Customer Reviews:
Haunting.......2007-07-19
I really enjoyed this book - I felt it was particularly haunting at the end when I realized it was based on a true story (afraid I never took art appreciation). To me the story was appealing partly due to the "Ugly Duckling" beauty is in the eye of the beholder theme but tragic at the end in a sort of Gone with the Wind way too. I felt that the story was believable and interesting at the same time. I noticed that the cover art didn't match the content but just goes to show you once again that you can't judge a book by its cover.
Wayward novelist.......2007-05-20
Perhaps because the actual lives of the Pre-Raphaelites were so over the top, most attempts to create their lives in fiction have been failures. Nonetheless, having spent decades of my academic career teaching Victorian literature and art, I ordinarily welcome any attempt to give fictional life to Rossetti and his circle. I had thought that Nerina Shute's "A Victorian Love Story" was destined to be the nadir of these failures, but Hickey here out-nerinas Nerina. "The Wayward Muse" reads like the worst of romance novels. The situations Hickey sets up are ludicrous: Rossetti deflowers Jane high up on the scaffolding in the Oxford Union, in full sight of the other painters; Morris in bed doesn't know where to put "it" and pokes around for awhile before finding Jane's "most sensitive part"; George Eliot asks about Morris's table manners. I find no evidence that Hickey read the many, many, many available primary sources (not to mention such secondary sources as Violet Hunt and Hall Caine): they might have helped her better plot this silly novel. Hickey additionally messes with the facts. For instance, she screws up the exhumation of Lizzie's body. One of Hickey's basic problems is that she doesn't seem to know who her audience is. She drops surnames with neither first names nor identification. She hints at the founding of the Kelmscott Press and meanders around the highlands of Scotland with Ruskin and the Millais'. For better use of your time read "The French Lieutenant's Woman" or watch Ken Russell's "Dante's Inferno."
Pre-Raphaelite Entanglements.......2007-04-29
Hickey is to be commended for trodding a road less traveled, focusing on the seldom-talked-about-in-popular-culture painter Dante Gabriel Rossetti and his favorite model, Jane Burden Morris. Told in third person from Jane's perspective, Hickey's story is well-paced and well-researched. She does what good historical novel authors should: start with the facts but veer into fictional territory in order to flesh things out. Her prose is lean and spare, which suits Jane's character. Most importantly, she does these colorful characters justice by capturing their essence. The fictional characters mesh convincingly with what we know of the historical ones.
I read Painted Kiss last year, and thought Wayward Muse better. The author seems to have really found her groove with this one!
Not the author's fault at all, but the publisher should have put a Rossetti painting on the cover.
terrific historical biographical tale .......2007-04-29
Jane Burden knows she is ugly having heard that from her mother as well as family, friends, and neighbors. She is too tall, with a freakishly long neck, arms and legs that belong on someone even taller, which leads to clumsiness and dresses that just never fit right. Adding to her being considered the ugliest female in the Oxford slums is that at seventeen she has no breasts. She expects to wed physically abusive Tom Barnstable as her mother reminds her that he is the best she will ever have.
Everything abruptly changes when noted artist Dante Gabriel Rossetti sees Jane and thinks she is a rare beauty he must paint as his Guinevere in a mural. Her mother agrees to allow her to pose because of the fee Rossetti provides. Jane enjoys her short time each week with the painter and his colleagues. She soon realizes she loves Rosetti, but is heartbroken when he weds his ailing fiancée Lizzie. Jane accepts wealthy William Morris' proposal mostly because he as Rossetti's friend and protégé will enable her to remain near her true love. Over the next few years Jane gives birth to two children, but when Lizzie dies, Rossetti makes it clear how he feels about his Guinevere, which upsets her spouse William, who has always known he was a second choice.
The key to this terrific historical biographical tale is the ability of Elizabeth Hickey to bring to life four real people from the latter half of the nineteenth century. The story line is driven mostly by the heroine who thanks to the artist turns from an ugly duckling into a beautiful swan considered the ideal of pre-Raphaelite beauty and the muse for her spouse and the artist. Fans of period pieces will enjoy this deep rich Victorian Era tale starring real persona.
