The Virgin of the Rocks

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The 500th anniversary year of Leonardo da Vinci’s (1452-1519) death has come to an end but not before the National Gallery jumped on the bandwagon and ended the year with the exhibition Leonardo: Experience a Masterpiece. Unlike the Queen’s Gallery, which focused on Leonardo’s life, and the British Library, which displayed examples of his notebooks, the National Gallery chose to focus on just one of the artist’s paintings: The Virgin of the Rocks.

The exhibition was split into four sections, each exploring a different aspect. Firstly, by reading quotes from Leonardo’s notebooks in a mirror (he always wrote backwards) visitors learnt about his fascination with rocks and landscapes, which feature in the background of many of his works. Secondly, visitors were introduced to a mock-modern studio, which revealed the secrets that science and conservation have revealed about The Virgin of the Rocks, for example, the colours used and the discarded composition hidden under the paint. The third room allowed visitors to experiment with shadows, discovering the dramatic effects light has on an object. Finally, visitors came face to face with the original painting, hanging on the wall of an imagined chapel to contemplate how the masterpiece looked in its original setting.

The Virgin of the Rocks, sometimes known as Madonna of the Rocks, is the title of two paintings by Leonardo da Vinci. They both depict the same scene: the Madonna and Child Jesus with the infant John the Baptist and an angel in a rocky setting; however, there are a few significant differences, for example, the direction of the angel’s gaze. The original version, or at least the version considered to be the eldest, hangs in the Louvre in Paris, the other, hangs in the National Gallery and was the subject of the Leonardo exhibition.

Leonardo was commissioned to paint The Virgin of the Rocks shortly after his move to Milan in the early 1480s. Having established his painting career in Florence, Leonardo had moved to search for new opportunities, which he found at the church of S. Francesco Grande. On 25th April 1483, Prior Bartolomeo Scoreline contracted Leonardo to produce painted panels for the new altarpiece in the Chapel of the Immaculate Conception that was attached to the church. Leonardo was contracted as the “master” of the project with brothers Ambrogio and Evangelista de Predis as his assistants.

The artists were instructed on the colours and subject of the paintings. The central panel was to be of the Virgin Mary and Christ child with two prophets, perhaps David and Isaiah, surrounded by angels. Another panel was to show the Virgin Mary with God the panels to the side of the main painting were to contain angelic musicians. The job was to be completed by 8th December 1483, the Feast Day of the Immaculate Conception.

As can be seen when looking at both versions of the painting, Leonardo did not stick to the instructions. Only one angel is present in the scene and there are no prophets except for the child John the Baptist. The church was not happy with the work Leonardo had produced by the completion deadline, therefore, he continued to work on it for a further five years until they were satisfied. Unfortunately, there was a dispute over payment so Leonardo, whether from spite or the need for money, sold the painting, which has eventually found itself in the Louvre. Leonardo was allowed to begin a second version, which was installed in the chapel in 1508.

The subject of the two paintings, which was not what the church had originally requested, is the adoration of the Christ child by the infant John the Baptist. Although it depicts Biblical characters, the scene is not an event that features in the Bible. The Gospel of Matthew reports that Joseph, Mary’s husband, was warned by an angel in a dream about King Herod the Great who had ordered that “all the male children in Bethlehem and in all that region who were two years old or under” were to be killed. (Matthew 2:16 ESV) Therefore, Joseph fled to Egypt with his wife and Jesus.

Several non-Biblical stories explain the flight to Egypt in more detail. One such story claims John the Baptist, Jesus’ cousin, was also staying with his family in Bethlehem where the Massacre of the Innocents was about to take place. Whilst the Holy Family made their way to Egypt after then angel’s warning, John the Baptist was escorted there by the Archangel Uriel, where he met his aunt and cousin on the road. It is this scene that Leonardo painted, therefore, it is assumed the angel he depicted is Uriel. Similar stories, however, claim the angel was Gabriel.

It is not certain whose idea it was to deviate from the original contract but Leonardo had just come from Florence, whose patron saint was John the Baptist. Many religious artworks produced in Renaissance Florence involved the Christ child with John the Baptist, therefore, it may have only been natural for Leonardo to include the future preacher in his painting.

Both paintings contain the same subject matter and similar background of rocks and distant mountains. The Christ child sits on the right of the painting, being supported by the angel, raising his hand as a sign of Benediction towards his cousin. John, on the opposite side of the painting, kneels with his hands together as though in prayer, whilst gazing at Jesus. This, however, is where the similarities end.

The figures in the second painting are slightly larger than the original and everything is more defined. In the first, the angel’s hand is raised as though pointing at John, whereas in the second, he rests his hand on his lap. The pointing angel also looks out towards the viewer, almost as though it is saying, “Look, it is John!” Leonardo’s second angel, on the other hand, looks down in a contemplative manner. Other notable differences include the halos, which are omited in the first painting, and the cross held by John, which only features in the second.

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A study of the fall of light on a face, about 1488

The style of the second painting appears to be remarkably different from the former. The sharpness of the outlines is one thing but there is also a lot of attention to shadow and shade. Notebooks belonging to Leonardo reveal he approached his paintings in a scientific way. Being a polymath, Leonardo was interested in the natural world and human anatomy, therefore, paid great attention to detail. He was aware of the effects light had on an image. When lit from above, shadows fall in a different direction to when lit from below, which can create a vastly different appearance. In the first painting, there is a distinct lack of shadow, however, it features heavily in the second.

The effect of contrasting light and shadow in art is known as chiaroscuro, which is derived from the Latin words for clear/bright and dark/obscure. The term was first used during the Renaissance period, coinciding with Leonardo’s career. Since it was a new idea, Leonardo may not have been educated in chiaroscuro painting but rather developed the style himself. This could explain the difference in style between version one and two, however, some people also suggest the second was painted by someone else under Leonardo’s instruction.

The rocky background blocks out a lot of the natural light, the only daylight coming through a small gap to the left of Mary. As a result, the opposite corner is in shadow and only parts of the four figures are lit by the light. Rather than making it difficult to view the characters, the gloomy light creates an unnatural illumination, which highlights and emphasises their features.

Another technique Leonardo used is sfumato, which means “shaded off”. This is a method for softening the transition between colours and tones, making parts of the painting appear out of focus. It is also useful when painting backgrounds, mimicking an area beyond what the human eye can see. Leonardo described sfumato as blending colours, without the use of lines or borders “in the manner of smoke”.

Leonardo used sfumato around the edges of delicate forms, such as the Virgin Mary’s facial features. Rather than drawing the nose, eyes and mouth with stark outlines, Leonardo made them seem to emerge gradually from the darkness. By using graduated smoky tones, the figures appear three-dimensional.

Leonardo also used sfumato in the background where the tips of the mountain reached the sky, creating the illusion that the land continues on further than the eye can see. Just as he had studied how the light fell on the human figures, Leonardo concentrated on the shadows on the rocks that framed the light source, making the background as interesting to look at as the figures in the foreground.

As well as being a prolific painter and biologist, Leonardo had a lifelong passion for the natural world. Many of his surviving sketches feature his observations of nature, including rivers, rock formations, trees and plants, including a star-of-Bethlehem, which features in the foreground of Virgin of the Rocks. The majority of these drawings were observations of the areas he lived or travelled through. It may be due to this fascination that Leonardo used a dramatic rock formation for the background of both versions of the painting. It certainly does not represent the Egyptian deserts of the land to which the Holy Family fled.

Although the rock formation is a natural landscape, it creates an other-worldly landscape when placed behind the Virgin Mary. The broken rocks thrust upwards from the ground and downwards from the roof of a cave, creating energy that contrasts with the peaceful meeting of John and Jesus as well as the calm water between the rocks and the mountains in the distance.

The landscape feels primaeval, as though it had remained untouched since God created it thousands of years before Christ’s birth. The presence of the Holy Family makes the environment come alive, plants blooming beneath John the Baptist and the Virgin Mary. Although one plant appears to be a star-of-Bethlehem, the other plants have been invented by Leonardo.

Whilst The Virgin of the Rocks (second version) is impressive to look at, science and technology have revealed hidden details that create a mystery about the painting and commission. Many paintings have underdrawings, showing the preliminary sketches of the artist before they began applying paint to the canvas. When conservators examined The Virgin of the Rocks in 2005 for the underdrawing, they were surprised to find a different sketch to the final composition.

Infrared reflectography (IRR) revealed Leonardo had begun a drawing of the Virgin Mary then abandoned it. A detailed eye could be seen on the scans but little was thought of it at the time other than the artist had not been happy and started again.

More recently, the painting has been examined again with new technologies and more details have been discovered. Macro X-ray fluorescence scanning showed up elements under the painting that had been drawn in a material that contained zinc. This showed up an alternative composition of the angel and Christ child. With wings slightly open, the angel appears to be looking tenderly down at the baby, holding him in a tight embrace.

Hyperspectral imaging (HSI) provided clearer images of the angel and baby, revealing that the Christ child’s arm is raised. Whether Jesus was interacting with the angel or reaching for his mother or John is unclear.

When examining the rest of the painting, an entirely different scene was revealed. The angel appears to be holding the Christ child on his lap, who is reaching out for his mother. Rather than sitting comfortably as she is in the finished version, Mary is on her knees in mid-movement, facing her son with one arm thrown out and the other on her chest as though in adoration. John the Baptist does not appear at all.

No one knows why Leonardo changed his original composition so drastically. Perhaps there was an intervention from the church who may have wanted Leonardo to paint a replica of the first painting. Nonetheless, this second version is by no means a reproduction. The use of lighting and attention to detail shows Leonardo had conducted more research into optics and human physiology, resulting in a more realistic interpretation of the Holy Family.

There may be more hidden under the painted layers of The Virgin of the Rocks, however, until technology is enhanced further, there is no way of knowing. Unfortunately, it is 500 years since the artist died, therefore, it is impossible to answer the many questions these revelations provoke.

Using lights and animation, the National Gallery recreated how Leonardo’s Virgin of the Rocks would have looked in its original setting. Today, Leonardo’s work hangs as a stand-alone painting in the gallery, however, it was originally made to be inserted into a pre-existing sculpted altarpiece, carved by Giacomo del Maino (1469-1505), in the Chapel of the Immaculate Conception of the Virgin in the Church of San Francesco Grande in Milan. Over the following centuries, the altar was modified several times and eventually dismantled in 1780. The chapel in which the altar stood had also been demolished, and the rest of the church was torn down by Napoleon (1769-1821) to make way for barracks in 1806.

Following the dismantling of the altar, the Scottish painter and antiquarian Gavin Hamilton (1723-98) purchased Leonardo’s painting and brought it to England. Two paintings of angels that featured on the altar, although not painted by Leonardo, were also sold, however, the rest of the altarpiece is now lost.

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The Contract

Some evidence remains that helps us picture what the chapel once looked like. The commission for a chapel dedicated to the Immaculate Conception of the Virgin can be traced to the spring of 1475 when the Franciscan friar and theologian Stefano da Oleggio proposed the idea during one of his sermons. Italian painters Francesco Zavattari (active 1417-1453) and Giorgio della Chiesa were commissioned to paint the decorative touches to the dome of the chapel, which included stars and the images of God, seraphim and the four Evangelists.

The contract states that the chosen sculptor of the altar had previously produced altarpieces in other churches in places such as Ponte, Sernio, Morbegno and Ardenno to the north of Milan. It is likely the church requested something similar from the sculptor.

As well as the paintings, Leonardo and his two assistants were contracted to paint and guild the entire altarpiece. In total, sixteen items were included in the contract. A statue of “Our Lady” was to have an outer coat of gold and ultramarine blue brocade and a dress of gold and crimson. The seraphim were to be painted red, but the other angels were to be decorated “in the Greek manner, painted in oils.” The place where the Christ child lay was to be painted to resemble a straw basket. “All the faces, hands and legs that are bare should be painted in oil to perfection.”

It is from the description of the contract and the existing examples of altarpieces from other churches in the area that the National Gallery managed to recreate an interactive version of the altar at the Chapel of the Immaculate Conception of the Virgin in the Church of San Francesco Grande in Milan. Of course, no one can ever be certain how it looked but to see The Virgin of the Rocks in situ was a breathtaking experience.

Leonardo: Experience a Masterpiece has been extended until 26th January 2020, therefore, there is one week remaining in which to view The Virgin of the Rocks in a unique setting. Tickets are £18 and it is recommended that a timed ticket is purchased in advance of the visit.

Hogarth: Place and Progress

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The Painter and His Pug by William Hogarth

For the first time, William Hogarth’s “Modern Moral Subjects” narrative series were united in an exhibition that explored the artist’s views on morality, society and London. Where better to hold the exhibition than at the unconventional Sir John Soane’s Museum, which already owned two series of Hogarth’s works. Sir John Soane (1753-1837) and his wife Eliza purchased Hogarth’s A Rake’s Progress in 1802, followed by The Humours of an Election in 1823. For three months, visitors to the museum were able to view these paintings alongside Hogarth’s other narrative series, including Marriage A-la-Mode, Four Times of Day, The Happy Marriage, The Four Stages of Cruelty, Industry and Idleness and Gin Lane and Beer Street.

William Hogarth was both an engraver and painter – the most outstanding in Britain during the 18th century. Born on 10th November 1697, Hogarth grew up in London where his father worked as a schoolteacher. Unfortunately, Hogarth Senior was imprisoned for debt, which had a great impact on his young son, evidenced in the prison scenes of later paintings.

Hogarth entered the art world by training as a silver plate engraver, eventually opening up his own London business in 1720. Although his working day was spent completing various commercial tasks, he spent his remaining spare time at the St Martin’s Lane Academy, studying painting under Sir James Thornhill (1675-1734).

Within the next decade, Hogarth’s painting skills were recognised through the success of his conversation pieces. He then went on to develop a new idea of using a sequence of paintings to tell a story – a precursor to the modern-day comic book. As a result of his unsatisfactory childhood, these sequential artworks focused on morals and social inadequacies.

A Harlot’s Progress (1732)

A Harlot’s Progress was the first of Hogarth’s “Modern Moral Subjects”, however, the original paintings were lost in a fire in 1755. Fortunately, engravings had been produced of the series, saving it from falling into obscurity. The series consists of six scenes that tell the story of the protagonist “M. Hackabout” and her fall from grace. It has been suggested the fictional character may have been inspired by Daniel Defoe’s (1660-1731) novel Moll Flanders, however, there is also a connection with the notorious prostitute Kate Hackabout, the sister of highwayman Francis Hackabout (hanged in 1730).

In the first scene, Moll or Mary Hackabout has arrived in Cheapside, the historic financial centre of London. Dressed immaculately, the innocent country girl has come to London in search of employment as a seamstress. Unfortunately, the unchaperoned girl has been discovered by Elizabeth Needham (d.1731), a middle-aged English procuress and brothel-keeper. Whilst Needham tries to lure Hackabout into prostitution, Colonel Francis Charteris (1675-1732), a Scottish soldier nicknamed “The Rape-Master General” looks on from the doorway of the Bell Inn.

The presence of Needham and Charteris is enough to suggest the direction of Hackabout’s future, however, Hogarth has included other visual clues in the picture. Hackabout is dressed in white, the same colour of the dead goose in her luggage, which foretells of her early death as a result of her gullibility. A teetering pile of pans also allude to Hackabout’s “fall”.

