Showing posts with label Preraphaelites. Show all posts
Showing posts with label Preraphaelites. Show all posts

Sunday, 13 December 2015

ART SUNDAY - MILLAIS

“Art is not a handicraft, it is the transmission of feeling the artist has experienced.” - Leo Tolstoy

Sir John Everett Millais, 1st Baronet, PRA (8 June 1829 – 13 August 1896) was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. A child prodigy, Millais was the youngest ever student to enter the prestigious Royal Academy Schools at just age 11. There he met William Holman Hunt and Dante Gabriel Rossetti. Together they rebelled against the teachings of their tutors and formed the Pre-Raphaelite Brotherhood.

The Brotherhood rejected High Renaissance artists like Raphael and instead were inspired by earlier artists, like Botticelli. Millais befriended the influential art critic John Ruskin, who supported the Pre-Raphaelites and promoted their work. Millais fell in love with Ruskin’s wife Effie, and married her, after the Ruskins’ marriage collapsed.

Millais' most controversial painting was “Christ In The House Of His Parents” (1850 - see above). Critics disliked it because it represented Christ in a human way and portrayed his family as low-class workers, rather than divine figures. He became increasingly popular and in later life created one of his best known works “A Child’s World” (also known as “Bubbles”). It caused outcry when it was used to advertise Pears Soap after the company bought the painting’s copyright. Some art critics felt this degraded the painting but Millais was powerless to stop it.

Other important works include “The Princes In The Tower”, “Ophelia” and “The Order Of Release”. Millais was also very successful as a book illustrator, notably for the works of Anthony Trollope and the poems of Tennyson. His complex illustrations of the parables of Jesus were published in 1864. His father-in-law commissioned stained-glass windows based on them for Kinnoull parish church, Perth. He also provided illustrations for magazines such as “Good Words”.

Millais was elected as an associate member of the Royal Academy of Arts in 1853, and was soon elected as a full member of the Academy, in which he was a prominent and active participant. In July 1885, Queen Victoria created him a Baronet, of Palace Gate, in the parish of St Mary Abbot, Kensington, in the county of Middlesex, and of Saint Ouen, in the Island of Jersey, making him the first artist to be honoured with a Hereditary Title. After the death of Lord Leighton in 1896, Millais was elected President of the Royal Academy, but he died later in the same year from throat cancer. He was buried in the crypt of St Paul's Cathedral.

Sunday, 6 December 2015

ART SUNDAY - BURNE-JONES

“Love does not just sit there, like a stone; it had to be made, like bread, remade all the time, made new.” - Ursula Le Guin

For Art Sunday I am giving you the painting of one the British Preraphaelite painters, Sir Edward Coley Burne-Jones (1833-1898). He was one of the leading painters and designers of late 19th-century England, whose romantic paintings using medieval imagery were among the last manifestations of the Pre-Raphaelite style. More long-lasting is his influence as a pioneer of the revival of the ideal of the “artist-craftsman,” so influential to the development of 20th-century industrial design. This is his “The Hand Refrains” of 1875-78, which is one from his “Pygmalion” series of paintings.

In Greek mythology, Pygmalion was an accomplished sculptor. His relationships with the opposite sex were less than fortunate and it seems that no matter how beautiful the women who modelled with him were, their hearts and souls were lacking in beauty. He determined to create his ideal in womanhood by making an ivory statue. He put his heart and soul into the creation of this masterwork and imbued it not only with his ideal beauty, but also all of the imagined virtues that his ideal woman should have. Upon finishing this wondrous statue, which he named Galatea (“milky white”), he fell in love with his own creation. He spent all of his time contemplating it and adorning it with roses, pining and sighing, melting away with unrequited love. Finally, in desperation, he prayed to Aphrodite, the goddess of love, to deliver him form this miserable existence.

Aphrodite brought the statue to life in answer to his prayers. True enough, Galatea proved to be intelligent and compassionate, beautiful in soul as well as in looks, softly-spoken but independent, erudite and artistic like her husband. Their daughter Paphos gave her name to the city of Paphos, the centre of Aphrodite’s worship on Cyprus. The myth was the inspiration for many artists and writers.

George Bernard Shaw’s play “Pygmalion” is a light-hearted take on the legend. This play of Shaw is a comedic masterpiece, by far his funniest and most popular play (first performed in 1913). It was claimed by Shaw to be a didactic drama about phonetics, and its antiheroic hero, Henry Higgins, is a phonetician, however, the play is a humane comedy about love and the English class system. Higgins trains an uneducated Cockney flower girl so that she passes off as a lady, in both manner and speech. It also examines the repercussions of the experiment’s success. The scene in which Eliza Doolittle appears in high society when she has acquired a correct accent but no notion of polite conversation is one of the funniest in English drama. Pygmalion has been both filmed (1938), winning an Academy Award for Shaw for his screenplay, and adapted into an immensely popular musical, “My Fair Lady” by Alan Jay Lerner and Frederick Loewe (1956; and the film version, 1964).

The legend of Pygmalion is an interesting philosophical proposition about love and how we view the beloved. The creation of an ideal image with which we fall in love and the subsequent search for that ideal in life is widespread in myth, legend, literature, drama and of course in real life. When we fall in love we fall in love with the image of the ideal that is projected onto the victim of our affections. How closely that real beloved corresponds with our mental ideal of the beloved, may have something to do with the long-term success of the relationship. The situation of course is made more complex when there two people in love with each other, rather than one lover and one beloved. Attainment of one’s ideal in love may be seen as an allegory of the soul attaining a heavenly state of ideal bliss.