Harriet Klausner
Rich writing well worth reading.......2007-03-20
(Historical fiction)
The artiste world of 19th Century London is shown in lush colors, the brush strokes of Dante Gabriel Rosetti and his muse, a poor Oxford girl who is tall, willowy and plain according to her drunken mother. Rosetti discovers Jane Burden, and with the promise of payment, she becomes his model for a painting of Guinevere. His vision is that of Lancelot and the Holy Grail, the knights Galahad, Bors, and Percival receiving the precious Grail and Sir Lancelot in the Queen's chambers.
Rosetti becomes enamored of Burden and takes her virginity while on the scaffolding in the Debating Hall. He proclaims his love and Burden thinks she shall marry him, but he leaves Oxford the next day for London because his first love is ill with consumption. This leaves William Morris to finish the paintings in Oxford. Morris is overweight, but Burden's mother, a town gossip, finds out he is wealthy and receives an allowance from copper mines. Morris falls deeply in love with Burden, but her muse-like powers exert themselves over him poetically. He begs for her hand in marriage and her mother gives her an ultimatum, marry Morris or you will be kicked out of the house.
Still longing for her dark horse, Rosetti, she marries Morris hoping she will eventually love him. After two years they move to "Red House," a stunning brick home that Morris has built for his wife. Her life is full of artists of all persuasions: painters, tapestry makers, poets and others. Burden is the talk of London, designing her own clothes for her figure, and she often sits for Rosetti and his paintings. They begin an illicit affair that whispers its way through their circle of friends and those that find them interesting. But Burden is happiest in the company of Rosetti. As he falls into the throes of mental illness, Burden goes back to her husband, Morris, and takes care of her two children, maintaining a life-long friendship with Rosetti.
A must read for the voluptuousness of Hickey's writing and the casualties of love and desire.
Armchair Interviews says: A richly descriptive book of the life and times of the mid to late 1800s.
Average customer rating:
- The best book out there on J.W. Waterhouse!
- Book on John Waterhouse
- Great table book
- An astute feel for a quiet man
- Wealth of information
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J.W. Waterhouse
Peter Trippi
Manufacturer: Phaidon Press
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Exposed: The Victorian Nude
ASIN: 0714845183 |
Book Description
John William Waterhouse is among the most popular Victorian artists, and many of his paintings, such as The Lady of Shalott, Hylas and the Nymphs and Ophelia, have become icons of femininity recognized the world over. With their compelling composition, glowing colour and Impressionist-inflected technique, these paintings are admired for their beauty, yet at the same time they have the power to transport the viewer into a romantic world of myth and legend.
Waterhouse's depictions of female beauty reflect his age's complex and ambivalent attitudes towards women, in which Victorian ideals of sentiment and duty commingled with less noble undercurrents of erotic desire and misogyny. In this fresh and innovative study of the artist, Peter Trippi presents a new analysis of Waterhouse's seductresses, martyrs and nymphs, together with a lively discussion of the cultural and historical circumstances in which these images were painted.
This authoritative volume utilizes new research to provide an accessible biography of the artist and to assess his place in the late Victorian art world. Themes explored include Waterhouse's passion for Italy, literature and the classical world, his participation in England's Royal Academy, his stylistic influences and studio practices, and the collectors, dealers, critics and curators who helped make him famous in his day.
Like other Victorian artists, Waterhouse was neglected through much of the twentieth century, but as critical inhibitions have fallen away the revival of his fortune has been dramatic. Today he is again acknowledged as a master painter. Peter Trippi's monograph provides a timely re-evaluation that combines a close reading of Waterhouse's imagery with a candid appraisal of his unique talent.
Customer Reviews:
The best book out there on J.W. Waterhouse! .......2007-08-05
This is the best book I have found on J.W. Waterhouse. Not only does this book talk about the painter's life, but more importantly, each of J.W .Waterhouse's paintings are described in very full detail (eg: OPHELIA).
I was so intrigued by reading about Waterhouses' pictures, because the author of this wonderful book (ie: PETER TRIPPI) elaborated in great detail about each work of Art, by contrasting and comparing Waterhouses' paintings to other famous paintings and sculptures (eg: Bourne Jones from the 1800's, and also many famous Italian 1400-th Century Artists) .