How Hackabout fared at the brothel is unknown because, by the second scene, she is now the mistress of a wealthy Jewish merchant. The merchant’s riches are evident from the West Indian serving boy, monkey, artwork on the walls and the mahogany table. Whilst this may seem a step up from the Brothel, Hackabout has taken on a young lover who can be seen in the background trying to escape whilst Hackabout causes a distraction by knocking the table over.

The Jewish merchant evidently caught on to Hackabout’s secret tryst because in the third scene she is no longer a kept woman but a common prostitute at the Rose Tavern in Drury Lane. Hackabout is shown sitting on her bed looking through the items she has stolen from various clients whilst being tended to by an old and syphilitic maid. On the wall hangs a witches hat and broomstick, suggesting prostitution is the work of the devil and a box belonging to the highwayman James Dalton (d. 1730) is stored above the bed, indicating the type of people with whom Hackabout has become involved. Her life is about to be disrupted once again, however, by the magistrate John Gonson (d. 1765) and three armed bailiffs coming through the door.

Hackabout is taken to Bridewell Prison, a place of correction for wayward women where, in scene four, she beats hemp to be used to produce hangman’s nooses. Hackabout is still dressed in fine clothes, however, the state of the women around her suggest she will not stay that way for long.

By scene five, Hackabout’s life as a prostitute has finally caught up with her as she lays dying from syphilis. Two doctors, the English Richard Rock (1690-1777) and the French Jean Misaubin (1673-1734) argue over the right type of treatment, evidently unaware that their patient is about to take her final breath. The presence of a child suggests Hackabout had a son, however, his disinterest in the situation makes it clear they did not have a loving relationship.

At Hackabout’s funeral in scene six, only one person appears concerned about her death – a young woman who peers into the coffin, seeing her own fate if she does not change her situation. An inscription on the coffin lid reveals Hackabout died at only 23 years old, but the people in the room seem not to care about the passing of such a young life, particularly the parson who spills his drink while getting cosy with the woman seated beside him.

Hogarth’s A Harlot’s Progress reveals how quickly a person can fall into temptation and sin, going from innocent young girl to the grave in a handful of years. Hogarth originally painted a picture of a prostitute for rakish clientele, however, he decided to explore how the girl found herself in that situation and her eventual fate. As a result, A Harlot’s Progress is a warning to young women living during Hogarth’s time of the sinfulness in London and the impossibility of escaping a life of prostitution once one has “fallen”.

A Rake’s Progress (1734)

Hogarth’s second and most famous progress is A Rake’s Progress, which usually hangs in the Picture Room at the Sir John Soane’s Museum. Following the success of A Harlot’s Progress, Hogarth decided to explore the fate of a male character whose sins lead to inevitable death. The Rake, Tom Rakewell, is the son and heir of a rich merchant. In the first scene of eight, Tom is being measured for new clothes, using the money he has gained from the death of his father. Whilst the servants mourn their master’s passing, Tom is more concerned about getting rid of his pregnant fiancée Sarah Young, despite having had a common-law marriage with her.

Tom Rakewell moves to London where he purchases a spacious house in the West End. Scene two shows Tom at his morning levée attended by a music master on the harpsichord (potentially George Frideric Handel), a fencing master, a dancing master, an ex-soldier, a bugler, a jockey and the landscape gardener Charles Bridgeman (1690-1738). Tom has yet to “fall” but his lavish spending of money reveals him to be a spendthrift and at risk of losing his wealth.

Scene three shows a vastly different party to the previous painting. Tom is attending an orgy at a brothel, potentially the Rose Tavern, Drury Lane, with many drunk men and prostitutes. Having had too much to drink, Tom slouches in a chair where he is distracted by one of the prostitutes whilst another picks his pockets. The immorality of the scene is emphasised by an upturned chamber pot spilling its contents onto a plate of food. Hogarth has painted black spots on the faces on the prostitutes to suggest they are suffering from venereal diseases.

By scene four, Tom has spent all his money and has been arrested for debt by Welsh bailiffs in the centre of London. The scene reveals he was apprehended whilst on his way to St. James’s Palace to celebrate Queen Caroline’s (1683-1737) birthday, which was incidentally Saint David’s Day, hence all the Welsh symbolism. Fortunately, Tom’s rejected fiancée Sarah Young is passing by and, because she still loves him, pays his fine, saving him from debtors prison. Hogarth adds comic elements to this scene, including a lamplighter accidentally pouring oil on Tom’s head and a young thief stealing Tom’s cane.

In an attempt to salvage his fortune, Tom marries a rich but elderly woman at St Marylebone Church, as shown in scene five. In the background is Sarah Young with their child, trying to stop the wedding but guests prevent her from entering the church. Tom is completely oblivious to the commotion and also shows little interest in the wedding, eyeing his new wife’s pretty maid rather than focusing on the ceremony.

Despite marrying into money, Tom’s addiction to spending and gambling gets the better of him. Scene six takes place in a gaming den at White’s Club in Soho where Tom has, once again, lost all his money. Whilst Tom kneels on the floor begging for divine intervention, other gamblers continue playing, completely oblivious that a fire has broken out at the back of the room.

Tom survived the fire but Sarah Young was unable to save him from Fleet’s debtors prison, which is where he ends up in scene seven. Although Sarah has come to visit with their child, she faints at the scene before her; meanwhile, Tom’s wife berates him for spending all her money and leaving her with no resources or protection. The jailer and beer-boy demand money from Tom, which he is unable to pay, having given up on writing a play in an attempt to earn money.

With no hope left, Tom goes insane and possibly violent, ending his days chained up in Bethlem hospital, London’s infamous mental asylum. The ever-faithful Sarah Young is the only person there to comfort him whilst fashionably dressed women visit the madhouse for fun as a place of entertainment. The bizarre antics of the other inmates, such as a naked man wearing a crown and urinating on the floor, reveal how filthy and inhospitable the asylum was during Hogarth’s time.

Since mental health is better understood today, 21st-century viewers of the paintings may be shocked by the behaviour of the wealthy in the final scene. The mentally ill were exploited for entertainment purposes and their chance of recovery was slim or nonexistent. Although Hogarth never painted Tom Rakewell’s death, it is clear from the conditions of the hospital that he would die there – his punishment for living such an immoral life.

Marriage A-la-Mode (1743-45)

Marriage A-la-Mode differs from Hogarth’s previous series in that it does not tell the story of an unfortunate individual but rather the unavoidably tragic story of an arranged marriage. Wealthy families tended to arrange the marriages of their children to benefit the family name and business, however, Earl Squanderfield has become bankrupt. Nonetheless, he is determined to arrange a marriage between his son and the daughter of a wealthy city merchant. The Earl uses his family tree, which claims he is descended from William the Conqueror, to win over the miserly merchant.

The first scene reveals the attitudes of the son and daughter toward their impending marriage. The young girl is in tears, evidently not wanting to marry the Earl’s uninterested son who gazes at himself in a mirror. The health of the Earl demonstrates the fate of selfish, money-grabbing people, resting his swollen, gouty foot on a footstool under the table.

The second scene takes place at a grander house, suggesting the Earl has died and the son has used his inheritance and wife’s money on luxuries. His money cannot last forever, which is clear from the stack of unpaid bills in the steward’s hands. The marriage also appears to be failing as the husband appears to be uninterested in his wife who is attempting to entice him over the breakfast table. A lady’s cap poking out of his pocket suggests he has been conducting an affair with another woman, and a black mark on his skin hints he may be suffering from syphilis.

The lady who the cap belonged to could be the young girl in the next scene. Set in a quack doctor’s surgery, the girl looks too small to be the man’s wife, therefore, it can be assumed she is the husband’s lover. The reason for visiting the quack is uncertain; some say the husband is complaining the mercury pills previously prescribed were not curing his syphilis, whereas, others point out the girl looks particularly unwell, therefore, could be pregnant or may have been infected with syphilis by her lover. It has been suggested that the other woman in the painting is the girl’s mother who is blackmailing the husband for defiling her daughter, however, the signs of syphilis on the mother’s skin imply she is equally to blame.

As earl and countess, the husband and wife hold and attend many parties, including one which is shown in scene four. The guests are preparing to enter the ballroom but the countess has turned her back on them to talk to a lawyer named Silvertongue. Various symbols suggest an existence of an affair between countess and lawyer, which is confirmed in the next scene where the earl discovers his wife in her private rooms with her lover.

Presumably after a duel, the earl is fatally wounded and the lawyer makes a hasty exit through the window in his nightshirt, as shown in scene five. Interestingly, the countess reaches out for her dying husband, forgetting all about her lover, despite the lack of affection in the marriage.

Whether from guilt or grief, the countess poisons herself with a bottle of laudanum, which lies empty at her feet in the final scene. An elderly woman lifts a baby to kiss its mother goodbye, revealing marks of syphilis on the baby’s cheek and leg, possibly passed on by the father. The countess’ father removes the wedding ring from his dead daughter’s finger, presumably to try and sell as it is the only item of worth in the poverty-stricken house.

With this series, Hogarth was satirising the rich and their arranged marriages. Whilst poorer, the common people were more likely to marry for love and live happily, unlike the wealthy who could afford to turn to vices to make up for the lack of affection in their lives.

The Happy Marriage (after 1745)

Following the completion of Marriage A-la-Mode, Hogarth began working on a positive counterpart known as The Happy Marriage. The series was never completed and all that remains are three unfinished paintings and four engravings made by artists after Hogarth’s death. Reasons for abandoning the project are widely speculated from the suggestion that “the rancour and malevolence of his mind” made it impossible for Hogarth to paint happy scenes, to it was too similar to works by other artists or authors at the time, for instance, the novel Pamela; or Virtue Rewarded by Samuel Richarson (1675-1732).

Due to the incompleteness, it is not certain in what order the images were intended to be viewed, however, some art critics have managed to piece together some semblance of a story. Unlike in Marriage A-la-Mode where the marriage was forced upon the young couple, The Happy Marriage begins with a courtship during which time they attend a garden party. A marriage eventually follows and the couple lives happily together with several children. One engraving also suggests they assisted the poor by handing out money and provisions.

It is thought the timespan of The Happy Marriage is the same as its counterpart, thus revealing how different life can be when a couple remains virtuous.

The Four Times of Day (1736-37)

The Four Times of Day is different from Hogarth’s previous works in that it does not follow a story but rather an observation of the goings-on in London over 24 hours. Slightly humorous in parts, Hogarth depicted people of all classes without showing preference to any particular type of person.

The first painting, titled Morning, shows an upper-class lady on her way to a church near Covent Garden, presumably St Paul’s Church, whose recognisable Palladian portico can be seen on the left-hand side. In front of the church is Tom King’s Coffee House, a regular haunt for prostitutes and their customers. The lady shields herself with her fan as she passes the disorderly group outside of the coffee house, who still appear to be intoxicated from the night before.

Noon takes place in the district of St Giles in the West End of London. On one side of the painting, well-dressed Huguenots are leaving the church, presumably St Giles in the Fields, which contrasts with the opposite scene. A small slovenly maid walks past the rotting corpse of a cat and the churchgoers, distracted by a black man fondling her breast. Not only is she unaware of her surroundings, but she is also no longer concentrating on her work, causing the contents of her pie dish to fall onto and break the plate of the boy in front of her, who stands there in distress.

The third scene, Evening, takes place in Clerkenwell, which during Hogarth’s time was outside of the city. A cow being milked in the background suggests it is about 5 pm and an ill-matched couple are returning from the capital. The husband, who carries his exhausted daughter, is a dyer by trade, evidenced by his stained finger-tips. The wife, presumably pregnant due to her size, tries to cool herself down with a fan displaying the classical scene of Venus and Adonis, suggesting she has been unfaithful to her husband. The timing of the scene places the husband directly in front of the cow’s head, making it appear as though the cow’s horns belonged to him. This is symbolic of a cuckold, the husband of an adulterous wife, which suggests his daughter and the unborn child may not be his.

The series ends with the scene Night, which takes place in Charing Cross with the statue of Charles I in the background. Scholars have suggested the date of the scene to be 29th May and, therefore, the people in the scene are returning home after celebrating the anniversary of the Restoration of the Monarchy. Charing Cross was a central staging post for coaches, just as it is now for taxis, however, the surrounding narrow roads were difficult to traverse during congested times. Hogarth reveals the fate of one of these coaches, which has overturned in front of a bonfire. The coach has yet to catch fire, however, the faces of the terrified passengers suggests the disaster will be inevitable. Meanwhile, a scene through a window reveals the unhygienic room belonging to a barber-surgeon. In those days, surgeons and barbers were one and the same, hence the sign that reads “Shaving, bleeding, and teeth drawn with a touch”. The barber, probably drunk after the day’s festivities, haphazardly shaves the beard of a customer with a knife that has no doubt been used for other more gruesome jobs.

The Four Stages of Cruelty (1751)

Ultimately, Hogarth’s progress series were produced as warnings against immoral behaviour. The Four Stages of Cruelty “were done in hopes of preventing in some degree that cruel treatment of poor Animals which makes the streets of London more disagreeable to the human mind, than any thing whatever.” (Hogarth) Rather than painting, Hogarth decided to only make engravings, which could be printed in multiples and distributed to a wider audience.

The series follows a character called Tom Nero who, in the first stage of cruelty, is seen inserting an arrow up a dog’s backside. Other boys in the street carry out other barbaric acts, such as burning out a bird’s eyes. Meanwhile, a tenderhearted boy pleads with Tom to cease the torture. It is said this well-dressed boy represents a young George III.

Tom is older in the second stage of cruelty and makes a living as a hackney coachman. His cruelty of animals as a schoolboy has continued into adulthood and he can be seen beating his horse, who has collapsed due to the previous mistreatment and overwork. Ironically, the overweight passengers in the carriage are lawyers, who turn a blind eye to Tom’s crimes. This, along with the lack of law enforcement in the first scene was Hogarth’s way of pointing out animals had no protection for mistreatment and violent crimes.

Things have escalated by the third scene, which reveals Tom has turned to thieving and murder. Tom persuaded his pregnant girlfriend Ann Gill to rob and leave her mistress. Ann, however, has second thoughts after the event, so to keep her quiet, Tom murders her. Her mutilated body lies at the bottom of the engraving along with a note that reads:

Dear Tommy
My mistress has been the best of women to me, and my conscience flies in my face as often as I think of wronging her; yet I am resolved to venture body and soul to do as you would have me, so do not fail to meet me as you said you would, for I will bring along with me all the things I can lay my hands on. So no more at present; but I remain yours till death.
Ann Gill.

Now that Tom has murdered a human being, the authorities finally get involved. In the final scene, Tom has been found guilty and hanged for his crime. The scene shows Tom’s corpse being subjected to the process of public dissection, however, the contortions of the body and expression of agony on Tom’s face suggests he was not yet dead when removed from the hangman’s noose.

Although The Four Stages of Cruelty did not have an immediate effect, Hogarth was pleased with the results. Eighty years after the scenes were published, the first Cruelty to Animals Act was passed by Parliament, outlawing the animal tortures depicted in Hogarth’s work.

