#pre-raphaelite
Psyche Opening the Golden Box (1903), by J.W. Waterhouse
Psyche, the Greek goddess of the soul, was given four impossible tasks by Venus. Three of them she succeeded in accomplishing, but the last one was not to open a golden box that she was given. The box was supposed to contain beauty in its purest form. This seemed by far the easiest task, but of course her curiosity wins and after she had opened the box she falls in a deep sleep, only to be rescued by Cupid.
During the early years of the twentieth century, Waterhouse had trouble selling his paintings. He had to lower his prices to £300-400 each. This one was sold to Ernest Moon, the barrister who also bought “The Lady Clare”.
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Windflowers (1902), by J.W. Waterhouse
This nymph has picked her flowers from a field of anemones, while the fierce wind is blowing into her hair and dress. There are again no hints of any deeper subject other than a general respect for the forces of nature. Windflower is one of the popular names of the wood anemone that starts to flourish when spring begins.
Some people have suggested that the woman may represent Proserpina, the Roman goddess of fertility, wine and agriculture, but there are no records from the time that the painting was first exhibited that validate that theory.
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The Crystal Ball (1902), by J.W. Waterhouse
After the devout girl reading the missal, Waterhouse painted quite the opposite with this picture full of symbols of witchcraft: a wand, a skull and the woman looking into a crystal ball. Against the young girl reading the holy book, stands here an experienced woman following instructions from a book full of magical symbols. The skull was overpainted in the early 1950’s, but restored in its original state 40 years later.
Both paintings were displayed in the same gallery, side by side. They clearly belong together and as such were both bought by Frederick H. Pyman in 1909. Later they became somehow separated. This painting’s last known location is in a private collection in Mexico, whereas the location of The Missal is unknown.
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The Missal (1902), by J.W. Waterhouse
This painting of a virgin reading a missal in a domestic setting resembles the painting “Mariana in the South” from five years earlier. The kneeling woman, her outfit and the tiles on the floor are all similar. In the background, a courtyard is seen with fruit trees that symbolize the fertility of the girl. Unlike in “Mariana”, any references to literature or history are missing.
The present location of this painting is unknown and even the dimensions are undetermined. The last-known owner was shipping magnate Frederick Haigh Pyman, who bought it in 1909 for his holiday resort Dunsley Hall, now a hotel near Whitby.
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The Siren (1901), by J.W. Waterhouse
Compared to “Ulysses and the Sirens” painted in 1891, the siren shown here is a much more humanlike creature. Only at the very end of her legs some scales are visible to show that she actually belongs to the sea. The shipwrecked sailor does not believe his eyes when he sees the naked figure playing the lyre, but the fear for her power prevails on his face.
This work is the last in a series where Waterhouse combined the themes of death, sex and sea. Earlier works include Circe Invidiosa (1892), Danaë (1892), The Merman (ca.1892) and A Mermaid (ca.1895).
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Spring (ca.1900), by J.W. Waterhouse
There are at least four versions of this painting in which Waterhouse experimented mainly with the level of detail and the scenery at the horizon. Other aspects like the composition and the woman’s clothes remain unchanged. This is one of the two signed versions, but not the more impressionistic one that Peter Trippi selected for his wonderful book on Waterhouse. There are no indications that any of the versions were ever put up for sale in Waterhouse’s days.
He went on painting in his own style, but the glory days of Waterhouse were over. Besides the in England always popular military art (e.g. Fripp, Woodville and Davidson), young controversial artists such as illustrator Aubrey Beardsley and author Oscar Wilde drew attention.
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Nymphs Finding the Head of Orpheus (1900), by J.W. Waterhouse
Orpheus played the lyre (small harp) with such skill and passion that he inspired even animals, trees and rocks. However, when he tried to revive his beloved wife Eurydice from the underworld, the helpers of Dionysus got so tired of his music that they killed him and threw his head and lyre into the river. The story is symbolizing the purity of art in a wretched society.
The two nymphs are the focal point of this painting. Their pale flesh stands out against the dark colours in the background. Only when one follows their line of sight, the head of Orpheus reveals itself in the water, next to a small waterlily. This is a trick Waterhouse used to avoid too much drama. The painting was displayed on the Royal Academy and sold to Alexander Henderson in 1901.
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#TabloidArtHistory: Florence by Greta | Pre-Raphaelite Women (part 2)
Second in my two-part series pairing photos from Florence Welch’s photoshoot directed by Greta Gerwig for Wmagazine (2018) with some of the Pre-Raphaelite women. [See part 1 here.]
- Florence by Greta wears a Marni dress; wings from Western Costume Company, North Hollywood || A Vision of Fiammetta by Dante Gabriel Rossetti (1878)
- Florence by Greta in Carolina Herrera dress; Van Cleef & Arpels brooch; Celeste Stein tights; Kate Spade New York bag; Miu Miu sandals || Poetryby Simeon Solomon (1864)
- Florence by Greta in Calvin Klein 205W39NYC dress and sandals || Isabella and the Pot of Basil by John Melhuish Strudwick (ca.1865)
- Florence by Greta in Marc Jacobs minidress; Stephen Jones for Marc Jacobs turban; Falke tights || Beata Beatrix by DGR (1864-70).
Thelast picture in the photoshoot is the outlier, so if anyone has any suggestions for good Pre-Raph pairings, let me know!
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#TabloidArtHistory: Florence by Greta | Pre-Raphaelite Women (part 1)
A two-part series pairing photos from Florence Welch’s photoshoot directed by Greta Gerwig for Wmagazine (2018) with some of the Pre-Raphaelite women.
- Il Ramoscello by Dante Gabriel Rossetti (1865) || Florence by Greta in Miu Miu dress, tank, and belt. Beauty note: For a camera-ready cat eye, try Maybelline New York Lasting Drama Light Liner in Twinkle Black.
- Joan of Arc by DGR (1882) || Florence by Greta in Hermès cape and pants; Tory Sport turtleneck; David Yurman earrings; Pomellato bracelet; Givenchy clutch.
- The Salutation of Beatrice (version 1869) by DGR || Florence (and a piggy) by Greta in Valentino gown || Circe Invidiosa by John William Waterhouse (1892).
- Astarte Syriaca (1877) by DGR || Florence by Greta in Gucci belted jumpsuit; Cartier watch; Dries Van Noten sandals.
[seepart 2 of this Pre-Raphaelite Florence by Greta series here]
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Next step, the background!
(Piece already sold)
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Dance Fever ❤️
The Love Song, Sir Edward Burne-Jones, 1868-77
Oil on canvas
45 x 61 ⅜ in. (114.3 x 155.9 cm)
The Metropolitan Museum of Art, New York City, NY, USA
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