The author has attempted, (& with great success, I may add), to show how Waterhouse was influenced by past Rapheaelite Artists and also by some of the other famous first-phase Pre-Raheaelite English Artists.
Each synopsis, of each Waterhouse painting is quite amazing and like no other interpretation that I have read on this famous late-Pre-Raphaelite Artist.
The repro-photos of Waterhouse's works are amazing, -----showing such wonderful details and colors.
Book on John Waterhouse.......2007-05-17
If you are an art lover of paintings that can take your breath away, and pulling you int it than John Waterhouse is a must for your collection. He is such a great artist and this book is so incredible you want to devour it. He is one of the greatest artists of his time that I would recommend this book because it is affordable and wonderful.
I received this book quickly and with no delays.
Great table book.......2007-02-16
Would love to have ordered the hardcover for a coffee table book but this one does just fine for the cost and over-seas shipping it would have taken for the hardcover. Lots of information on J W Waterhouse and great pictures. It even has some of his less known works and pictures that you can't find prints for. A true keep sake and treasure for those who are interested in this artist and his time. Oh, and a few of the house guests, students, have even asked to borrow the book. First table book to have created some interesting conversations.
An astute feel for a quiet man.......2006-12-08
Peter Trippi's monograph has done what I would assume had to be very difficult to do: he has a good feel for the quiet,quiet man behind the paintings. The depth of his study helped me to verify a number of pieces of information that led me into my own research, and has continued to be my main reference as I continue my work. I recommend that this is the book to begin with if you are going to enter any serious study of John William Waterhouse; however, don't let that make you think it is only a scholar's read: it is well written, beautifully illustrated, and simply a joy to behold.
Wealth of information.......2006-11-01
This is the most complete book on Waterhouse I've come across yet. When researching this artist, I was surprised to find that there were very few books written just about Waterhouse. Without this book, it would have been very hard to research him at all.
The book is laid out beautifully so that even if you never read the whole thing, you can enjoy it. The paintings are displayed in full color and many of them cover a whole page. Sketches and other art by Waterhouse's contemporaries as well as art that he was inspired by are also included.
The book is laid out like an illustrated biography. Starting from birth to death, Trippi shows Waterhouse's life by his paintings and sketches since very few written documents of his life survive. Each chapter shows an era in his life and how he changed over the years by style and technique. Trippi explains much of the background of the paintings and mentions artwork still missing as well as other mysteries of Waterhouse's life. This is skillfully told including all the elements you want when getting to know an artist; his life, color pictures, inspirations, contemporaries, techniques and more.
I loved reading through this and at the end felt a heightened respect for the artist. Highly recommended for anyone who wants to know more about Waterhouse.
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- A must have for anyone who appreciates Pre-Raphaelite art
- Wonderful Introduction, with GORGEOUS pictures!!
- Best Pictures Award
- Really Nice Coffe-Table Book
- The Best Art Book Available on the Pre-Raphaelites
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The Pre-Raphaelites
Christopher Wood
Manufacturer: Seven Dials
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Binding: Paperback
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ASIN: 1841881163 |
Book Description
Chart the rise and legacy of the Pre-Raphaelites and see how this most admired British art movement was born. Dozens of reproductions attest to these painters’ scrupulous attention to natural details: more than 40 artists are represented, including Dante Gabriel Rossetti, William Holman Hunt, John Everett Millais, Arthur Hughes, Edward Burne-Jones, John William Waterhouse, and Ford Maddox Brown.
Customer Reviews:
A must have for anyone who appreciates Pre-Raphaelite art.......2007-09-07
This is a stunningly beautiful book filled with incredibly beautiful art. The narrative text is well written.
Wonderful Introduction, with GORGEOUS pictures!!.......2007-08-01
This book is the most amazing introduction to the Pre-Raphaelites! The pictures are absolutely amazing, especially since this is an over-sized book and therefore the details in the photos are amazing!