The Humours of an Election (1754-55)

Whilst the majority of Hogarth’s works are based on fictional people, The Humours of an Election is a satirical series of oil paintings about an election held in Oxfordshire in 1754. Hogarth demonstrates the corruption of parliamentary elections before the Great Reform Act, which was eventually passed several decades after the artist’s death.

In the first scene, An Election Entertainment, the Whig candidates are enjoying a meal at an Inn whilst the Tories can be seen through the window protesting on the streets. Members of the latter party hold a banner with the words “Give us our Eleven days” in protest against the adoption of the Gregorian calendar.

Supposedly parodying the Last Supper, the Whig candidates try to butter up their supporters, which includes kissing an unattractive pregnant woman and listening to a drunk man’s story. Meanwhile, one man is knocked out by a brick thrown through the window by the Tories and another collapses from eating too many oysters. Hogarth pokes fun at the Irish politician Sir John Parnell (1720-82) who is seated at the table using a napkin as a hand puppet.

Scene two, Canvassing for Votes, shows two opposing candidates attempting to bribe an innkeeper to vote for them. Although this series is based on Oxford, Hogarth named the town Guzzletown, implying the members of parliament are corrupt drunks. The parties are represented by different inns: The Crown for the Whigs and the Royal Oak for the Tories. The Whigs’ establishment is being mobbed by those opposed to being taxed, whereas, the Tories are made to appear antisemitic. A third establishment, the Portobello Inn, represents an independent party.

The next stage of the progress is The Polling, in which voters are shown declaring their support for their favoured party. The Whigs are represented by an orange banner and the Tories with blue. Both parties are using unethical tactics to increase their votes, for instance, forcing a mentally disabled man to vote and carrying forward a man on the brink of death. Meanwhile, a genuine voter, a veteran soldier, is challenged because he has lost both of his hands and cannot swear his identity on the Bible. In the background, a woman in a coach that represents Britannia struggles as the carriage breaks down, unbeknownst to the drivers who are too busy playing cards, one of whom is cheating.

The final scene, Chairing the Member, depicts the aftermath of the election. A victorious Tory candidate is being carried aloft on a chair but is about to be knocked over by two opposing voters who are fighting in the street. Although the scene is one of celebration, there are many impending disasters that only the viewer can see. Pigs run riot, two chimney sweeps urinate on a dancing bear and, in the background, hoards of either celebrating or protesting voters are crowding the street.

At the time, Hogarth was making a mockery of the way elections were held, highlighting how corrupt the politicians were. Nowadays, the paintings are useful for historians when researching how elections were held in the 18th century, for instance, the lack of a secret ballot.

Industry and Idleness (1747)

Just as he went on to do with The Four Stages of Cruelty, Hogarth created Industry and Idleness solely as a set of engravings. With a total of twelve plates, this is the longest series of work Hogarth completed, which tackles both the inevitable consequences of vice and the rewards of virtue. The series follows the lives of two characters, Francis Goodchild and Tom Idle, who begin life on the same rung of the ladder but gradually move towards their respective fates. Each scene is accompanied by a Biblical reference, which foreshadows the future.

In plate one, Goodchild and Idle are apprentice weavers, however, their attitude to the work differs greatly. “The hand of the diligent maketh rich,” (Proverbs 10:4) describes Goodfellow, who is busy at the loom surrounded by helpful literature, including his copy of The Prentice’s Guide. On the other hand, “The Drunkard shall come to Poverty, & drowsiness shall cloath a Man with rags,” (Proverbs 23:21) warns of Idle’s fate, who is already disappointing his master by sleeping on the job.

“O! How I love thy Law it is my meditation all day.”
Psalm 119:97

On Sundays, the apprentices were given the day off to attend church, which is what Goodchild is doing in plate two. He can be seen standing next to the master’s daughter at St Martin-in-the-Fields. Meanwhile, in plate three, Idle is spending his Sunday rather differently.

“Judgments are prepared for scorners & stripes for the back of Fools”
Proverbs 19:29

Rather than attend a church service, Tom Idle remains in the churchyard with other badly behaved boys who are sitting on top of a tombstone and gambling with a few coins. Behind them stands a beadle, ready to beat the boys for their disrespect.

“Well done good and faithfull servant thou hast been faithfull over a few things, I will make thee Ruler over many things.”
Matthew 25:21

By plate four, Goodchild has been promoted from apprentice to the bookkeeper of his master’s business. The set of keys and a money bag in Goodchild’s hands proves he has earnt his master’s trust.

“A foolish son is the heaviness of his Mother.”
Proverbs 10:1

Idle, on the other hand, has been turned away from the business and sent out to sea to earn a living. Plate five shows Idle and his weeping mother crossing the Thames in a wooden rowing boat, however, Idle has thrown his contract in the water, no longer wanting to be under anyone’s authority.

“The Virtuous Woman is a Crown to her Husband.”‘
Proverbs 12:4

Not only did Goodchild work his way up in the weaving company, but he also won the hand of his master’s daughter, who he has married by plate six. Mr and Mrs Goodchild stand at a window, distributing the remnants of their dinner to the poor. A sign hanging on the building reveals Goodchild’s name has been added to the title of the family business.

“The Sound of a Shaken Leaf shall Chace him.”
Leviticus 26:30

Having rejected formal employment, Idle has become a thief or highwayman and has taken up residence with a common prostitute. While this woman studies Idle’s latest spoils, Idle starts at the sound of a cat falling down the chimney. The bolts and extra planks of wood on the door to the room suggest Idle is terrified of the law catching him for his crimes.

“With all thy getting get understanding Exalt her, & she shall promote thee: she shall bring thee to honour, when thou dost Embrace her.”
Proverbs 4:7-8

Whilst Idle hides away, Mr and Mrs Goodchild attend an opulent banquet where they sit in the seats of the guests of honour. Although Goodchild has become associated with the upper class who Hogarth generally dispised, he portrays Goodchild as a well-dressed individual, whereas, the others present at the meal tend to be overweight, unruly and busy stuffing food into their mouths.

“The Adulteress will hunt for the precious life.”
Proverbs 6:26

Idle progresses from thieving to murder, as seen in plate nine. Idle is examining the possessions of his recent victim whilst another man disposes of the body through a trap door. Idle’s prostitute, however, reveals Idle’s location to men of the Law in exchange for a small sum of money. With nowhere to run, Idle is about to be caught red-handed.

“The Wicked is snar’d in the work of his own hands.”
Psalm 9:16

“Thou shalt do no unrighteousness in Judgement.”
Leviticus 19:15

Idle and Goodchild’s paths cross once more in plate ten. Goodchild has become an alderman and it is his job to sentence Idle for his crimes. Despite the pleading of Idle and his mother, Goodchild has no choice but to sentence Idle to death. The expression on Goodchild’s face suggests he is struggling to hide his emotions and feelings for his former workmate.

“When fear cometh as desolation, and their destruction cometh as a Whirlwind; when distress cometh upon them, they shall call upon God, but he will not answer.”
Proverbs 1:27

So, Idle meets his fate in plate eleven as he travels to the gallows. In the coach, Idle leans against his coffin whilst a Methodist preacher makes a last-minute attempt to persuade Idle to repent of his sins. The coach is surrounded by crowds of people travelling to witness Idle’s execution. No one looks particularly upset about Idle’s fate and only accompany him out of morbid curiosity.

“Length of days is in her right hand, and in her left hand Riches and Honour.”
Proverbs 3:16

By the end of the series, Goodchild’s life is a stark contrast to his deceased workmate. Due to his virtuous nature, Goodchild has been elected Lord Mayor of the City and rides through a celebrating crowd in the Lord Mayor’s carriage. Since this is the final plate, Hogarth does not reveal how Goodchild’s life ends, however, if the previous plates are anything to go by, Goodchild is likely to have a long and happy future.

Gin Lane and Beer Street (1751)

Although Gin Lane and Beer Street are not one of Hogarth’s “Modern Moral Subjects” nor a series, the two prints were an appropriate ending to the exhibition at the John Soane’s Museum. Hogarth issued these prints the year after the Sales of Spirits Act was passed in 1750, also known as the Gin Act. Since the quality of water in London was so poor, citizens took to drinking gin as a cheap alternative. Unfortunately, this led to extreme drunkenness and addiction. Even when prices were raised, people still found a way to purchase and abuse gin. With these two prints, Hogarth was attempting to persuade people to drink a “safer” alternative: beer.

Gin Lane is set in the slum district of St Giles full of dishevelled people on the brink of death or despair. The only two flourishing businesses are the gin seller and the pawnbroker, where people sell their possessions for a few pennies to spend on gin. In the foreground are two people whose lives have been ruined by gin. One man resembles a skeleton, having given up food to be able to afford the drink. The other person, a woman, is so drunk she lets her baby slip from her arms, plunging to certain death. The syphilitic sores on the woman’s legs suggest she may have taken to prostitution to fund her addiction.

Beer Street, on the other hand, is set near St Martin-in-the-Fields on 30th October, George II’s birthday. The inhabitants are good-humoured, well dressed and, although they are all drinking, are taking a break from a hard day’s work. Businesses appear to be thriving and no one is in the grips of despair, except perhaps the pawnbroker who receives very little custom.

Whilst Hogarth deliberately makes the Beer Street lifestyle more appealing, it did not have an immediate effect on the people of London. Those gripped by addiction ignored his warnings and continued to seek out supplies. In 1836, gin consumption was still an issue, as Charles Dickens (1812-70) pointed out: “Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery, with the pittance that, divided among his family, would furnish a morsel of bread for each, gin-shops will increase in number and splendour.” Nonetheless, Hogarth’s prints started the slow progress of sobering up the people of London.

Hogarth: Place and Progress not only allowed visitors to the museum to see some of the best works of one of the greatest English painters and printers, but it also allowed us to discover life in London during the 1700s, particularly for the poor. History tends to focus on the victors, the rich and the important, therefore, the people at the bottom of the social scale tend to get erased. Hogarth, who grew up in a lower-middle-class family, thus experienced both ends of the scale, captured the truth, albeit slightly satirical, for posterity.

The art critic Brian Sewell declared in 2007 that “Hogarth saw it all and saw it straight, without Rowlandson’s gloss of puerile humour and without Gainsborough’s gloss of sentimentality.” This also says a lot about Hogarth’s personality. Having experienced debtors prison through his father, he sympathised with the poor, however, he tended to blame them for their vices and suggested it was their choices that controlled their future and not their financial positions. Meanwhile, Hogarth did not believe the upper classes were better than the lower. Often, he painted the rich as fat, selfish men, however, those who had worked their way up the ladder through virtuous behaviour were looked upon in a different light.

Hogarth was by no means a perfect gentleman, however, he made a name for himself and tried to provide for his wife Jane, the daughter of his former tutor Sir James Thornhill. Hogarth was initiated as a Freemason by 1728 and bought a house in Leicester Square, then known as Leicester Fields, and a country retreat in Chiswick. The latter is now known as Hogarth House and is preserved as a museum. Although Jane and Hogarth had no children of their own, they frequently fostered foundling children and helped to set up the Foundling Hospital in Hatton Garden.

Hogarth died in London on 26th October 1764 and was buried at St Nicholas Church in Chiswick. His greatness as a painter of “Modern Moral Subjects” was captured in an inscription on his tomb written by the actor David Garrick (1717-79):

Farewell great Painter of Mankind
Who reach’d the noblest point of Art
Whose pictur’d Morals charm the Mind
And through the Eye correct the Heart.

If Genius fire thee, Reader, stay,
If Nature touch thee, drop a Tear:
If neither move thee, turn away,
For Hogarth’s honour’d dust lies here.

Although the exhibition has now closed, it is still possible to see A Rake’s Progress and The Humours of an Election at the Sir John Soane’s Museum in Lincoln Fields Inn, Holborn. Other places in London to view Hogarth’s work include Tate Britain, the National Gallery and the Foundling Museum.

The Self-Portraits of Lucian Freud

For the first time, Lucian Freud’s self-portraits have been united for one extraordinary exhibition at the Royal Academy of Arts in London. With a career spanning almost 70 years, the exhibition explores Freud’s development as a painter from his earliest portrait of 1939, to his final one painted 64 years later. Displayed in chronological order, the self-portraits create a visual timeline of Freud’s appearance, providing the perfect opportunity for the Royal Academy to discover the man behind the canvas.

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Lucian Shaving – David Dawson 2006

Lucian Michael Freud was born in Berlin on 8th December 1922. Initially, he grew up in Germany with his parents, Lucie and Ernst Freud (1892-1970) and his brothers Stephan and Clement. In 1933, the family fled to the United Kingdom to escape Nazi Germany and were later joined by Lucian’s famous paternal grandfather, the psychoanalyst Sigmund Freud (1856-1939).

The Freud family settled in St John’s Wood, London, however, the boys attended Dartington Hall School in Devon. Lucian later attended Bryanston School in Dorset, however, was expelled after a year due to disruptive behaviour. After this, Freud attended a few art colleges in London and was encouraged by his mother to display some of his artwork at an exhibition of children’s drawing at London’s Guggenheim Jeune Gallery in 1938.

From 1939 until 1942, Freud attended the Welsh painter Cedric Morris’ (1889-1982) East Anglian School of Painting and Drawing in Suffolk. Whilst there, Freud became determined to have a career as a painter and produced his first self-portrait. His art education was briefly disrupted when he was called up to serve as a merchant seaman in an Atlantic convoy, however, he was invalided out of service after a few months.

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Man with a Feather, 1942

Freud destroyed many of his self-portraits but, fortunately, over 50 remain, including one of his early works Man with a Feather (1943). This was painted after finishing his art education, which concluded with a year at Goldsmith’s College in London. This painting was exhibited with a selection of Freud’s works at his first solo exhibition at Lefevre Gallery, London in 1944. The three-quarter length portrait shows Freud holding a white feather, which he had been given by his first serious girlfriend, Lorna Wishart (1911-2000). Incidentally, Freud went on to marry Lorna’s niece Kitty (d.2011), who was the daughter of the sculptor Jacob Epstein (1880-1959).

Comparing the early self-portraits with his later works, Freud was initially influenced by German Expressionism and occasionally surrealism. After the war, Freud developed a precise linear style using muted colours and elongated brushstrokes. His drawings were sharp and graphic, produced by a variety of ink, crayon and pencil.

Man with a Thistle (Self-portrait) is an example of Freud’s linear style painting. This particular self-portrait was produced during a five-month stay on the Greek island of Paros. The vertical and horizontal lines are severe and dominate the painting, whilst the image of himself is relegated to the background.

During the 1940s, Freud tended to prefer drawing over painting, therefore, the majority of his early self-portraits were produced in pencil and pen. Startled Man, for example, was drawn with conté crayon and pencil. The outcome looks similar to the result of etching, and the facial expression is not too dissimilar to the series of experimental self-portrait etchings by the Dutch artist Rembrandt (1606-69).

Other examples of Freud’s drawings include Man at Night and Self-Portrait as Actaeon. Both of these outcomes must have taken an exceedingly long time since the drawing is made up of tiny markings. Freud used dots and dashes to produce the tones, shadows and outlines, leaving the lighter areas blank. This works particularly well in Man at Night, which reveals the artist lit up from one side by an artificial light source.

