, 57.1 x 38.1 cm. Royal Academy of Arts
Frank Cadogan Cowper (1877-1958), Vanity, 1907, oil on panel, 57.1 x 38.1 cm. Royal Academy of Arts

The subject matter and composition of ‘Vanity’ are derived from Italian Renaissance painting. Cowper has bedecked his youthful beauty with jewels and given her a hand-mirror to signify vanity. She stands before a vine, heavy with ripe grapes, suggestive of abundance and pleasure. Although this painting is secular in subject, the pose of a woman leaning on a covered parapet is reminiscent of Renaissance imagery of the Virgin and Child.

Although Cowper did not belong to a particular artistic group this, like many of his paintings, relates to the work of artists now known as ‘Second Generation Pre-Raphaelites’. Decorative and richly coloured, ‘Vanity’ suggests the romance of the past and alludes to notions of the chivalric and courtly love.

The detailing of the luxurious fabrics relates to a renewed interest in the applied arts and crafts, which emerged late 19th century British art. The elaborate serpentine design on the woman’s dress may have been inspired by the portrait of Isabella d’Este attributed to Giulio Romano (Historic Royal Palaces). Edward Burne-Jones had also depicted such a design in his watercolour ‘Sidonia von Bork’ (1860; Tate Britain).

Source

“So like a shatter’d Column lay the King” by Julia Margaret Cameron

Julia Margaret Cameron (1815-1879), "So like a shatter'd Column lay the King", 1875, albumen silver print, The J. Paul Getty Museum, Los Angeles.
Julia Margaret Cameron (1815-1879), “So like a shatter’d Column lay the King”, 1875, albumen silver print, The J. Paul Getty Museum, Los Angeles.

Portrait of Mary Hillier, William Warder, Mrs. Hardinge, an unidentified woman, and two hooded figures in costume and posing as the characters from the accompanying Alfred, Lord Tennyson poems titled “The Passing of Arthur”. Two of the women, Vivien and Morgan le Fay, place a dying King Arthur in a wooden boat to take him to Avalon. His head rests in the lap of one of the women, who sits at the bow as the other positions his body in the boat. A third woman stands at the stern and looks down into the water. Two hooded figures stand on the shore behind them.

Source

The Sleeping Beauty by John Collier

John Collier (1850-1934), The Sleeping Beauty, 1921, oil on canvas, 111.7 x 142.2 cm. In a private collection
John Collier (1850-1934), The Sleeping Beauty, 1921, oil on canvas, 111.7 x 142.2 cm. In a private collection

This remarkable picture is eloquent testimony to the survival of Pre-Raphaelite values well into the twentieth century. Dating from as late as 1921, it treats the famous fairy story of ‘Sleeping Beauty’ that had been told many times in European literature. Its origins obscure, in the seventeenth century it was included by Charles Perrault in his Contes du Temps Passé, while in the nineteenth century it was re-cast by the brothers Grimm and by Tennyson in his early poem ‘The Day-Dream’. Only one Pre-Raphaelite seems to have illustrated the subject, but it obsessed him for the best part of thirty years. Edward Burne-Jones, the key figure in the later phase of the movement, turned to fairy stories for inspiration in the early 1860s, probably under the influence of his mentor John Ruskin, who attached great importance to their moral efficacy and the principles governing their illustration. Is is probably no coincidence that in 1862 an edition of Perrault’s Contes was published in Paris with illustrations by Gustave Doré, an artist whose work Ruskin intensely disliked and regarded as epitomising the most socially harmful tendencies of modern art. Burne-Jones’s interest in these stories was at least partly the result of Ruskin wanting to see them illustrated in England in a more elevating style.

Source

Lady Clementina Hawarden Photographs

Clementina Maude, Viscountess Hawarden, née Clementina Elphinstone Fleeming (1822-1865), was one of five children of Admiral Charles Elphinstone Fleeming (1774-1840), and Catalina Paulina Alessandro (1800-1880). In 1845, she married Cornwallis Maude, 4th Viscount Hawarden; the couple had eight children. She was a noted British amateur portrait photographer of the Victorian Era. She produced over 800 photographs mostly of her adolescent daughters.

She turned to photography in late 1856 or, probably, in early 1857, whilst living on the family estate in Dundrum, Co. Tipperary, Ireland. A move to London in 1859 allowed her to set up a studio in her elegant home in South Kensington. There she took many of the characteristic portraits for which she is principally remembered. Many include her adolescent daughters Isabella Grace, Clementina and Florence Elizabeth. The furniture and characteristic decor of an upper-class London home was removed in order to create mise-en-scene images and theatrical poses within the first floor of her home. Hawarden produced albumen prints from wet-plate collodion negatives, a method commonly used at the time.

The Viscountess Hawarden first exhibited in the annual exhibition of the Photographic Society of London in January 1863 and was elected a member of the Society the following March. Her work was widely acclaimed for its artistic excellence, winning her the medal for composition at the exhibition.

At a Grand Fête and Bazaar held to raise funds for a new building for the Royal Female School of Art she set up a booth where she photographed guests, the only known occasion on which she took photographs in public. Lewis Carroll, an admirer of her work, brought two children to be photographed at this booth, and purchased the resulting prints.

Her photographic years were brief but prolific. Hawarden produced over eight hundred photographs between 1857 and her sudden death in 1864. Lady Hawarden’s photographic focus remained on her children. There is only one photograph believed to feature the Viscountess herself, yet it could also be a portrait of her sister Anne Bontine.

Source

Nonchaloir by John Singer Sargent

John Singer Sargent (1856-1925), Nonchaloir (Repose), 1911, oil on canvas, 63.8 x 76.2 cm. National Gallery of Art
John Singer Sargent (1856-1925), Nonchaloir (Repose), 1911, oil on canvas, 63.8 x 76.2 cm. National Gallery of Art

Sargent’s inordinate technical facility, coupled with his ability to portray elegant sitters in sumptuous surroundings, made him extremely popular with wealthy patrons on both sides of the Atlantic. Despite his success as one of the most sought after portraitists of the late Victorian era, Sargent eventually became exasperated by the whim and vanities of prominent sitters. By 1909 he had abandoned conventional portraiture in order to “experiment with more imaginary fields.”

The woman in Repose is Sargent’s niece, Rose-Marie Ormond. In keeping with his newfound preference for informal figure studies, Sargent did not create a traditional portrait; rather, he depicted Rose-Marie as a languid, anonymous figure absorbed in poetic reverie. The reclining woman, casually posed in an atmosphere of elegiac calm and consummate luxury, seems the epitome of nonchalance, the painting’s original title. Sargent seems to have been documenting the end of an era, for the lingering aura of fin-de-siècle gentility and elegant indulgence conveyed in Repose would soon be shattered by massive political and social upheaval in the early 20th century.

Source

Design a site like this with WordPress.com
Get started