I highly recommend this book to anyone wanting to know more about the Pre-Raphaeilite Artists (in general) and also to anyone that loves the Pre-Raphaelite works of Art & needs a good introduction!
Best Pictures Award.......2004-02-02
I am a learning hobbyist artist interested mostly in portraits. An artist friend told me that I might be interested in the pictures of the Pre-Raphaelites. "Pre-Ra...What?"
When I bought this book I had not intended to read much of the text. I was primarily attracted to the beautiful pictures in the book, which I hope to learn from. It turns out that Christopher Wood's rendition of the biographies of these remarkable group of mid- to late 19th century English artists was exceptionally well weaved and readable. I got a very good education on the history of the Pre-Rephaelite art with fascinating details of the lives of the key players and, of course, beautiful, large-format reproduction of their best work.
I came across a number of books on this subject. Some have better and more detail prose, but none comes close to this one in terms selection and the quality of reproduction of the pictures.
Really Nice Coffe-Table Book.......2002-05-30
First, let me say what I like about this book. It is profusely illustrated with full-page images, nearly all pictures mentioned in the text are reproduced in good quality, so one immediately sees what is described by the author. The text is free of jargon, lucid and highly entertaining (check the story of John Ruskin's unhappy marriage). Basic facts are rendered, short biographies of major painters are here, as well as some historical background (for example, the Aesthetic Movement and Oscar Wilde).
But this book has its weaker points. Mr. Christopher Wood does not specify what he means by "Pre-Rafaelite style"; sometimes it appears as he only means close adherence to nature and precise detailing. But what would he say then about German Biedermeier or French Neo-Grecs? The text overall is too smooth, it does not take into consideration newer approaches to art history (Norman Bryson's studies of pictures as sign systems, for example). So if you want a problem book, a challenging essay, you better look to Elizabeth Prettejohn's study. This one is just an introductory survey aimed at a general reader -- but a pretty good introduction, I might add.
The Best Art Book Available on the Pre-Raphaelites.......2002-03-13
I'm so thrilled to see that this book has been reissued after being out of print for several years. I found the original edition of this book in a frame shop in 1992, and bought it on a whim. Through this book I fell in love with the art and artists of the Pre-Raphaelite movement, and now own over fifty books on the subject, while prints by Evelyn de Morgan and John William Waterhouse decorate my walls. This book introduced me to the beauty and majesty of Pre-Raphaelite art, so I'd love it for that reason alone. However, years later, I still find that Wood's survey of Pre-Raphaelitism is the best I've ever seen. Full of 'academic' information, it's still easily read cover to cover, and the full color pictures are exquisite.
If you have even the slightest interest in Pre-Raphaelite art, you simply must own this book. It's both the PRB Primer and Bible, as far as I'm concerned.
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Pre-Raphaelite Prints: The Graphic Art of Millais, Holman Hunt, Rossetti and Their Followers
Rodney Engen
Manufacturer: Lund Humphries Publishers
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Binding: Hardcover
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ASIN: 0853316562 |
Book Description
This lavishly illustrated book provides a fresh appraisal of the Pre-Raphaelite artists of mid-Victorian England and their radical departure from artistic conventions. Tim Barringer explores the meanings encoded in Pre-Raphaelite paintings and finds a dynamic energy that arises from paradoxes at the heart of the movement, between past and present, historicism and modernity, and symbolism and realism.
Customer Reviews:
A Competent Introduction to the Pre-Raphaelites.......2004-07-02
"Reading the Pre-Raphaelites" has been on the market for five years now (as of 2004), and continues to hold up well as an introduction to Pre-Raphaelite painting. People who are already familiar with Pre-Raphaelite Art (and its copious bibliography!) will not find too much here that is new, but for the not-yet-expert, this book works well in presenting many of the essential Pre-Raphaelite themes and paintings in an orderly and easy-to-understand manner.
The book is organized topically, with separate chapters on Pre-Raphaelite medievalism, nature painting, modern life, religious painting, and Post-Pre-Raphaelitism (the latter including Whistler, Burne-Jones, and the Aesthetic Movement.)