Self-Portrait as Actaeon was originally intended as an illustration for a book of Greek myths. Unfortunately, the book was rejected by the publisher, however, the illustrations were later published in a magazine. Possibly inspired by Titian’s (1488-1576) Diana and Actaeon, which now hangs in the National Gallery in London, Freud depicted himself as Actaeon, a famous Theban hero, who was turned into a stag after accidentally coming across the goddess Diana bathing.

“People thought and said and wrote that my paintings were linear and defined by drawing. I’ve never been that affected by writing, but I thought if that’s all true, I must stop.”

Around the mid-1950s, Freud transitioned from drawing to painting and began to approach his artwork differently. For years, Freud used small canvases that he could fit on his lap, however, he began to find this rather restrictive and decided to paint at an easel instead. Whilst he continued to produce the occasional small painting, Freud started working on a much larger scale.

Since his return from Greece, Freud had made London his permanent home and was later characterised as a figurative painter in the “School of London”. Amongst this group of artists were R.B. Kitaj (1932-2007), Frank Auerbach (b.1931) and Francis Bacon (1909-92), the latter being a great influence on Freud. Bacon tended to use hog’s hair brushes, which allowed him to handle a heavier load of paint than Freud’s sable-hair brushes. After swapping to hog’s hair brushes, Freud’s style became vastly different from his earlier work. Whilst the handling of the paint created more texture on the canvas, the portraits were closer to reality than his flat, graphic versions.

When the focus was purely on the body, Freud used his new style of painting. The thicker brushes and paint helped him to concentrate on the texture and colour of flesh. Unlike his graphic drawing style that he eventually stopped using, Freud retained this new style for the rest of his life, as can be seen when comparing his work from the 1950s with a self-portrait painted in 1978. Self-Portrait with a Black Eye was painted immediately after an argument with a taxi driver that evidently turned physical. Intrigued by the changes in colour and shape caused by the bruising and swelling, Freud was keen to capture it on canvas.

Although he continued to use hog’s hair brushes for the rest of his artistic career, it was not the only style of painting Freud developed. During the 1960s, Freud experimented with watercolours, which resulted in a flatter colour than the thick oil paint. By using this medium, Freud retained a little of his earlier linearity but the colour washes reduced the harshness of the lines. Freud replicated this style in oil paint, particularly when there was more to a painting than human flesh. An example of this is Hotel Bedroom, which combines his old style with a softer brushstroke.

Hotel Bedroom includes a self-portrait of Freud who is standing behind a bed in which his wife is lying. This is not a portrait of Kitty, who Freud divorced in 1952, but his second wife Lady Caroline Blackwood (1931-96) who he married in 1953. Unfortunately, their marriage only lasted four years and a sense of estrangement can already be felt in this artwork, which was painted in 1954. Freud did not marry again after his second divorce, however, it is rumoured that he fathered as many as 40 children, however, only 14 have been officially identified as his – two from his first marriage and 12 by various mistresses.

Throughout his career, Freud painted portraits of other people, including his children. The first time his children appeared in his work, however, was at the bottom of a self-portrait, Reflection with Two Children. Rose and Ali are positioned in front of a gigantic mirror, producing a slightly surreal effect, since they do not have any reflection. The painting was inspired by a picture Freud had seen in a book, however, it also tells us a little about Freud’s painting process.

When creating self-portraits, Freud preferred to paint his likeness from mirrors rather than photographs. He often left mirrors lying at various angles in his studio in the hopes that it would produce an interesting perspective. For Reflection with Two Children, Freud placed the mirror directly on the floor and painted himself peering into it from above. Unlike his previous self-portraits, Freud included the mirror’s frame in the painting.

Freud may have taken inspiration from past painters who included mirrors in their work, for example, Velázquez (1599-1660) and Van Eyck (d.1441). For a while, Freud continued to include mirrors in his work, for example, Interior with Plant, Reflection Listening in which he included a small self-portrait behind an enormous houseplant. Freud also used a range of different sized mirrors of which Interior with Hand Mirror (Self-portrait) is an appropriate example. Slightly different from his usual style of work, the tiny reflection resembles Freud’s usual method of depicting flesh, however, the rest of the painting feels washed-out and rushed.

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Two Irish Men in W11, 1984/5

“My work is purely autobiographical. It’s about myself and my surroundings … I work from the people that interest me and that I care about and think about in rooms that I live and know.”

By the mid-60s, Freud was focused on full-length portraits, which continued to show his ability to convey the luminous texture of the human flesh. Many of these portraits were of nudes, including paintings of his children, which unsettled many viewers. Rather than portraying men and women in the tradition of Renaissance artists, Freud was brutally honest, revealing all parts of the human anatomy.

Not all Freud’s full-length portraits involved nudity, for instance, Two Irish Men in W11 in which the men are fully clothed. The unnamed men were painted in one of Freud’s London studios. Throughout his career, Freud had studios in Paddington, Notting Hill and Holland Park, which were decked out with battered sofas, bare walls and wooden floors. Some critics claim these downtrodden environments added to the psychology of Freud’s work, evidencing the influence of his grandfather.

Although the main focus of the portraits was on the sitter, Freud often managed to subtly include himself in the painting. Sometimes a glimpse of his reflection can be seen in a mirror or, in the case of Two Irish Men in W11, unfinished self-portraits sit on the floor against the wall. Oftentimes these glimpses go unnoticed unless pointed out.

Freud painted portraits of his friends and fellow artists, including Auerbach and Bacon. Sometimes the sitter was clothed and other times naked, often sprawled across a bed or on the floor. He did not seek out attractive models for his nudes but painted people of all shapes and sizes, including the very large Sue Tilley (b. 1957), nicknamed Big Sue. Despite going against conventional beauty, the painting sold for $33.6 million in 2008. His most frequent sitter was his friend David Dawson, however, he also painted a few well-known names, such as Kate Moss (b.1974) and the Queen (b.1926), the latter obviously fully clothed.

Freud painted his first nude self-portrait at the age of 70, using thick layers of paint to draw attention to his ageing body. It took him several months to complete and Freud was never completely happy with the result. “I couldn’t scrap it,” he said, “because I would be doing away with myself.”

As well as the full length nude, Freud continued to produce self-portraits, for example, close-ups of his head and shoulders. Again, he applied thick paint to the canvas to reveal the lines on his ageing face as well as the shadows caused by the artificial lighting in his studio.

Towards the end of his career, Freud rekindled his passion for lines by producing etchings, which he had briefly experimented with during the 1940s. Freud approached his etchings in a similar manner to painting, propping the copper plate upright on his easel. Over weeks and months, he etched into the metal, working heavily on the backgrounds to make it darker than the subject of the etching. Freud only produced one etched self-portrait, which shows up all the wrinkles and imperfections of his 74-year-old face. Due to the overworking of the stylus on the metal plate, the final print is rather dark, almost as if the elderly man is fading into the background.

In 1996, 27 of Freud’s paintings and 13 etchings were displayed at the Abbot Hall Art Gallery in Kendal, Cumbria. This was a particularly major exhibition for the artist and it was followed by an exhibition of his early works at the Scottish National Gallery of Modern Art. In 2002, Tate Britain held a large retrospective of Freud’s work, however, it has taken until 2019, eight years after Freud’s death, for the first exhibition of his self-portraits to be held.

Lucian Freud died on 20th July 2011 and was buried by the then Archbishop of Canterbury, Rowan Williams (b.1950), at Highgate Cemetry. Freud was an extremely private man, which is why the majority of his paintings are of friends and family. No doubt the number of self-portraits indicate Freud prefered his own company to others. His self-portraits reveal his change in artistic techniques but also provide an insight into his psyche. Never smiling, it is possible Freud did not like what he saw, suggesting he did not have the greatest relationship with himself. The fact he destroyed many of his self-portraits is also indicative of this.

Lucian Freud: The Self-portraits does not contain any “wow-factor” paintings, however, it allows visitors to learn and understand the painter, who until now has just been a well-known name. Living in the shadow of his grandfather, Freud made a name for himself as a painter, shocking people with nudity and unpolished human flesh, and yet, we learn he was a private individual, vastly contrasting with the opinions of the public and critics.

Lucian Freud: The Self-portraits is open at the Royal Academy of Arts until 26th January 2020. Tickets are £18 and it is advisable to book a timed entry in advance. Although under 16s can visit for free, some paintings are unsuitable for young visitors.

Treasures of the Golden Pharaoh

Until 3rd May 2020, the people of Britain have a final chance to see the glittering world heritage artefacts that were discovered in a tomb belonging to King Tutankhamun before they return to Egypt forever. With a new museum being built specifically for the treasures in Egypt, 150 of the total 5366 objects are gradually making their way around the world on their final tour. Following successes in Los Angeles and Paris, it is London’s turn to hold the once in a lifetime opportunity to experience the wonder and mystery of the boy king.

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Tutankhamun was an ancient Egyptian pharaoh who ruled at the end of the 18th dynasty (c. 1334 – 1325 BC). He took the throne at the tender age of nine after his father, Akhenaten (originally named Amenhotep IV) passed away. During Akhenaten’s reign, he had established an Aten cult, an ancient religion that deified the sun, dismissing other Egyptian gods. For this reason, the pharaoh renamed himself Akhenaten, meaning “effective for Aten.” He and his wife, known as “The Younger Lady”, named their son Tutankhaten, meaning “living image of Aten”. After Akhenaten’s death, the “boy king” dissolved the Aten cult and reinstated the cult of Amun, changing his name to Tutankhamun – “living image of Amun”. Amun is a major ancient Egyptian deity who may also be the equivalent of the Greek god Zeus.

When Tutankhamun became king, he married his half-sister Ankhesenpaaten, who subsequently changed her name to Ankhesenamun. Two mummified foetuses found in the same tomb as Tutankhamun suggests they had a couple of daughters, neither of whom survived. Data collected from the bodies reveals one was born prematurely at around 6 months of pregnancy, and the other was full term, however, suffered from Spina Bifidia, scoliosis and Sprengel’s deformity. Therefore, Tutankhamun, who died after a short reign of ten years, had no living heir.

Tutankhamun’s cause of death remains a mystery to this very day. His skeleton reveals he was physically disabled with a deformity in his left foot, which, judging by the number of walking sticks in the tomb, meant he needed assistance walking. He had other health issues including a cleft palate, scoliosis and several strains of malaria, however, it is not thought that any of these problems killed him. Xrays revealed Tutankhamun had a compound left leg fracture, which given the lack of modern medicine and technology, could have left Tutankhamun dead within a week. How the Pharoah received this wound can only be speculated.

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As items in the tomb reveal, Tutankhamun was also known by his throne name Nebkheperure. During his reign, he commissioned new statues of deities that had been destroyed whilst his father was on the throne and began to restore the old Egyptian order. This involved renouncing the god Aten, changing his and his wife’s name and reinstating Egypt’s polytheistic religion.

Given his age, Tutankhamun presumably did not rule alone and would have had advisers, such as Ay (a possible great uncle), who became Pharaoh after the boy king’s death. Nonetheless, Tutankhamun was praised for his successes, as evidenced by the gifts from other countries found in his tomb.

Tutankhamun’s history may be brief and open to speculation, however, none of this would have been known at all if his tomb had not been discovered almost 100 years ago. Ay died after a short reign of four years and was replaced by Horemheb, who had been promised the throne if Tutankhamun had no children. For reasons unbeknownst, Horemheb ordered Tutankhamun’s name be hacked out of all monuments, often replacing it with his name. Tutankhamun was literally written out of history and his name forgotten. It is thanks to an Englishman by the name of Howard Carter that Tutankhamun is the most famous of all Egypt’s pharaohs.

Howard Carter was a British archaeologist and Egyptologist who rose to worldwide fame after discovering the intact tomb of Tutankhamun. Carter was born in Kensington, London on 9th May 1874 and received artistic training from his father Samuel John Carter (1835–92). Howard was the youngest of eleven children and spent much of his childhood with his relatives in Norfolk. Whilst there, Howard frequently visited Didlington Hall, which contained a large collection of Egyptian antiques. Seeing that he had a keen interest in the subject, one of the hall’s owners sent 17-year-old Carter to Beni Hasan in Egypt with the Egypt Exploration Fund to help excavate the tombs in the area.

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Lord Carnarvon

During the 1890s, Carter helped to record the wall reliefs in the temple of Hatshepsut, the second historically-confirmed female ruler (1479-58 BC). At the end of the decade, he was appointed Chief Inspector of the Egyptian Antiquities Service and supervised several excavations at the ancient city of Thebes. He resigned from his position in 1905 due to arguments between Egyptian guards and French tourists. Fortunately, three years later, Carter met George Edward Stanhope Molyneux Herbert, 5th Earl of Carnarvon (1866 – 1923) who employed him to supervise the excavation of tombs opposite the city of Thebes.

In 1914, Lord Carnarvon got permission to dig in the Valley of Kings, where Egyptian pharaohs were buried between the 16th and 11th centuries BC. By then, knowledge of Tutankhamun’s existence had been unearthed in tombs of those who had died before him, i.e. in places Horemheb could not access to remove his name. Although World War One hindered the excavation work, Carter returned to the site in 1917, however, by 1922, Lord Carnarvon was dissatisfied with the lack of results.

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Hussein Abdel-Rassoul

Carter convinced Lord Carnarvon to let him carry on working in the Valley of Kings for one more year. He instructed his workers to clear some ancient huts and the surrounding rock debris, however, when he arrived on the site on 4th November 1922, no one was working. Earlier that day, the team’s water boy Hussein Abdel-Rassoul had discovered a stone that turned out to be the first step of a flight of stairs. Having waited for Carter’s arrival, they assisted him to dig out the rest of the steps until reaching a mud-plastered doorway stamped with hieroglyphics. Wanting his employer to be there when the tomb was opened, Carter refilled the earth they had dug and sent a telegram to Lord Carnarvon who eventually arrived on 23rd November.

“At first I could see nothing, the hot air escaping from the chamber causing the candle flame to flicker, but presently, as my eyes grew accustomed to the light, details of the room emerged slowly from the mist, strange animals, statues, and gold – everywhere the glint of gold.”
– Howard Carter

Using a chisel he had been given by his grandmother when he was 17, with Lord Carnarvon and his daughter Lady Evelyn Herbert (1901-80) in tow, Carter made a small hole in the top left-hand corner of the doorway through which he could peer with the aid of a candle. “Can you see anything?” Lord Carnarvon asked. To which Carter responded with the famous words, “Yes, wonderful things!” Carter had discovered Tutankhamun’s tomb, later designated with the serial number KV62 (King’s Valley 62).

For the next few months, Carter painstakingly catalogued the items in the antechamber of the tomb, eventually making his way through another door that led to the burial chamber. In there, he unearthed the sarcophagus of Tutankhamun and, therefore, the remains of the pharaoh’s body. Work was suspended for a month in 1923 due to arguments about who owned the discovered items: Carnarvon, who paid for the expedition, or the Egyptian authorities. After a month, Carter resumed work but Lord Carnarvon soon became fatally ill.

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Lord Carnarvon contracted blood poisoning from an infected insect bite on his cheek. As a result, he passed away in Cairo on 5th April 1923. Newspapers throughout the world were quick to pick up on the fact that Carnarvon’s facial infection resembled a wound on the cheek of Tutankhamun’s body – later confirmed to be caused by the excavation – and rumours of a curse surrounding the pharaoh’s cave spread like wildfire. Later deaths and mishaps involving some of the people who worked on the excavation were also linked to this fictitious curse. Even today, some Egyptologists feel the effects of the “curse” despite logic debunking the rumour.

