#pre-raphaelite

John Everett Millais, The Rescue (1855) [©, appropriately, the National Gallery of Victoria]

Edward Robert Hughes - Dream Idyll

1902 / gouache and pastel on paper / 109.5 cm × 79 cm

Edward Robert Hughes - Dream Idyll

1902 / gouache and pastel on paper / 109.5 cm × 79 cm

John William Waterhouse - Tristan and Isolde

1916 / oil on canvas / 109 cm x 81 cm / Private Collection

John William Waterhouse - Tristan and Isolde

1916 / oil on canvas / 109 cm x 81 cm / Private Collection

Sir. Joseph Noel Paton - The Reconciliation of Oberon and Titania

1847 / oil on canvas / 76 cm x 123 cm / National Gallery of Scotland (Edinburgh, UK)

Dante Gabriel Rossetti - The Blessed Damozel

1871-1878 / oil on canvas / 136.8 cm × 96.5 cm / Harvard Art Museums (Cambridge, USA)

Dante Gabriel Rossetti - The Blessed Damozel

1871-1878 / oil on canvas / 136.8 cm × 96.5 cm / Harvard Art Museums (Cambridge, USA)

Wright Barker - Circe

1889 / oil on canvas / 138 cm × 188 cm / Cartwright Hall Art Gallery (Bradford, UK)

Wright Barker - Circe

1889 / oil on canvas / 138 cm × 188 cm / Cartwright Hall Art Gallery (Bradford, UK)

Edward Burne-Jones - Perseus and the Graiae

1892 / oil on canvas / Staatsgalerie Stuttgart (Stuttgart, Germany)

Edward Burne-Jones - Perseus and the Graiae

1892 / oil on canvas / Staatsgalerie Stuttgart (Stuttgart, Germany)

by John William Waterhouse.

by William Holman Hunt

Ophelia by Arthur Hughes.

Ophelia by Theodor Von Brek.

Ophelia by Antoine Auguste Ernest Hebert.

Ophelia by John William Waterhouse.

artofnocturne:

Some costume research for the Daughter, from @mai-col ‘s story

Did this a few weeks ago for our anthology project with the @artofnocturne collective. I know all those grey rows of static people might not be very exciting, from outside, but they sure are relaxing to draw.

Evelyn De Morgan Night and Sleep  (1878)

Evelyn De Morgan The Love Potion  (1903)

Waterhouse,Tristan and Isolde with the Potion detail, 1916

Waterhouse,The Charmer, 1911

Frederic Leighton (1830 - 1896)

1. Perseus and Andromeda
2. Flaming June
3. Pavonia
4. The Bath of Psyche
5. Wedded
6. The Fisherman and the Syren

fordarkmornings:

Marie Spartali Stillman  -  By a Clear Well, Within a Little Field,  1883 

British, 1844-1927 

Oil on canvas

‘Whenever I plunge my arm, like this,

In a basin of water, I never miss

The sweet sharp sense of a fugitive day

Fetched back from its thickening shroud of gray.

Hence the only prime

And real love-rhyme

That I know by heart,

And that leaves no smart,

Is the purl of a little valley fall

About three spans wide and two spans tall

Over a table of solid rock,

And into a scoop of the self-same block;

The purl of a runlet that never ceases

In stir of kingdoms, in wars, in peaces;

With a hollow boiling voice it speaks

And has spoken since hills were turfless peaks.’

'And why gives this the only prime

Idea to you of a real love-rhyme?

And why does plunging your arm in a bowl

Full of spring water, bring throbs to your soul?’

'Well, under the fall, in a crease of the stone,

Though precisely where none ever has known,

Jammed darkly, nothing to show how prized,

And by now with its smoothness opalized,

Is a drinking glass:

For, down that pass

My lover and I

Walked under a sky

Of blue with a leaf-wove awning of green,

In the burn of August, to paint the scene,

And we placed our basket of fruit and wine

By the runlet’s rim, where we sat to dine;

And when we had drunk from the glass together,

Arched by the oak-copse from the weather,

I held the vessel to rinse in the fall,

Where it slipped, and it sank, and was past recall,

Though we stooped and plumbed the little abyss

With long bared arms. There the glass still is.

And, as said, if I thrust my arm below

Cold water in a basin or bowl, a throe

From the past awakens a sense of that time,

And the glass we used, and the cascade’s rhyme.

The basin seems the pool, and its edge

The hard smooth face of the brook-side ledge,

And the leafy pattern of china-ware

The hanging plants that were bathing there.

'By night, by day, when it shines or lours,

There lies intact that chalice of ours,

And its presence adds to the rhyme of love

Persistently sung by the fall above.

No lip has touched it since his and mine

In turns therefrom sipped lovers’ wine.’

'Under the Waterfall’ by Thomas Hardy, 1914