The author tosses in a bit of "critical theory" from time to time, and on occasion can be judgmental about individual works. These negatives, though, are easily overcome by the author's clarity of writing and competence of interpretation, which lucidly ground these paintings in their social and artistic milieu. The book's bibliography and index are marginal, but the quality of its color printing is exceptional, much better than in many more expensive art books.
In summary, this book would be a good buy for the student or other reader who wants a general, thematic introduction to the Pre-Raphaelites.
Hilton, Barringer, and the Pre-Raphaelite Women.......1999-10-07
The Pre-Raphaelite men, like most masculine hegemonies, could not have survived had it not been for the credible contributions of the women who lurk at the periphery of the Brotherhood. More than mere emotional or sensual inspiration (or support), the Pre-Raphaelite women--Christina Rossetti, Elizabeth Siddal, and Jane Morris--provided the creative impetus for their men, and often even the critical eye needed to master a work of art. History and its historians have not been as generous as they could have been in recounting the contributions of these women.
Often, the summation of any one woman's contributions to the Pre-Raphaelite Brotherhood is left up to individual biographers. Those writing the introductory texts frequently fall short of effectively identifying the enormous contributions of the Pre-Raphaelite women. Two such introductory texts are Timothy Hilton's _The Pre-Raphaelites_ and Tim Barringer's _Reading the Pre-Raphaelites_. Where the Pre-Raphaelite women are concerned, both texts provide a footnote to the art history of the Pre-Raphaelite Brotherhood but really do little more than re-emphasizing the marginal status of the Pre-Raphaelite women.
In his Introduction, Barringer recognizes the artistic aptitude of Christina Rossetti as a poet, of Elizabeth Siddal as an artist, and of Jane Morris as an embroiderer. Furthermore, Barringer claims that the "full contribution of these artists, and a number of women less directly connected with Pre-Raphaelitism, has only recently been acknowledged" (14). With this affirmation, _Reading the Pre-Raphaelites_ promises to bring to the fore a considerable new interest in the works of the Pre-Raphaelite women. Barringer, however, does little to revise and reappraise the contributions of these women.
Where Christina Rossetti is concerned, Barringer mentions her only four times in his text: twice in the introduction (11, 14); once in relation to the Pre-Raphaelite Brotherhood, wherein he reprints her sonnet on the disintegration of the Brotherhood (135); and once in the epilogue (168). Jane Morris fares somewhat better with six mentions, including the inclusion of her painting _St Catherine_ (50). Mostly, however, Jane Morris rates mere mention as an appendage to either Dante Gabriel Rossetti or William Morris (136, 155, 156).
It is Elizabeth Siddal, however, who garners the most attention from Barringer, with a total of ten mentions. Barringer offers decent treatment to Siddal's _Pippa Passing the Loose Women_ (144-45) as well as to Dante Gabriel Rossetti's use of Siddal as a model (141-42). Barringer is even so generous as to include Dante Gabriel Rossetti's _The Artist sitting to Elizabeth Siddall_ [sic.] (141).
Timothy Hilton's _The Pre-Raphaelites_ purports to be an art book which "offers some adjustments to the straight art history" of the Pre-Raphaelite movement. Additionally, Hilton's text supposedly offers a reinterpretation of the activities of several members in Dante Gabriel Rossetti's circle (7). _The Pre-Raphaelites_ precedes _Reading the Pre-Raphaelites_ by twenty-seven years and was written during the height of the Women's Movement (in the U.S.). That considered, it should come as no surprise that Hilton dwells slightly on the subjects of Jane Morris and Elizabeth Siddal. What does come as a bit of a surprise is that Hilton glosses over Christina Rossetti, treating her almost parenthetically. She rates a total of four references in Hilton's text (only three of which are indexed).
Hilton first refers to Christina Rossetti simply as one in a series of Rossetti children (26) and then again as one of the "various others" who joined the Brotherhood in their print undertaking _The Germ_ (50). She receives credit for sitting for the Virgin in her brother's The Girlhood of _Mary Virgin_ (94) and for being the recipient of one of her brother's letters (107).