Howard Carter, on the other hand, appeared immune to the supposed curse and continued to excavate and catalogue the items in the tomb. As well as the objects discovered in the passageway, there were four chambers full of “wonderful things”: the Antechamber, Burial Chamber, Treasury and Annex. Amongst the 5336 objects were items made from gold, silver, semiprecious stones, wood, ivory, linen and leather.

Despite being world-famous, Carter did not receive much recognition in his own country, however, in 1926 he received the Order of the Nile from King Fuad I of Egypt (1868-1936). Later, he was awarded an honorary degree of Doctor of Science by Yale University and honorary membership in the Real Academia de la Historia of Madrid.

Carter retired from archaeology after finishing with the tomb and began working as an agent for collectors and museums. He also published several books on Egyptology and delivered a series of lectures in Europe and America. Unfortunately, Carter developed Hodgkin’s Disease and passed away on 2nd March 1939 at the age of 64. Despite being world-famous for his discovery, very few people attended his funeral.

The majority of Carter’s finds are still in Egypt, however, the 150 items – at least 60 of which had never left Egypt before – currently in the Saatchi Gallery give a flavour of the type of objects found in the tomb. As can be expected, many of the items depict the boy king, celebrating his reign, such as a gilded wooden figure of Tutankhamun throwing a harpoon. Standing upon a papyrus raft, the pharoah appears ready to throw the weapon, presumably at a hippopotamus, which were widely hunted at the time. Hippos were a danger to human life and destroyed agricultural fields by flattening them with their heavy bodies. In Egyptian mythology, Seth, the god of chaos, often took the form of a hippo in the hopes of killing his brother Horus, however, he never succeeded.

A wooden statuette of Tutankhamun riding a leopard was placed in the tomb to aid him in the afterlife as he travelled to the next world. The netherworld was believed to be a dangerous place and the black leopard, associated with rebirth, was to guide and guard Tutankhamun on his journey. The statuette wears a tall white crown and holds a long staff, which symbolises authority, however, some people do not think the figure was originally intended to represent Tutankhamun. The statuette contains a few feminine qualities, including breasts, which suggests it was intended for a female king, for instance, Nefertiti. Dying so young, there had not been many preparations for Tutankhamun’s tomb, which may explain the appropriation of this object.

Other statues of the pharaoh depict him with a walking stick, alluding to his deformed foot. The number of walking sticks found in the tomb suggests Tutankhamun was reliant upon them to move around. Despite this disability, Tutankhamun was always depicted as an important, respect-worthy king. Even the damaged colossal quartzite statue that closes the exhibition demonstrates his importance. This dramatic statue was not found inside the tomb but may have once stood at Tutankhamun’s mortuary temple. This is one of the objects destroyed by Horemheb, who carved his name across the belt where Tutankhamun’s name would once have been.

Hidden amongst the treasures were objects that Tutankhamun may have used in his lifetime, as well as the walking sticks. Over seventy bows and four hundred arrows were buried with the king, some of which had been used and others that were just for show. The bow was a key weapon in Egyptian times and there were always expert archers in their armed forces. The varying sizes of the bows suggest Tutankhamun was taught to shoot from a very young age. There were also early forms of the boomerang, which were thrown at birds to knock them out of the sky.

The more elaborate bows were made from gilded wood and inlaid with coloured glass and calcite. Gold wire and sheet gold also ornamented the weapons and Tutankhamun’s throne name, Nebkheperure was inscribed in a band of gold on a few of the bows.

Some objects, such as a gilded wooden fan, contained carved images depicting Tutankhamun’s great achievements, albeit fictional ones. Being as disabled as his skeleton suggests, it is unlikely Tutankhamun shot arrows at ostriches from his fast-moving carriage. This scene is shown on one side of the fan, which was once fitted with the ostrich feathers from the animal the king had killed. On the other side, the image shows the king returning with the dead ostriches. It may be true that he shot them himself, but whether the event was as energetic as the artist suggests is uncertain.

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A ceremonial shield was discovered in the Annex of the tomb, which portrayed Tutankhamun as a sphinx: a human-headed lion. Due to the elaborate design, this shield would not have been suitable in battle but would have been present at ceremonial or ritual occasions. The Egyptian sphinx was a benevolent being with ferocious strength, which is how Egypt wished to view its kings. On the shield, the sphinx/Tutankhamun tramples on a couple of Nubians, an ethnolinguistic group of Africans, as an expression of the Egyptian view that the world belonged to the pharaoh.

Other elements on the shield include a fan, similar to the ostrich fan, which emphasises Tutankhamun’s royal title; a winged sun disk that protectively stretches over the king; and a falcon, representing Montu, the god of war.

The Egyptian gods were an important aspect of both life and death, therefore, it was unsurprising that Carter found many references to them in Tutankhamun’s tomb. There were over 2000 deities in the Egyptian pantheon, some whose names are still recognised today: Isis, Osiris, Horus, Ra, Hathor, Thoth and so on. Some gods were only worshipped in particular areas, however, others were worshipped throughout Egypt. Horus was one of these and appeared in Tutankhamun’s tomb in several different forms.

In one figure, Horus was depicted as a hawk with a sun disc on its head. In another, he was the half-bird half-human Herwer (Horus the Elder). Horus was a powerful sun god, sometimes referred to as Horakhty (Horus of the Two Horizons) and Horemakhet (Horus in the Horizon). He was the son of Isis and Osiris, therefore also called Harsiesis (Horus, Son of Isis) and Harpocrates (Horus the Child). Egyptian mythology states Osiris, the heir to the throne, was murdered by his brother Seth but was briefly resurrected by Isis during which time they conceived a son. Osiris eventually travelled to the netherworld to reign as king of the dead, whilst Isis endeavoured to keep their son Horus out of his uncle’s clutches. When Horus grew up, he battled against Seth and emerged victorious, taking his rightful place on the throne. Due to this story, Horus was sometimes used as a symbol of the king, which explains why he was prominent in Tutankhamun’s tomb.

In total, the tomb contained hundreds of figurines, many of them intended to help Tutankhamun in the afterlife. The netherworld resembled the living world, including fields, farms and towns, therefore, the dead were buried with shabtis (servant figures) that would activate in the afterlife and accomplish any unpleasant task the deceased faced. Buried with Tutankhamun was an enormous workforce that provided a servant for every day of the year as well as an overseer for every ten workers and a supervisor for every three overseers.

Each shabti was unique, for example, one was painted to resemble the king, whereas another looked more like the Nubian mercenaries that served in the Egyptian army. The costumes were rather elaborate for servants but it identified them as belonging to Tutankhamun. Some of the wooden figures wore painted gold clothing, complete with royal symbols and hieroglyphs.

Many of the items left in the tomb were to assist Tutankhamun in the afterlife. Boxes full of food, including meat and fruit were left with the body so that the dead would not starve on their journey. Some of the comestibles, such as herbs and seeds, may have been some form of medication, insinuating Tutankhamun had been a rather sickly person. It appears not even death would cure the king of his ailments.

The foodstuffs were preserved in nondescript boxes, however, Carter also discovered many decorated ones. On the floor of the Treasury was a wooden cartouche box decorated with ivory and ebony symbols. Rather than writing Tutankhamun’s birth name, the craftsman has used symbols to represent the Pharoah. For example, two loaves of bread and a quail chick spell out Tut, and a reed leaf, a game board and a water sign represent Amun, the god who Tutankhamun revered.

Not all the boxes were specifically made to place in a tomb, for example, the semi-circular box found in the Antechamber. Wear and tear suggest the box may have been used during Tutankhamun’s lifetime, for example, to transport written papyrus documents from place to place. Not only was it not intended for the tomb, but it also was not made for Tutankhamun either. Although Tutankhamun’s name has been added to the box, the original inscription gave the names of his predecessor Ankhkheperure and his half-sister Meritaten.

Tutankhamun’s wealth and status were clear from the amount of gold, silver and jewels discovered in his tomb. Hundreds of jewellery items were found in boxes in the Treasury, many which may have been gifted, worn by the pharaoh, or left in the tomb for protection in the afterlife. Every piece of jewellery was symbolic in some way, for instance, a lapis lazuli beetle, which represented the sun god.

A vulture represented the deity Nekhbet, the patron goddess of Upper Egypt where Tutankhamun reigned. The pendant is ornately decorated with gold, lapis lazuli, turquoise and coloured glass befitting of a king. In each of the bird’s claws is a tiny necklace containing the king’s throne name, proving it was made specifically for Tutankhamun.

Another bird used in jewellery was a falcon with upswept wings. Typically, bird pendants have their heads turned to one side, but in one version the bird faces forward as though looking at the viewer. A carnelian round sun upon the falcon’s head suggests it is representative of Horus and the bird also carried two pendants in its talons, also indicative of the sun.

“A man dies twice — once when the last breath leaves his body, and again when his name is spoken for the last time.” (Paraphrased)

When Horemheb became pharaoh and tried to write Tutankhamun out of history, he was also trying to cause Tutankhamun’s second death. The ancient Egyptian’s believed a man died when his soul left his body but was still considered alive as long as his name was spoken. Due to Howard Carter’s discovery of the missing tomb, Horemheb’s plan was thwarted. Tutankhamun is now the most famous of all the pharaohs and, if the size of the crowds queueing to see the exhibition is anything to go by, his name will never be forgotten. Thanks to Carter and the world’s continued interest, Tutankhamun has been made immortal.

Tutankhamun: Treasures of the Golden Pharaoh attracted over 1.4 million visitors when it was displayed in France. The London exhibition is expected to reach similar records, which is no surprise considering Tutankhamun’s fame and the fact that this is the final opportunity to see the artefacts outside of Egypt. As well as seeing 150 objects, visitors can opt to take part in a Virtual Reality experience in which they dive into a computer-generated version of Tutankhamun’s tomb and have a look around.

Adult tickets are priced between £24.50 and £28.50 and are selling fast, so do not delay booking your timed entry. Due to popularity, the gallery is operating on a timed entry system and it may take up to thirty minutes to get through security. The average length of stay is 90 minutes.

Ólafur Elíasson: In Real Life

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Olafur Eliasson Your uncertain shadow (colour) 2010

Until 5th January 2020, Tate Modern invites you to become more aware of your senses in an exhibition that focuses on experience. Danish-Icelandic artist Ólafur Elíasson has spent the past thirty years creating a broad body of work, which includes sculpture, photography and installation. By using a variety of materials from metal and cardboard to water and moss, Eliasson explores how people view the world around them whilst also emphasising his concern about nature and climate change, and experimenting with geometric shapes.

Ólafur Elíasson was born in Copenhagen, Denmark in 1967 to Icelandic Parents Elías Hjörleifsson and Ingibjörg Olafsdorrir. After his parents split up when he was eight years old, Elíasson spent the majority of his time in Denmark with his mother and step-father and his summers with his father in Iceland. His experiences in Iceland, particularly the effects climate change are having on the landscape, have inspired many of his artworks.

Elíasson took part in his first public exhibition at the age of 15, where he displayed landscape drawings and paintings in a small gallery in Denmark. Between 1989 and 1995, he studied at the Royal Danish Academy of Fine Arts, during which time he was awarded the opportunity to travel to New York to work as a studio assistant for the artist Christian Eckhart. In 1993, he had his first solo exhibition in Cologne then, after receiving his degree, Elíasson moved to Berlin where he set up his studio.

In 1996, Elíasson teamed up with Einar Thorsteinn (1942-2015), an Icelandic artist with an interest in geometric shapes and structures. Together, using Thorsteinn’s knowledge of geometry and space and Elíasson’s artistic skill, they worked on several projects. Tate Modern displays around 450 models, prototypes and geometric studies in a giant glass case at the beginning of the exhibition. They have been made from a variety of materials, including copper wire, cardboard, paper, wood, foam and rubber. One model had even been constructed with Lego.

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Your Spiral View, 2002

Whilst all these models in the first room are only prototypes and ideas, there is a completed work later in the exhibition. Made from stainless steel mirrors, Your Spiral View (2002) is a short tunnel that visitors are welcome to walk through. The geometric shape of the construction obscures the reflection in the mirrors making it impossible to recognise yourself as you walk through the tunnel. Instead of seeing themselves, visitors are met with a kaleidoscope of colour and light.

Elíasson has collaborated with other people for many projects. As well as Thorsteinn, he has worked with architects Sebastian Behmann, Cedric Price (1934-2003), Kjetil Thorsen (b.1958), the novelist Svend Åge Madsen (b.1939) and the landscapist Gunther Vogt. Each person brings something unique to the project, whether it be practical ideas, imagination or an alternative opinion. In his studio, Studio Olafur Eliasson, Elíasson employs over thirty architects, engineers, craftsmen and artist assistants to research and work together on installations, sculptures and large scale commissions.

As well as producing art, Elíasson is a professor at the Berlin Univeristy of the Arts. He has won prizes, such as the Nykredit Architecture Prize (2004), Eckersberg Medal (2004), Prince Eugen Medal (2005), Joan Miró Prize (2007), a Quadriga award (2010) and the Mies van der Rohe Award (2013). Elíasson even had the honour of welcoming the President of Iceland Ólafur Ragnar Grímsson (b.1943) to his studio in 2014 as part of the President’s state visit to Germany.

Elíasson’s most recent achievement was being appointed a Goodwill Ambassador earlier this year by the United Nations Development Programme. He aims to advocate for action on climate change and sustainability and emphasises the need to stay positive about the future: “I also think it’s important not to lose sight of what is actually going quite well. There is reason for hope. I believe in hope as such and I’m generally a positive person. And when you think about it: it has never been better to be a young African girl, for instance.” Elíasson lives in Hellerup, Denmark, from which he commutes to his studio in Berlin, with his wife Marianne Krogh Jensen and their adopted children from Ethiopia.

The Model Room leads on to a selection of Elíasson’s early works produced during the 1990s. Visitors are greeted by an entire wall covered in Scandinavian reindeer lichen, a replica of Moss Wall, which Elíasson first created in 1994. Held together with wood and wire, the installation brings unexpected material from the wild outside to the controlled indoor space. Visitors are also drawn to Window Projection, which Elíasson made at art school. A bright light shines the silhouette of a window onto a white wall and not many people can resist making shadow puppets, thus adding to the artwork.

Elíasson uses light in simple ways, for instance, a single spotlight in a darkened room. Titled Wannabee, visitors complete the artwork by standing under the light and posing while their friends take photographs. In a corner, I grew up in solitude and silence consists of a single white candle on a round mirror. Without using any form of electricity, the candle uses the mirror to reflect its light further than a single flame could manage.

These early works reveal Elíasson’s interest in nature and weather, for instance, the perpetual “rain” running down the Regenfenster (Rain Window). Incorporated into an actual window of Tate Modern, visitors do what many people do on a rainy day – watch as the droplets travel from top to bottom. Many of the nature-based installations are based on the artist’s observations in Iceland. Wave machine, for example, replicates the gentle movements of Icelandic waters.

