A catalogue of Cypriot antiquities in Birmingham Museum and Art Gallery

Birmingham Museums and Art Gallery

Birmingham Museum and Art Gallery

<p>The story behind the unique series of Rossetti's drawings of his Muse and wife Elizabeth Siddal is the story of a love affair which has all the elements of high Victorian Melodrama - romance, obsession, ill-health, tragic death and mysterious events in a graveyard.<br>Rossetti first met Elizabeth in 1852 soon after she had been 'discovered' working in the back room of a milliner's shop. He fell headlong in love with her and later claimed that on this day 'he felt his destiny was defined'. For Rossetti, Elizabeth represented the ideal woman. She possessed the attributes of the perfect 'stunner' - red gold hair, and luminous eyes - and her whole attitude of fragility, expressive of melancholy, appealed deeply to the most romantic of British poet painters.<br>Elizabeth's influence on Rossetti's work was profound; in particular she inspired in him a spirit of refinement and austerity which he was never able to find again, and is nowhere more obvious than in the series of wonderfully obsessive portraits which are reproduced together for the first time in this book.</p>

Rossetti's Portraits of Elizabeth Siddal: A Catalogue of the Drawings and Watercolours

Arts & Photography

Rossetti, Dante Gabriel

Ashmolean Museum

Surtees, Virginia

Collections, Catalogs & Exhibitions

Scolar Pr

English landscape watercolor painting, a perfect marriage of genre and medium, entered a lively period of experimentation in style and content during the second half of the nineteenth century, with rich and diverse results. Through all the changes of style and technique and all the debates over the appropriate use of the medium, it was watercolor's ability to convey the timeless truth and reality of the natural world that mattered to artists, critics, and audiences. British watercolors of the Victorian period continued to observe an essential humility before nature; they remain fresh and compellingly immediate because they derived in the first place from the artists' heartfelt communion with the elements of nature.Victorian Landscape Watercolors begins with a consideration of the continuing influence of the great generation who earlier in the century, during the extraordinary parallel rise of watercolor and landscape painting, had established the landscape watercolor as a major British contribution to the arts. The second chapter examines the role of the landscape watercolor in the aesthetic thought of John Ruskin, whose critical voice played a dominant role in shaping that art. The third chapter looks at the place of landscape within the watercolor societies and its development as it appeared in their annual exhibitions. The final chapter deals with the tug of new and old, foreign and native in the later Victorian period.The book also features 126 watercolors, from public and private collections in America and England, all reproduced in full color and accompanied by individual commentaries. Among the 76 artists represented are David Cox, Sr. and Jr., Walter Crane, William Holman Hunt, Edward Lear, Samuel Palmer, James Mallord William Turner, James McNeill Whistler, and Ruskin himself, along with dozens of lesser-known masters of the medium.Victorian Landscape Watercolors is published in conjunction with the first exhibition to survey this period of this particularly British contribution to the arts; the exhibition, organized by the Yale Center for British Art in New Haven, Connecticut, will also be seen at the Cleveland Museum of Art and in Birmingham, England.

Victorian Landscape Watercolors

Newall, Christopher

Wilcox, Scott

Cleveland Museum Of Art

Yale Center for British Art

History & Criticism

Hudson Hills Pr

Canaletto & England

Merrell Pub Ltd

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