Again, Jane Morris receives a slightly greater amount of recognition, although Hilton's references to her total only four. Hilton first mentions Morris as one of the objects of Dante Gabriel Rossetti's "many delineations," a credit which she shares with "Lizzy" Siddal (59). Hilton then dwells on Jane Morris for four pages, wherein he describes William Morris' profound love for her and displays several images of the beautiful Mrs. Morris, including William Morris' _Queen Guinivere_ (166-69). Jane Morris rates still another small note when Hilton inventories Dante Gabriel Rossetti's menagerie at Cheyne Walk, saying that Rossetti had "a Brahmin bull whose eyes reminded [him] of Jane Morris" (182). Finally, the author takes a moment to detail the love affair between Dante Gabriel Rossetti and Jane Morris (183-84).
Elizabeth Siddal, "Lizzy" as Hilton calls her, yet again rates the most references (seven), and not without cause. In addition to her credit as one of Rossetti's models (59, 175), she also receives note (this time parenthetically) as one who attempted to illustrate Wordsworth's "We are Seven" (60). With a series of illustrations and text, Hilton then describes the love affair between Siddal and Dante Rossetti (99-101) and then reiterates the strong affair by stating "Rossetti was busy with Lizzy Siddal" (107). Hilton sums up his mention of Siddal by detailing, if rather briefly, the weakening of the her marriage to Dante Rossetti, her eventual "accidental death," and Rossetti's subsequent depression (178-79).
While Hilton's text may offer slightly more insight into the lives of the Pre-Raphaelite women, neither his nor Barringer's text does justice to the lives of these three women. Yes, Elizabeth Siddal was perhaps the most intricately involved in the goings-on of the Pre-Raphaelite Brotherhood, but Jane Morris' and Christina Rossetti's contributions should not receive the degree of dismissal that they do. Barringer's and Hilton's attempts at revisionist art histories fail and once again place the brunt of their focus on the men of the Brotherhood. Both authors allow the Pre-Raphaelite women to remain in the margins of the Pre-Raphaelite Brotherhood history, and, in doing so, do a disservice to all women artists, no matter in whose shadow they may have stood in during life.
Excellent rethinking of a generation of painters.......1999-07-23
This is a well-written, beautifully produced book, with much to tell the sort of person who, like me, might normally walk quickly by Pre-Raphaelite paintings in a gallery. Barringer explains the rationale, the techniques, and the lives of these artists in fascinating detail and makes one see what really is of interest in their works. He is extremely sympathetic to their projects, without being blindly uncritical. And he is candid about his debt to other art historians and literary critics. It seems to me that there is no better book on the subject for someone interested in 19th-century England or in the rise and fall of an intellectual movement.
disppointing.......1999-02-02
The previous reviewer is, alas, right. A depressingly judgememntal book, far more interested in righteous pronouncement on predictable topics than in the exploration of art works far more complex than this author is willing to allow. The Pre-Raphaelites need new literature. Much of the writing now extant is stale and repetitive, but this is not the way forward. Look at the paintings, Dr Barringer - don't simply 'read' them for coded messages.
A rather mechanical account of PRB culture........1999-01-26
Aimed at a general readership, this must be the most recent book on the Pre-Raphaelites. Where most writers have been happy to repeat the standard conventions about the PRB and their paintings, Barringer wants to tell us that issues seep into their brilliantly-lit compositions. Alas for the reader, in avoiding the pictorial complexity and brilliance of PRB painting, Barringer devotes far too much space to fashionable academic jargon on such subjects as colonialism, gender, class and so on. Instead of ceaseless curiosity in the face of these remarkable paintings, Barringer provides us with a series of judgemental cliches about modernity and ideology. Why, the reader is left to ponder, is he embarrassed by PRB paintings? Why the fixation with 'theory'? What is 'wrong' with these paintings?!
Average customer rating:
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The Pre-Raphaelites: Writings and Sources
Inga Bryden
Manufacturer: Routledge
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Binding: Hardcover
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ASIN: 0415169089 |
Book Description
This set reprints original Pre-Raphaelite fiction, prose, verse, literary criticism and illustration from key figures, and those less-known in the movement. A chronological table of reprinted texts is also included.
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- Best Out There
- At last a book devoted to Hughes.