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Beauty, 1993

Beauty (1993) combines nature and illumination to produce a fine sheet of rain in the centre of a darkened room. Most people consider rain to be an inconvenience, however, Elíasson appreciates the beauty it can create.

“A rainbow is an alliance: solar gleam, errant cloud, waterdrops in motion, captivated human, changed world.”

The light shining on the falling water produces a rainbow effect. By studying nature and the rainbow phenomenon, Elíasson has artificially produced his own, which, as he said himself, captivates the human mind. Visitors stand around either staring in awe or taking photos in a hushed environment. Yet, if they think Beauty is amazing, they will soon be blown away when they find Din Blinde Passager (Your Blind Passenger) around the corner.

Imagine the thickest fog you have ever seen then multiply it by ten; there you have Din blinde passager. The installation is a 39-metre long room filled with artificial fog and it is only possible to see 1.5 metres ahead. Made from water-soluble fog fluid containing non-toxic polyols (a type of sweetener), Elíasson recreates a spooky natural phenomenon that warps the surrounding world – or even makes it disappear entirely.

Walking through Din Blinde passager is an adventure like none other. It relies on trust – trust in the artist, trust in those around you, and trust that nothing is hiding in the fog. Fluorescent lamps change the colour of the white fog along the way, heightening the experience. Whilst the fog turns everyone into a “blind passenger”, the changes in colour help visitors gradually make their way through the passage.

Installations such as this evoke the question “what is art?” Usually, art is something visible, regardless as to whether it appeals to the viewer. Elíasson’s interpretation of art, however, relies on experience just as much as sight, or more so in this case. He makes people aware of themselves, their bodies and the people around them. Without the fog, people would walk from one side of the room to the other without passing a single thought about what they were doing, yet, in the fog, people are far more aware.

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In real life 2019

From the gloom of the fog, visitors emerge into a room full of colourful reflections. Elíasson has been fascinated with kaleidoscopes since the mid-1990s, which coincided with his love of geometric shapes. He continues to explore these ideas in his recent work In Real Life, which lights up the room with multiple reflections of fractured colours. Made from aluminium, the large sphere is fitted with colour-effect filter glass and hangs from the ceiling. Inside, an LED light shines the green, yellow, orange, red, pink and cyan shades onto the walls, ceilings and anyone in the vicinity. Without the light, the sphere would hang alone, purposeless, however, with the light, it expends its energy, dissolving the boundaries between artwork, location and spectator.

Continuing along the kaleidoscope theme, Elíasson incorporates the outside world into his art in Your Planetary Window (2019), which distorts the view from the second floor of Tate Modern. Geometric mirrors reflect the London scene whilst breaking it into many fragments, almost as though someone has smashed the world into sharp fragments.

Elíasson endeavours to incorporate the outside world in many of his artworks. Being particularly concerned about the rate of climate change, he uses his creativity to make people aware of the state of the world. Intended as a call for action against the climate change emergency, Elíasson often uses glacial ice in his work. Some may recall seeing several blocks of ice outside Tate Britain in 2018. These were blocks that had been fished out of of the water surrounding Greenland and brought to London so that thousands of people could see the damage the warmer climate is causing the Arctic. Greenland loses between 200 to 300 tonnes of glacial ice every year and, like these ice blocks that gradually melted in London temperatures, they can never be reclaimed.

One of Elíasson’s recent artworks, The presence of absence pavilion (2019), illustrates the loss of the glaciers. A bronze cast shows the shape made by a block of ice that has now inevitably melted. This is the space created through the loss of one block of ice; imagine the size of the space if all the glaciers melted. This is something Elíasson has gradually documented over the past twenty years through a series of photographs he took in Iceland.

Travelling back and forth between his parents’ homes, Elíasson spent a lot of time in Iceland. Over the years, he has witnessed first-hand the destruction of the glaciers due to global warming. In 1999, Elíasson photographed the receding glaciers across Iceland. In these images, it is possible to see where the ice had once been, however, they are not as shocking as the photographs taken this year. Elíasson returned to the same sites as his earlier photographs and recorded what the glaciers look like now. Displayed next to each other in the gallery, the changes to the landscape are obvious. Hoping to stir the emotions of the viewer, Elíasson is emphasising the importance of acting now before it is too late.

Around one-third of the exhibits rely on an audience to make the artwork complete. This is part of Elíasson’s attempt to make people more aware of themselves and their surroundings. Used in advertising for the exhibition, Your Uncertain Shadow (colour) proved to be popular with the majority of visitors. Hydrargyrum Medium-Arc Iodide (HMI) lamps light up the far wall of one of the rooms, which everyone must walk in front of to reach the next section. Rather than a simple shadow showing up on the wall when someone blocks the light source, four shadows appear instead, each one a different colour. Green, orange, blue and magenta human shapes are reflected on the wall, overlapping each other to create a rainbow of colours.

Seeing a shadow is not a new thing, they appear wherever there is a light source. Seeing multiple shadows in different colours, however, has a vastly different effect. Just as humans are captivated by rainbows in the sky, visitors spend several minutes making shapes on the wall, fully aware of their bodies. The presence of other people in the room is also taken into consideration as their shadows merge into others, making their way from one doorway to the next.

How do we live together? That is what one room-sized exhibit asks. There is no answer but, if the behaviour of the visitors is anything to go by, it may have something to do with staring at the ceiling. A foil mirror stretches from corner to corner of the ceiling, reflecting everything on the ground below. A black stainless steel upside-down arch joins the floor to the ceiling, creating the illusion of a full circle in the mirror. There is no explanation; there are no instructions, yet everyone stares at their reflection. Some people go as far as lying on the floor, meditatively staring up at the ceiling.

Big Bang Fountain is equally ambiguous in meaning. Every couple of seconds, water gushes out of a hole in the centre of a table, however, it can only be viewed for a split second at a time – blink and you miss it. The pitch-black room is lit with a quick flash from a strobe light, briefly revealing the fountain to the viewer. The quickness of the flash makes the fountain appear to be stationary, taking on a different shape each time. The experience is unique to each individual; whilst there may be several people in the room, each person views the fountain from a different angle, therefore, the shape the water forms in the brief flash of light is different for everybody.

The final room of the exhibition, the “expanded studio”, reveals Elíasson’s thought processes behind the artworks. As well as producing art, Elíasson’s studio has expanded by collaborating with other professionals to produce public sculptures, work on architectural projects, choreograph dances, and publish a cookbook. His architectural studio, known as Studio Other Space, focuses on addressing issues the world is facing today, for instance, climate change.

A room-length pin-board shows the research, ideas and goals of the studio. Replicating the boards in the real studio, Elíasson shares images, articles, newspaper clippings, and random thoughts organised in alphabetical order around keywords, for instance, Rainbow, Trust and Uncertainty.

A couple of videos explain a few of the recent projects undertaken by Studio Other Space. In 2012, Elíasson launched Little Suns, a project to raise awareness of the importance of access to clean energy. Elíasson and his studio designed solar-powered lamps and have distributed more than 800,000 of them around the world. Little Suns provides light to places off the electricity grid and cuts down the use of fossil fuels.

To end the exhibition, The Structural evolution project, first staged in 2001, allows visitors to collaborate by building, adding to and rebuilding structures and shapes from Zometool sticks and connectors. Similar to children’s construction toys, the project allows everyone of all ages to be creative, work alone or together and enjoy the process.

If the artwork in the exhibition is not enough, there are a couple of installations elsewhere in the Tate grounds. This includes a waterfall, lights that make everything appear monochrome, an electric fan dangerously swinging from the ceiling and a geometrical sphere called Stardust Particle. Elíasson’s studio has also teamed up with Tate Eats to provide soups, salads, bread and cakes based on the studio’s cookbook.

Olafur Eliasson: In Real Life is due to close on 5th January 2020, so make sure you visit soon. Tickets are £18 for adults, £5 for 12-18 years olds and free for under 12s.
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Pre-Raphaelite Sisters

Most people have heard of the Pre-Raphaelite Brotherhood, a group of young British artists active in the nineteenth century who aimed to return to the style of art produced in Italy before the High Renaissance – i.e. before Raphael (1483-1520). Their artworks are recognised by the use of bright colours and young women with long, (usually) red hair dressed in flowing garments. The question is, who were these women and how did they come to be models for the Pre-Raphaelite Brothers? What were they like in real life? How were they related to the painters? What were their lives like? This year, the National Portrait Gallery decided to find out, resulting in a major exhibition that looks at the lives of twelve women who fulfilled various roles including model, muse, studio manager, housekeeper, wife and even artist.

Pre-Raphaelite Sisters examines the type of role the women depicted in paintings and how this compared to their status in real life. A Pre-Raphaelite wife tended to assist her husband in a variety of ways, both at home and in the studio. Some men looked for women elsewhere to inspire them, often resulting in romantic affairs. On the other hand, a few men became supporters of wives or sisters who worked as artists alongside the Pre-Raphaelite movement. The National Portrait Gallery looks at each of these women in turn, celebrating their importance.

Effie Gray Millais (1828-97) Model, Wife, Manager

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Effie Ruskin by Thomas Richmond

The first woman in the exhibition is Euphemia (Effie) Gray who was born in Perth, Scotland and was encouraged by her father to marry family friend John Ruskin in 1848. Unfortunately, the couple’s personalities clashed and Effie was often ignored by her husband who preferred to concentrate on his solitary studies. To relieve her boredom, Effie modelled for the artist John Everett Millais (1829-96) who used her for the Scottish woman securing the freedom of her wounded Jacobite husband in his painting The Order of Release 1746. She had previously modelled for the artist Thomas Richmond (1802-74) at the request of her father-in-law. As a result, Millais was invited to visit the Ruskin’s in Scotland where he and Effie became close friends.

After five years of marriage, Effie Ruskin was still a virgin, her husband having put off consummating the marriage to allow him to concentrate on his studies. Due to the lack of common ground, Effie decided to have their marriage annulled and eventually married Millais in 1855. She became Millais’ business partner, which involved sourcing clients, costumes, locations and keeping a record of payments. She also dabbled in watercolour painting.

Millais and Effie had a happy marriage, which resulted in eight children: Everett (1856), George (1857), Effie (1858) Mary (1860), Alice (1862) Geoffrey (1863), John (1865) and Sophie (1868). Their youngest son John went on to become a notable artist. Throughout the marriage, Effie also sat for many portraits.

Due to her annulment from Ruskin, Effie and Millais were barred from any event involving the presence of Queen Victoria. Being a rather socially active couple, they were disheartened by this, however, when Millais was dying, the Queen relented and awarded him a baronetcy, thus giving Effie the title Lady Millais.

Christina Rossetti (1830-94) Poet, Sister, Model

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Christina Rossetti – Rossetti

Christina Georgina Rossetti is a fairly well-known poet in her own right who was also connected to the Pre-Raphaelite movement. Born in London to the Italian poet Gabriele Rossetti (1783-1854), Christina was brought up in a creative atmosphere and her two older brothers went on to become founding members of the Pre-Raphaelite Brotherhood. Her most famous brother Dante Gabriel Rossetti (1828-82) is known for the typical paintings associated with the Brotherhood. William Michael (1829-1919) Rossetti, on the other hand, was a writer and critic who ran the Pre-Raphaelite magazine The Germ, in which Christina had several poems published. Christina’s older sister Maria Francesca (1827-76) was also a writer but became a nun in later life.

Christina sat for many of her brother’s artworks, including a quick sketch when she was sixteen and, most famously, as the Virgin Mary in Ecce Ancilla Domini! Dante also produced a cartoon based on one of his sister’s tantrums, which were quite frequent as a child.

In 1858, Christina began working at a home for girls who were considered to be sexually “at risk”. The experience inspired her famous poem and masterpiece Goblin Market, for which Dante provided a couple of illustrations. Christina also produced a handful of illustrations herself, designing some of the pages of poems and devotional writings she had written.

From her thirties onwards, Christina spent most of her time looking after family members whilst also suffering from a thyroid disorder. Dante needed a lot of attention, often suffering from mental ill-health. During his worst periods, focusing on drawing portraits of his mother and sister aided his recovery and return to the art world. Whilst Christina was a blessing to her family, her health began to deteriorate rapidly after a near-fatal heart attack in the early 1870s. In 1893, she developed breast cancer and, although the tumour was removed, she died the following year.

Elizabeth Siddal 1829-62 Model, Artist, Poet

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Ophelia [detail] – John Everett Millais

Elizabeth “Lizzie” Eleanor Siddal is mostly recognised for her portrayal of Ophelia in John Everett Millais’ painting of the same name. She is also remembered as the wife of Dante Gabriel Rossetti and for being an influential poet. After leaving school, Lizzie began working at a dressmakers and millinery shop in Cranbourne Alley, London and produced drawings and poems in her spare time. On one occasion whilst at work, Lizzie’s drawings were seen by a man who put her in touch with his son, Walter Deverell (1827-54). As a result of this meeting, Lizzie became a model for Deverell who introduced her to other members of the Pre-Raphaelite Brotherhood. She became a model for a couple of other artists, including Millais, eventually becoming Rossetti’s model and muse.

As well as helping Rossetti with his paintings, Lizzie practised art alongside him, producing a handful of sketches, drawings and paintings. John Ruskin subsidised her art career by paying her £150 per year in exchange for all the work she produced. Her artwork was inspired by a variety of different poets, including Alfred Lord Tennyson (1809-92), Shakespeare (1564-1616) and Sir Walter Scott (1771-1832).

During this period, Lizzie also wrote many poems, often on the theme of heartbreak. For Lizzie, however, heartbreak was far from her mind when Rossetti, who particularly admired Lizzie’s verses, proposed and married her in 1860. Besotted with each other, the couple became rather anti-social, however, Lizzie’s health soon began to deteriorate. There are several suggestions for the cause of her frailness, such as tuberculosis, an intestinal disorder, anorexia or addiction. Another idea is the prolonged effects of pneumonia, which she contracted after posing for Millais in a bath of cold water for his painting Ophelia.

Whether as a result of her poor health, Lizzie gave birth to a stillborn daughter in 1861, which led to severe post-partum depression. In February the next year after overdosing on laudanum, Lizzie passed away. Shortly after her death, Rossetti discovered several draft poems that may have been an indication of the state of her mental health leading up to her suspected suicide.

O Mother, open the window wide And let the daylight in;
The hills grow darker to my sight
And thoughts begin to swim.
And Mother dear, take my young son, Since I was born of thee
And care for all [its] little ways
And nurse it on your knee.
And Mother, wash my pale pale hands And then bind up my feet;
My body may no longer rest
Out of its winding sheet.
And Mother dear, take a sapling twig And green grass newly mown,
And lay it on my empty bed
That my sorrow be not known.

At Last, by Elizabeth Siddal

Annie Miller (1835-1925) Model, Muse

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Annie Miller – Rossetti

Annie Miller was a popular model for the Pre-Raphaelites who first posed for William Holman Hunt at the age of 18 for his The Awakening Conscience. Before she began modelling, Annie was a barmaid and had a fairly lowly upbringing as the daughter of a wounded soldier and a cleaner. As well as providing Annie with a job as a model, Holman Hunt planned to marry her and arranged for her to be educated in literacy. During this time Holman Hunt needed to travel to Palestine and left Annie under the care of other artists, such as Millais, who she could sit for in his absence.

