#Louise Jopling

[thepaintedroom]

Louise Jopling • (British/English, 1843-1933) • A Modern Cinderella • 1875 • Watercolour and bodycolor • Lady Lever Art Gallery, Bebington, England

[granstromjulius]

Louise Jopling

[artthatgivesmefeelings]

Louise Jopling (British, 1843-1933) A modern Cinderella, 1875

[poppyflo2]

A portrait sketch by Louise Jopling c.1885

[abwwia]

Louise Jopling, Self Portrait - Through the Looking-Glass (1875). Photo courtesy of Tate.

Revealed: The Sensational Lives of 6 Overlooked #BritishWomenArtists | A sweeping exhibition at London's Tate Britain spotlights the U.K.'s great women artists that history forgot.

https://news.artnet.com/art-world/women-artists-tate-britain-2525667

#artherstory #artbywomen #womensart #palianshow #art #womenartists #femaleartist #artist

[thesefevereddays]

LOUISE JOPLING

Serenity, 1890.

[nicethingsthose]

A Modern Cinderella (1875) - Louise Jopling

[jewellery-box]

Louise Jopling - Blue and White, 1896

[onefellsloop]

not exactly a dream cast, but when I picture Stephen and Diana, I'm 100% picturing Murray Melvin and Millais' portrait of Louise Jopling

[spinmeround]

Phyllis, Louise Jopling

[fionamccall]

Now You See Us: Women Artists in Britain 1520-1920 - Tate Britain

This was an ambitious exhibition, trying to cover the variety of women's professional art over four centuries. Each artist only had 2-3 paintings, which did make it difficult to assess their work, and for some, like Louise Jopling and Laura Knight, I would have loved to see a more substantive exhibition. These were some I liked:

Joanna Mary Wells, Thou Bird of God (1861) - title taken from a Browning poem

Elizabeth Butler, Calling the Roll After an Engagement, Crimea (1874) - quite a daring feat for a woman to do a large-scale history painting on a military subject, and quite an original and moving idea for a composition.

Louise Jopling, Through the Looking Glass (1875), fascinating that she chose this title for her self-portrait, only four years after the publication of the book. Is she commenting on the role of a female artist as a kind of fantastical, unreal creature?

Helen Allingham, Feeding the Fowls (1889-90) - my Mum loved these kind of idealised paintings of the countryside - this is what I would call a Milly Molly Mandy cottage (also one of my Mum's favourite children's books) - you come across lots of them unexpectedly where I live in Hampshire.

Emma Barton, The Soul of the Rose (1910) - there were some lovely early photographs in the exhibition but they really deserved an exhibition of their own.

There were some beautiful flower paintings in the exhibition (something women were allowed to excel in) - this is by Mary Moser (1744-1819)

I failed to note down who this Victorian sculpture was by, but it is rather fine.

Laura Knight, At the Edge of the Cliff (1917) - last(ish) but not least, Laura Knight really does deserve her own exhibition, her work was so interesting, and varied throughout her lifetime, from beach scenes, to theatre, circus and ballet themes to, of course, her portraits of women workers in World War II. I love the confident pose of the girl - just the sort of pose I'm usually shown in pictures of when I was a child - if there was a pile of rocks to get to the top of or a wall to be climbed, I was there. Recently saw a picture of my Mum as a child on top of a wall, which was a surprise given her later levels of inactivity, so perhaps the genes come from her - my son is a great wall climber so he's obviously inherited them.

Finally, an extraordinary feminist image to end on, Maria Cosway (1759-1838), The Duchess of Devonshire as Cynthia.

Overall, you do get a sense from the exhibition of the ways in which women's outsider position as artists allowed them to have an original eye.

[national-spain]

Louise Jopling - Blue and White, 1896

Louise Jopling - Blue and White, 1896

[granstromjulius]

Louise Jopling

[life-imitates-art-far-more]

Louise Jopling (1843-1933) "Blue and White" (1896) Oil on canvas Located in the Lady Lever Art Gallery, Liverpool, England

[oscarwilde-scholar]

Anatomy of a Cartoon

Anatomy of a Cartoon

The Story of Oscar Wilde’s Infamous Curtain Call Take a closer look at the details of the above cartoon. It is one of the Fancy Portrait series from the long established satirical journal Punch and it appeared in response to the opening night of Wilde’s play Lady Windermere’s Fan at the St. James’s Theatre on February 19, 1892. It was an event worth memorializing, not least for the occasion of…

[abwwia]

A Modern Cinderella, by Louise Jopling, 1875