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Arthur Hughes: His Life and Work
Leonard Roberts
Manufacturer: Antique Collectors Club Dist A/C
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ASIN: 1851492623 |
Book Description
Arthur Hughes has been called the unknown Pre-Raphaelite and this pioneering study confirms him as one of the foremost painters of the movement through his range and scope as both painter and book illustrator.
Customer Reviews:
Best Out There.......2000-07-11
I had to give this book five stars because it is the only comprehensive work devoted to Arthur Hughes. I have been attracted to Hughes' paintings for some time, but he has recently become a part of my graduate research. To my surprise, there is little research out there. Even though he did not achieve the critical acclaim of other Pre-Raphaelite artists, he is considered a major artist in the Movement. Granted this book is mainly in catalogue form, but this section contains hard-to-find information. It's also great for listing past exhibitions of individual paintings and newspaper/journal/book leads for more information. Lots of black/white reproductions and some nice colors ones. The analytical introduction is shorter than I would have liked, but the comprehensive catalogue is a great asset.
At last a book devoted to Hughes........1998-10-26
As a serious student of the Pre-Raphaelite Brotherhood and their associates, I have noticed a curious lack of materials regarding Arthur Hughes and his work. This is perhaps due to the unfortunate destruction (evidently) of much of the papers and materials that would give better light to his biography, as well as his partial detraction from oil painting to produce much illustration work. No less important, in truth, is likely the fact that he was not one of the most successful of Victorian age painters. However, the charm of coloring and subjects in his unique style certainly warrants a serious treatment and _Arthur Hughes: His Life and Works_ is an admirable and well-produced effort. Not only that, but it is the only one that I have yet to discover. With this fact in mind, I can only give it the highest of recommendations to anyone fortunate enough to have a similar taste for his work. The reproductions are excellent, the biography informative, and the content far more complete than the fragmented references to him to be found elsewhere.
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The Correspondence of Dante Gabriel Rossetti 6: The Last Decade, 1873-1882: Kelmscott to Birchington I. 1873-1874
Manufacturer: D.S.Brewer
ProductGroup: Book
Binding: Hardcover
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ASIN: 184384060X |
Book Description
Rossetti's return to Kelmscott in September 1872, following his breakdown and recovery charted in volume 5, commenced a period of artistic activity which was at its most energetic in the years 1873-1874. Because of the isolation of Kelmscott, he engaged C.A. Howell as his agent, and trusted him to find new buyers and assist in negotiations with his principal patrons. A complex character who " whirled us...in a tornado of lies", he could nevertheless sell pictures, negotiate with mercurial buyers and tolerate Rossetti's peremptory ways. We are fortunate, too, in having Rossetti's letters to the demanding patron Frederick Leyland. The letters demonstrate that in Leyland, Rossetti more than met his match, but neither the friendship nor the patronage foundered. Previously valued friends exhausted his patience: Swinburne, for example, is "the crowning nuisance of the whole world." At the same time, he unreservedly acknowledged debts and obligations, in particular to F.M. Brown and his brother William (to both of whom he owed "more in life" than to anyone else); and friends in need could always count on his generosity. When James Hannay's death left his family in uncertain circumstances, Rossetti acted immediately: "I have no family of my own to provide for, & am therefore doubly bound to do what I can for an old friend's children."
Book Description
William Holman Hunt was one of the three major artistic talents of the Pre-Raphaelite brotherhood. Hunt’s work was always characterized by great seriousness of purpose, and his paintings include many of the most beautiful and powerful images of that midcentury explosion of creativity. This catalogue raisonée gives him the attention he deserves.
The book includes an introduction that assesses Hunt’s life and artistic practice and discusses his aims, philosophy, and religious beliefs, which shed light on his works. While many of his paintings, with their extraordinary effects of light and color, are immediately accessible, his mature works incorporate symbolism that cannot be fully understood without a detailed knowledge of his intentions, and the catalogue entries thoroughly explore this. The volume presents Hunt’s oils and works on paper in two separate sections, and appendixes provide additional information on his illustrated letters, etchings, published illustrations, sculpture, and furniture.
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