The Pre-Raphaelite artists loved using Annie as their model, however, Holman Hunt believed she had become frivolous and wilful, so broke off their engagement. Shortly afterwards, Annie became engaged to Lieutenant-Colonel Thomas Heron Jones, 7th Viscount Ranelagh (1812-1885) who she married in 1863. The couple had two children, Annie Helen and Thomas James, and moved to the south coast, thus ending her time as a model with the Pre-Raphaelites. She lived to the age of 90 and is a prime example of someone who had risen significantly on the social scale, beginning in poverty and ending in comfort.

Fanny Cornforth (1835-1909) Model, Lover

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The Blue Bower by Dante Gabriel Rossetti

Sarah Cox, who renamed herself Fanny after her sister who died in infancy, was the daughter of a blacksmith from Surrey. Whilst visiting the Surrey Pleasure Gardens in London, Fanny met Rossetti, Ford Madox Brown and Edward Burne-Jones (1833-98) who took a liking for her appearance. She became Rossetti’s model in 1856 and there are rumours she may also have been his mistress. Fanny married Timothy Hughes, a mechanic, in 1860 but the marriage did not last long. For reason’s unbeknownst to anyone, she adopted the surname of her ex-husband’s step-father, Cornforth.

When Rossetti’s wife died, Fanny moved in as his housekeeper and lover. For over a decade, she sat for Rossetti’s paintings, often posing as a fallen woman. Rossetti was also able to support Fanny financially during this period, however, after he became seriously ill, she was forced to move out by his family. Fortunately, Rossetti was well enough at the time to purchase a house for Fanny and gave her several of his paintings.

No longer Rossetti’s lover, Fanny married the publican John Schott who ran the Rose tavern in Jermyn Street, Westminster. After Rossetti’s death, she and her husband opened a gallery in his honour to sell some of the works he had given her. After John’s death in 1891, Fanny lived with her stepson until he died in 1898 when she moved to Sussex to stay with her in-laws. Unfortunately, Fanny was soon diagnosed with dementia and forced into a Workhouse in West Sussex against her will. Following this, she was admitted to the West Sussex County Lunatic Asylum where she remained for the rest of her life.

Joanna Boyce Wells (1840-61) Artist

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Elgiva – Joanna Boyce Wells

As the name of the group suggests, the Pre-Raphaelite Brotherhood were predominantly male artists, however, there were a couple of female painters who were just as accomplished. Joanna Boyce Wells became a successful artist after her painting Elgiva, which was modelled by a family friend, was displayed at the Royal Academy of Arts in 1855.

Joanna was the sister of the watercolour painter George Boyce (1826-97) and the wife of the Pre-Raphaelite painter Henry Tamworth Wells (1828-1903). Despite these connections to the art world, Joanna worked hard to become an artist in her own right, studying at Francis Cary’s (1808-80) art academy at the age of 18 before studying at the atelier of Thomas Couture (1815-79) in Paris.

Although Joanna and her husband created an artistic partnership in Britain, many considered Joanna to be the head of the firm. She painted emotional scenes, such as a mother bidding farewell to her young sons as they leave on a crusade to Jerusalem, and exquisite, imaginative portraits, such as a child depicted as an angel.

Joanna gave birth to three children, the first Sidney (1859-69) whose portrait she painted during his first year. Sidney did not live past the age of ten, however, Joanna never got the chance to see any of her children grow up, having succumbed to obstetric fever after the birth of her third child, Joanna Margaret.

Fanny Eaton (1835-1924) Model

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Portrait of Mrs Fanny Eaton – Simeon Solomon

Considering the period the Pre-Raphaelite Brotherhood was active, it is unsurprising that there was a lack of black women in their paintings. Fanny Matilda Eaton née Entwistle is the only black woman featured in the exhibition. Originally born in Jamaica, Fanny came to England with her mother during the 1840s where they found work as domestic servants. At some point, Fanny met the London horse-cab driver James Eaton who she married in 1857. They had a long and happy marriage, resulting in ten children.

The Eaton family were not well off, which led Fanny to seek modelling work to take on alongside her job as a charwoman. Her distinctive features and ethnicity were sought after by artists wanting to depict female characters from the Bible or Egyptian, Indian and other “exotic” scenes. Her children often featured in paintings alongside Fanny, for example, as baby Moses in The Mother of Moses by Simeon Solomon (1840-1905).

In her later years, Fanny worked as a seamstress and a domestic cook until around 1911 when she settled in Hammersmith with her daughter Julia and her family. She eventually passed away in 1924 at the age of 89 from dementia and syncope.

Georgiana Burne-Jones (1840-1920) Model, Artist, Wife

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Georgiana Burne-Jones with Philip and Margaret – Burne-Jones

Georgiana Burne-Jones née Macdonald became engaged to Edward Burne-Jones at the tender age of fifteen. As well as being a model for her husband, Georgiana became an artist, studying briefly at the Government School of Design in South Kensington before having lessons from Ford Madox Brown. Her artwork mainly consisted of small illustrations and woodcuts and she was never as successful as her husband.

Georgiana put her art to one side after the birth of her son Philip in 1861. Her daughter Margaret was born in 1866, which coincided with her husband’s affair with one of his models. Nonetheless, Georgiana focused on being a good mother and continued to help run the home and studio until her husband repented and returned to her.

As well as being focused on her home life, Georgiana assisted the local community by supporting the South London Art Gallery, voicing her opposition of the Boer war and working as a parish councillor in Sussex. She also made major contributions to the Pre-Raphaelite movement, writing a biography of her husband and helping her son-in-law put together the Life of William Morris.

Maria Zambaco (1843-1914) Model, Muse, Sculptor

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Study for Head of Cassandra – Burne-Jones

Maria Zambaco, born Marie Terpsithea Cassavetti, was the model with whom Edward Burne-Jones conducted an affair. Maria had been born into a wealthy Anglo-Hellenic family and was the niece of the Greek Consul patron of art Alexander Constantine Ionides (1810-90). In 1861, Maria married Paris-based physician Demetrius Zambaco and moved to France, however, the marriage had broken down by 1866 despite having two children. On her return to London, her mother arranged for her to pose for Burne-Jones, which sparked a three-year affair.

Despite her pleas, Burne-Jones refused to leave his wife and their affair ended. Following this, Maria threw herself into her artwork, studying at the Slade School under the French painter Alphonse Legros (1837-1911) and the sculptor Auguste Rodin (1840-1917). Some of her most successful works include portrait medallions, which were exhibited at the Royal Academy and the Paris Salon.

Although she was working as an artist and no longer in a relationship with Burne-Jones, Maria still modelled for some of his paintings. Some of Burne-Jones’ biggest and well-known paintings feature images of Maria, for example, The Beguiling of Merlin and The Tree of Forgiveness.

Jane Morris (1839-1914) Model, Muse, Craftsperson

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Study for ‘The Hour Glass’ – Evelyn De Morgan

Jane Burden is best known for being the wife, model and muse of the British painter and craftsman William Morris (1834-96). Born into poverty in Oxford, Jane did not have much of a future ahead of her until she met the Pre-Raphaelite painters who were decorating a chamber at Oxford University. She quickly became the prized model of many painters and was considered the embodiment of beauty.

Jane and Morris married in 1859 and she became a partner in the decorative arts firm known as Morris & Co. She undertook a few embroidery commissions for the company and experimented with calligraphy and bookbinding.

After the birth of her daughters Jenny and May, Jane began modelling again, particularly for Rossetti, with whom she embarked on an affair until his mental breakdown in 1876.

Since she was one of the Pre-Raphaelite painters’ favourite models, Jane appears in many artworks and has posed as a whole range of literary and mythical characters including Iseult, Queen Guinevere, Pandora, Beatrice and Proserpine.

Marie Spartali Stillman (1844-1927) Model, Artist

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Marie Spartali – Madox Brown

Marie Euphrosyne Spartali is another female painter associated with the Pre-Raphaelites. She was born to a wealthy Greek family in London and was introduced to the art world by the photographer Julia Margaret Cameron (1815-79) who wished to take her photograph. Marie then set her sights on painting and became the student of Ford Madox Brown in 1864. By 1867, her artworks were already being exhibited and she began to pursue painting as a professional career.

Against her parents’ wishes, Marie married the American journalist William J. Stillman (1828-1901) who worked for The Times. His career meant the couple needed to travel regularly to Greece and Italy whilst also bringing up their three children and the three from Stillman’s previous marriage.

Despite the unsettled lifestyle, Marie was able to keep in contact with her Pre-Raphaelite friends and developed a distinctive style of painting. Her artwork featured mainly female figures from the writing of Shakespeare, Petrarch and Dante as well as Italian landscapes. She took part in several exhibitions and also sent some of her work to the USA.

Evelyn De Morgan (1855-1919) Artist

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Jenny Morris – Evelyn De Morgan

As the granddaughter of the Earl of Leicester, Evelyn Pickering did not need to worry about earning a living, however, she was determined to become a professional painter. Following in the footsteps of her uncle, the Pre-Raphaelite painter J.R. Spencer Stanhope (1829-1908), Evelyn became a prize-winning art student and exhibited works alongside Marie Spartali.

In 1887, Evelyn married ceramicist William De Morgan (1839-1917) and used her earnings to support her husband’s pottery business.

Evelyn’s works were typically figural and brightly coloured, often resembling Baroque-style art. She focused on a range of subjects, including medieval and classical legends, allegories and the afterlife. Her passions and experiences were often reflected in her artwork, for example, her support of the suffrage movement and life during the First World War.

Arguably, Evelyn De Morgan is one of the best Pre-Raphaelite painters, although she is constantly overlooked on account of her gender. Particularly impressive paintings include Queen Eleanor and Fair Rosamund, which is based on a medieval legend about Henry II and his lover, and the allegorical piece Night & Sleep.

“YET if you should forget me … do not grieve …
Better by far you should forget and smile,
Than that you should remember and be sad”

‘Remember’ by Christina Rossetti

The National Portrait Gallery successfully provides an alternative insight into the Pre-Raphaelite Brotherhood. In recent years, the PRB has come back in favour and their paintings have proved to be popular at other exhibitions in which they have featured. Pre-Raphaelite Sisters, however, reveals there is far more involved with the artwork than meets the eye. The female artists have every right to be remembered and respected as their male counterparts. The other women in the exhibition deserve to be commended for tirelessly standing by the artists whilst they drew, painted and attempted to establish themselves.

With many famous paintings on display, Pre-Raphaelite Sisters is a fantastic exhibition for art lovers, particular fans of the Pre-Raphaelite movement. Alongside the well-known works are the lesser-known paintings by women and visitors are almost certain to leave with a new favourite painting in mind. Coinciding with the recent centenary of woman’s suffrage, this exhibition is the perfect way to celebrate the women who did not receive the acknowledgement they deserved during their lifetime.

Pre-Raphaelite Sisters is on display until 26th January and tickets are priced between £17 and £20. For more information, visit the National Portrait Gallery website.

Blake: Rebel, Radical, Revolutionary

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William Blake by Thomas Phillips (1807)

For years, Tate Britain has had a small room dedicated to the English poet, painter, and printmaker William Blake (1757-1827). Now until 2nd February 2020, Tate Britain is offering visitors the opportunity to experience Blake’s visionary art in his largest show in a generation. Detailing his life chronologically, 300 original works illustrate Blake’s talents, personal struggles, innovation and vision.

Blake’s art and poetry continue to influence and inspire many people regardless of profession, religion and nationality. Although produced during a period of unrest involving war, the British Empire and industrialisation, Blake’s work resonates with the present world and the struggles people face today.

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Portrait of William Blake, 1802

William Blake was born on 28th November 1757 at 28 Broad Street (now Broadwick Street) in Soho, London, the third of seven children to James and Catherine (née Wright). His father, a hosier, and mother thoroughly encouraged Blake’s aspiration to become an artist. Although he attended school long enough to learn to read and write, he was educated from home by his mother after the age of ten. The Bible was an important aspect of his studies, which remained a source of inspiration for the rest of his life.

Blake was encouraged to practise his drawing ability by producing engravings of well-known artworks for his father. Alongside this, he attended classes at Pars’s drawing school in the Strand and explored the art of poetry, reading works by Ben Jonson (1572-1637) and Edmund Spencer (1552-99) as well as the Book of Psalms. In August 1772, Blake was apprenticed to James Basire (1730-1802), a significant British engraver, for seven years. By the age of 21, Blake was working as a professional.

In 1779, Blake enrolled at the Royal Academy of Arts, which at the time was situated in Old Somerset House. He may have attended with one of his brothers, Robert, whose illustrations are briefly featured in the exhibition. The Royal Academy taught its students to draw by studying and copying classical sculptures, prints, live models and paintings, such as those by Peter Paul Rubens (1577-1640). Blake, on the other hand, rejected these teachings, preferring to use artworks by classical artists, such as Michelangelo (1475-1564) and Raphael (1483-1520).

Despite rebelling against the traditional teaching methods, Blake participated in six exhibitions at the Royal Academy. Unfortunately, since he did not conform to the typical oil paint-format the Academy expected, Blake’s watercolours were often consigned to a smaller room.

Students were encouraged to paint serious subject matters, often resulting in portraits and landscapes. Blake, on the other hand, chose to focus on Biblical stories, for instance, the story of Joseph and his brothers. Written in the Book of Genesis, Joseph had been sold into slavery by his jealous brothers. The series of events that follow result in Joseph having significant authority in the land of Egypt and, during a famine, his brothers end up begging him for help.

Blake produced three watercolours that express the latter part of the story of Joseph. In the first, the brothers, unaware who Joseph is, bow down before him, pleading for help to survive the famine. The second, Joseph Ordering Simeon to be bound, shows one of Joseph’s older brothers willingly being arrested for a crime he did not commit to spare the life of another brother. Noting that the attitudes of his brothers have changed since they sold him into slavery, Joseph reveals his true identity and welcomes his brothers with open arms, as shown in Blake’s third painting.

Similar to his Joseph paintings, Blake’s early work typically involved sweeping lines of ink or watercolour, revealing dainty characters full of grand gestures. These tended to have a strong visual impact, evoking emotion and communicating a message or story. Subjects were often drawn from Bible passages, although not necessary the well-known ones, and other literature, such as Shakespeare. As time went on, however, Blake’s works became more obscure and harder to decipher.

Shortly after Blake’s time at the Royal Academy, he met Catherine Boucher (1762-1831), the daughter of a market gardener in Battersea on the south side of the River Thames. At the time, Blake was suffering from a rejection of a previous attempt at love and Catherine proved to be a good ear to listen to his tales of heartbreak. This led to the pair falling in love and marrying on 18th August 1782 in St Mary’s Church in southwest London. The couple had a long, invaluable marriage with Catherine helping her husband to print some of his later works and Blake teaching his wife to read and write.

As well as illustrating existing stories, Blake began to write and illustrate his own, for example, the epic poem Tiriel, although this was never published. Blake borrowed ideas from Shakespeare, Greek tragedies and Gaelic stories to pen the narrative of an aged king, Tiriel, who had been exiled from his land. In the past, Tiriel enslaved one of his brothers and cursed his children and now seeks solace from his misrule and arrogance. Frail and blind, Tiriel tries and fails to make amends for what he has done, thus receiving his comeuppance for his acts of tyranny.

The illustrations Blake produced to accompany the poem Tiriel were engravings rather than paintings. Having trained as an engraver before joining the Royal Academy, Blake found this technique a preferable way of earning an income. Engravings involved copying or drawing an image with fine cuts onto a metal plate, which could then be inked, printed and reproduced several times. This was a technique Blake used for many commissions, such as those delivered to the print shop he temporarily opened with his friend James Parker in 1784. He also worked for a range of London publishers, including the radical Joseph Johnson (1738-1809), who published works by Mary Wollstonecraft (1759-97) and Joseph Priestley (1733-1804) amongst other feminists and religious dissenters.

Etching and engraving were time-consuming and limited, which Blake found frustrating. In 1788, Blake developed what he termed “relief etching”, which allowed him to print in colour and combine text and images. Over time, Blake printed numerous books in this manner, many of which he had written himself and continue to be some of his most famous work. This style of engraving combined “both Letter-press and Engraving in a style more ornamental, uniform, and grand, than any before discovered.” It was also a cheap and efficient method of printing, although the stories and poetry the illustrations accompanied often baffled Blake’s readers and supporters.

From 1790 to 1800, Blake and Catherine lived in North Lambeth, less than twenty minutes from his childhood home. Although the property has been demolished, a nearby tunnel of Waterloo Station is decorated with a series of 70 mosaics resembling illustrations from Blake’s illuminated books. These books reflect Blake’s thoughts during a turbulent time in Britain. Both French and American revolutions occurred during Blake’s lifetime, leading him to become vocal about freedom and liberty, and argue against slavery and the empire.

Despite his strong views, Blake was rather cryptic in how he portrayed his thoughts in his poetry and illustrations. Had his views been expressed more clearly, Blake would have been at risk of arrest, however, his symbolism was too obscure to attract the attention of the authorities.

Tate Britain displays a range of examples from Blake’s radical illuminated books including Visions of the Daughters of Albion, which condemns forced marriage and defends the rights of women. The Marriage of Heaven and Hell expressed Blake’s revolutionary beliefs using biblical prophecy as a basis. Rather than Hell being a place of punishment, Blake depicts it as a place of chaos and irrationality.

Blake also created his own mythology, for instance, The Book of Urizen, from which his recognisable illustration The Ancient of Days comes. Urizen, depicted as a bearded old man, is the personification of reason and law. Considering himself to be god-like and holy, Urizen traps people in webs of law and conventional society. He is often shown with some form of architectural tool, such as a compass, with which he creates his universe. Urizen’s only opposition is Los, who can be likened to a fallen angel, representing imagination. Blake’s myth is almost a reversal of Christian beliefs, with Urizen serving as a Satanic force.

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Little Girl Lost – Songs of Innocence and Experience

Amongst all the books represented in the exhibition is one of his most well-known works Songs of Innocence and Experience, which includes the famous poem The Tyger. “Tyger Tyger, burning bright, In the forests of the night…” Published in 1794, the book of poems is a combination of Songs of Innocence (1789) and Songs of Experience (1793). Although the illustrations are suggestive of children’s books and the poems deal with themes of childhood, they also tackle morality, suffering and injustice, which are topics usually deemed unsuitable for that demographic.

Although Songs of Innocence and Experience is famous today, Blake only sold about 30 copies during his lifetime. For income, he relied heavily upon commissions and patronage, including fellow artists. John Flaxman (1755-1826) was a sculptor and draughtsman Blake met at the Royal Academy. Flaxman supported Blake’s publication of Poetical Sketches in 1783 and his wife, Ann, commissioned Blake to produce illustrations for the poems of Thomas Gray (1716-71).

A civil servant, Thomas Butts was one of Blake’s biggest patrons, purchasing over 200 different works. Many of these were watercolours on biblical themes. Whilst typical scenes involving Jesus, the crucifixion and well-known Old and New Testament characters were popular, Butts was also interested in Blake’s more imaginative works, representing the prophecies of Ezekiel or the Book of Revelation.

The Reverend Joseph Thomas (1765-1811) of Epsom, Surrey was another keen purchaser of Blake’s biblical work. He was also interested in the works of Shakespeare and John Milton and commissioned Blake to produce illustrations for various plays and poems. For Milton’s hymn On the Morning of Christ’s Nativity, Thomas paid Blake two pounds for each drawing – a total of six – which was more than Butts paid for individual watercolours.

Thomas Butts also purchased a series of large coloured prints that Blake produced by experimenting with monotype. This involved using thick, tacky ink on the metal etching plates, which was then transferred onto paper by applying pressure. Once printed, Blake added watercolour and ink washes to finish the illustration. This gave the prints the initial appearance of a painting, however, many elements are impossible to achieve by hand.

The twelve large prints included in the exhibition relate to a range of themes. As usual, Blake depicted biblical scenes, for example, the madness of the Babylonian king Nebuchadnezzar, whose humiliating suffering was predicted in the Book of Daniel. Blake produced an illustration of God judging Adam, whereas most artists focus on Eve’s sin. Other biblical images include Lamech and his Two Wives and Noami Entreating Ruth and Orpah to Return to the Land of Moab.

Amongst the prints is a portrayal of the famous English mathematician and scientist Isaac Newton (1642-1727), albeit a rather young and muscular one. Unlike the older figure most people imagine when thinking of Newton, Blake drew Newton as a Michelangelo-esque character crouched naked on a rock. The figure’s attention is fully focused on a piece of parchment at his feet on which he draws a diagram with a compass.

Blake chose to illustrate Newton as a reproach rather than praise. The artist was critical of Newton’s scientific approach, which followed precise rules rather than taking in the bigger picture. The figure’s focus on the compass represent’s Newton’s methods, which makes him oblivious to the beauty in the colour of the rocks on which he is sitting.

In 1800, Blake and his wife moved to a cottage in Felpham, (West) Sussex, where he illustrated works for the poet William Hayley (1745-1820) until 1804. Hayley is best known for his biography of his friend William Cowper (1731-1800) whose work was among the poems Hayley wished Blake to illustrate. Mostly, however, Hayley expected Blake to produce miniature portraits, which was something Blake was not keen on due to the lack of inventiveness.

Hayley had recently established a new library in The Turret, his house in Felpham, and commissioned Blake to produce long canvases to decorate the room. Each canvas represented a famous poet, including William Cowper. In the centre, Blake reproduced a likeness of the poets based on existing portraits and engravings and used the remains of the canvas to be more creative. Other poets included William Shakespeare (1564-1616), John Milton (1608-1674), Dante Alighieri (1265- 1321) and Edmund Spenser (1552-99).

As time went on, Blake began to resent Hayley, who he believed did not appreciate art. Fortunately, Hayley was still on Blake’s side and able to bail him out when he was arrested following a physical altercation with a soldier. After his acquittal, Blake returned to London.

In 1806, Blake began planning pictures for Geoffrey Chaucer’s (1343-1400) The Canterbury Tales. This is a collection of 24 short stories written by the “father of English literature”. Mostly written in verse like Blake’s own work, the tales tell the story of a group of pilgrims travelling from London to Canterbury to visit the shrine of Saint Thomas Becket (1119-70). Blake envisioned a frieze-like composition, which he completed in 1808 and published as an etching in 1810.

Unfortunately, Blake could not enjoy his work on The Canterbury Tales because he felt he was competing against two friends who were also producing work for the same book. He felt betrayed by these friends, believing that their work would overshadow his artistic vision. He claimed his so-called friends were more interested in making money than producing great art.

Around the same time, Blake was working on illustrations for the 1808 edition of Robert Blair’s (1699-1746) poem The Grave. The commission came from the newly established publisher Robert Cromek (1770-1812), and not wanting to let Cromek’s new career flounder, Blake took the project very seriously.

Blake was attracted to the poem’s themes of death and the afterlife, which were often topics of his own writings. He quickly produced twenty drawings for Cromek, which the publisher began to promote widely in public places, touring London, Birmingham and Manchester. Whilst this gave Blake the attention he deserved, he felt betrayed when Cromek employed someone else to print the illustrations.

The disappointments and supposed betrayals of the early 1800s led Blake to break contact with some of his friends and set up an independent exhibition in 1809. Using the upper rooms of his childhood home, now belonging to his brother James who used the lower rooms for his hosiery shop, Blake displayed several of his paintings, which were accompanied by a Descriptive Catalogue. It was a rather strange location for an exhibition – rather modest in comparison to Blake’s gigantic ambitions – and only a handful of visitors attended. In the only public review written about the exhibition, Blake was branded “an unfortunate lunatic”.

Tate Britain excels itself by recreating one of the rooms in the Blake family home, complete with fake flooring, ceiling, windows and walls, upon which a handful of paintings are hung. Many of Blake’s original paintings have been damaged over time, losing their colour and becoming dark and difficult to decipher. Every 20 minutes, two of the paintings are illuminated to appear as they would have done in 1809 and a disembodied voice reads out Blake’s words from the Descriptive Catalogue.

“The two Pictures of Nelson and Pitt are compositions of a mythological cast, similar to those Apotheoses of Persian, Hindoo, and Egyptian Antiquity, which are still preserved on rude monuments, being copies from some stupendous originals now lost or perhaps buried till some happier age.”

Blake’s solo exhibition took place during a period of war and upheaval. Although his paintings appear to be disconnected from politics, featuring allegorical and spiritual elements, they are full of hidden meaning. Two paintings are based on national figures who had both led Britain in the war against France. These figures, the late Prime Minister William Pitt (1759-1806) and naval hero Horatio Nelson (1758-1805), are shown alongside biblical monsters, bringing chaos and destruction to the world. Blake likens these heroes to mythological and biblical characters, for instance, Hercules and cherubim. Although the paintings are representing destruction, Blake is hinting at the potential new freedoms and spiritual rebirth that could follow.

In the next room, a projection shows close up details of these two paintings. He had once dreamt that they would be executed on a large scale and displayed on public walls. After the failure of his solo exhibition, Blake knew this dream would never come to fruition and became increasingly withdrawn and bitter. Tate Britain tries to do Blake’s aspirations justice by showing the paintings at such a large scale.

Having withdrawn from society for a few years, Blake returned with a burst of creativity for the final decade of his life. In 1818, he met the artist John Linnell who provided him with moral and material support. During this time, Blake produced relief-etchings for new and old books for a variety of purchasers, including engravings for the Book of Job.

Throughout his life, Blake reportedly had visions of spirits with whom he conversed. Encouraged by a friend, Blake began to draw these spirits for a series he titled “Visionary Heads”. Over six years, Blake drew more than a hundred of these vision, often attending séance-like sessions to study the details of these characters. Whilst, on the one hand, some people believed in Blake’s visions, others debated whether they were real or a sign of mental ill-health.

One of Blake’s most bizarre characters was The Ghost of a Flea. Depicted as a muscular, nude figure – part-man, part-vampire, part-reptile – the Flea is using its tongue to drink out of a bowl of blood. In its left hand is a thorn and acorn, which are typical icons of fairies and similar mythical characters. Whether or not Blake saw this figure, his painting magnified a flea, which is usually associated with uncleanliness, into a monstrous, bloodthirsty creature.

As well as his personal monsters, Blake was commissioned by Linnell to illustrate the creatures in The Divine Comedy by Dante Alighieri. The poem, which describes a journey through Hell, Purgatory and Paradise, leant itself to Blake’s typical style of illustration and preference of theme. Blake used dark, menacing colours to illustrate the depths of Hell, contrasting it with the luminous shades of Paradise.

Although he intended to illustrate the poem in its entirety, Blake passed away before he could finish. Another unfinished work was John Bunyan’s The Pilgrim’s Progress from This World, to That Which Is to Come, which was a popular religious text during Blake’s lifetime. Again, it suited Blake’s style, dealing with the realms of dreams, destruction, sins and heaven.

Before Blake’s death in 1827, he managed to complete and illustrate one final epic poem, which is probably his best-known work today. Jerusalem: The Emanation of the Giant Albion is the longest of Blake’s prophetic books and tells the story of the fall of Albion – Blake’s personification of Britain and the western world. The narrative, however, can be confusing and does not have a linear plot.

Jerusalem is not to be confused with the famous hymn of the same name with music written by Sir Hubert Parry (1848-1918), which was used by the National Union of Women’s Suffrage Societies in 1917. Although Blake wrote the words of this hymn, it comes from the preface of his epic poem Milton: A Poem in Two Books.

Blake’s magnum opus, on the other hand, is a 4500 lined poem that his first biographer called “a chaos of words, names and images.” Albion (England) has been infected by “soul disease” and her “mountains run with blood” as a result of the Napoleonic wars. Religion is being used to exploit the lower classes and those in charge of the country are full of greed. If Albion can be reunited with Jerusalem once more, then all humanity will survive and be bound together in love.

Jerusalem, like some of Blake’s previous works, summed up his philosophical thoughts, particularly concerning the Age of Enlightenment, which dominated Europe during the 18th century. Enlightenment focuses on ideals of rationalism and empiricism (the theory that knowledge comes from experience), which went against Blake’s beliefs that imagination was the most important human element. Previous paintings showed that Blake was opposed to the Newtonian view of the universe and unimpressed by the paintings of Sir Joshua Reynolds and other members of the Royal Academy who looked at art with a “vegetative eye”. Jerusalem was Blake’s final attempt at expressing his strong views.

“I turn my eyes to the Schools & Universities of Europe
And there behold the Loom of Locke whose Woof rages dire
Washd by the Water-wheels of Newton. black the cloth
In heavy wreathes folds over every Nation; cruel Works
Of many Wheels I view, wheel without wheel, with cogs tyrannic
Moving by compulsion each other: not as those in Eden: which
Wheel within Wheel in freedom revolve in harmony & peace.”
– Excerpt from Jerusalem

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William Blake Wearing a Hat – John Linnell

Blake spent his final years living with his wife at Fountain Court off the Strand, near to where the Savoy Hotel is situated today. It is reported that on 12th August 1827 Blake was working on his Dante series when he stopped, turned to his wife and insisted he drew her portrait. Afterwards, he sang hymns and recited verses of poetry until 6 pm when, after promising Catherine he would always be with her, he died. Five days later, on the eve of their 45th wedding anniversary, Catherine buried her husband in Bunhill Fields, the same burial ground as his parents.

Catherine continued to sell Blake’s work until her death in October 1831 when an acquaintance took up the job. Although only a mere handful of his works sold during his lifetime, William Blake became posthumously famous and in 1949, the Blake Prize for Religious Art was established in his honour. He is also recognised as a saint in the Ecclesia Gnostica Catholica and, in 1957, a memorial was erected in Westminster Abbey for both him and his wife.

William Blake is the type of figure whose name is recognised worldwide and yet very few know much about him. His name is associated with various titles of books and poems but knowledge of his private life is less common. Tate Britain rectifies this by providing a chronological timeline of Blake’s life alongside his works. We learn who he was, how he lived, how he thought and what he believed. Although many will disagree with his philosophies and controversial ideas, Blake is an interesting character who is worth knowing about.

The William Blake exhibition at Tate Britain is open until 2nd February 2020. Prices are £18 for adults, £17 for concessions and £5 for 12-18 years olds. Whilst under 12s may visit for free when accompanied by an adult, some of Blake’s work is unsuitable for younger children.