#Victorian painter

[marejadilla]

Francis Bernard Dicksee, “The Two Crowns” & detail, 1900, oil on canvas. (1853 - 1928), English Victorian painter and illustrator known for his paintings of dramatic and historical literature, legends, and women portraits.

[galleryofart]

Ask Me No More

Artist: Lawrence Alma-Tadema (British, 1836–1912)

Date: 1906

Medium: Oil on canvas

Collection: Property of a European collector

Ask Me No More

'Ask me no more: thy fate and mine are seal'd: I strove against the stream and all in vain: Let the great river take me to the main: No more, dear love, for at a touch I yield.' Alfred, Lord Tennyson, The Princess.

'Ask me no more', which takes its title from a poem by the Poet Laureate Alfred Lord Tennyson, is a quintessential Alma-Tadema subject. In fact he treated it so often that it is probably the one with which he is most closely associated: a pair of lovers seated on a marble bench overlooking the Mediterranean Sea. The sun always shines in these pictures, although it never seems oppressively hot; and the lovers are invariably shown in a state of emotional anticipation rather than succumbing to passion itself. As Vern Swanson, the leading authority on Alma-Tadema, states in his catalogue raisonné of the artist's paintings, love-making is shown not 'at the point of climax, but rather earlier, when the tension is mounting.

A trademark feature of the painting is the marble bench. Alma-Tadema had made a specialty of painting marble since the late 1850s, and it had become one of his most celebrated accomplishments, endlessly commented on in reviews and even joked about in Punch. Dutch artists had always excelled at still-life, and Alma-Tadema's marble-painting is in this tradition. The same skill emerges in the way he handles flowers, as 'Ask me no more' also demonstrates. But the exquisitely rendered bunch of anemones does more than testify to the painter's virtuoso technique. Evidently a tribute from the youth to his sweetheart, it adds a touch of poignancy to the narrative. It is also a vital compositional element, placing an accent precisely where it is needed, and it provides a focal point for the colour scheme, a subtle interplay of blues, mauves and creams balanced against the pale aquamarine of the girl's dress.

This chromatic harmony is enhanced by the pearly light that pervades the scene, coming from behind the figures to create a contre-jour effect and cast delicate shadows onto the marble pavement. In 1884 Alma-Tadema had taken over 17 Grove End Road, St John's Wood, a house previously occupied by the French artist James Tissot who had fled back to Paris on the death of his muse and mistress, Kathleen Newton. He proceeded to remodel it extensively, furnishing it in a variety of exotic styles and generally turning it into one of the sights of London. Among its many notable features was the apsidal end of the artist's studio, which he had lined with aluminum to create the diffused and silvery light so typical of his later works. 'Ask me no more' is a classic example.

The picture is almost the last in which Alma-Tadema painted his ever-popular theme of a young couple suffering the palpitations of romance, although a watercolour version, entitled Youth, followed in 1908. 'Ask me no more' was the only picture he showed at the R.A. in 1906. He had seldom contributed more than three examples, and one became more or less the norm during his final years.

[allegorypaintings]

Hope

Artist: George Frederic Watts (British, 1817–1904)

Date: 1891

Medium: Oil on Panel

Collection: Yale Center for British Art, New Haven, CT, United States

Description

By the 1880s, George Frederick Watts had become one of the most celebrated Victorian painters and aimed to restore allegorical painting to a prominent place in British art. Adopting a symbolist approach later in life, he declared, "I paint ideas, not things." In this painting, Hope sits on a globe wearing a blindfold. She looks forlorn as she plucks at a broken lyre. This version is one of at least five painted by the artist and is the only one to include a rainbow behind the figure. It was purchased by Richard Budgett in memory of his late wife, who had been a keen admirer of Watts’s work. The rainbow, as a link between heaven and earth, hints at an enduring bond between the couple. Watts’s Hope was the subject of a sermon by the Reverend Jeremiah Wright that inspired future President Barack Obama and later prompted the title of his book The Audacity of Hope.

[paintartai]

Rift Valley Africa - 2023

[constanzarte]

Henri Pierre Picou, Jeunes femmes au bain, 1879

[edwardian-girl-next-door]

~ Franz Xaver Winterhalter, Portrait of Anna of Prussia (1858) (detail)

via bonniesoubise

[thepaintedroom]

Adolphe Heinrich Hansen (Danish, 1859-1925) • Two Women Playing Billiards • 1895

[myteaplace]

Evening, Richard Dadd (1817-1886)

[thefugitivesaint]

John William Waterhouse (1849-1917), 'The Charmer', ''The Studio'', Vol. 71, 1917 Source

[usagifuyusummer]

More silly and fun practice sketches on the Victorian Era FOP AU lol. Just gonna post them here first while we're still developing this and busy with our real-life duties as students.

There's actually a ton of my thoughts in the alt text of these images lol. I hope it's still there. I will also include the links of the existing posts relating to this AU to keep track of what has been created.

Origin Discussion Posts

Updated Character Designs 1

Updated Character Designs and Concepts 2

Concept Art 1: Boy with a Parasol

Tumblr Asks 1

Credit: @keyintheeye-blog original creator and the default character designer of this Victorian Era FOP AU.

I will post my other thoughts (something like a what's happening update) on the repost of this later. Gotta get back to my unavoidable university duties... Have a nice day tho 💐

[marejadilla]

Sophie Gengembre Anderson, "Take the Fair Face of Woman",“A portrait of a fairy” and "Take the Fair Face of Woman, and Gently Suspending, With Butterflies, Flowers, and Jewels Attending, Thus Your Fairy is Made of Most Beautiful Things". Oil on canvas,1869. (1823 –1903) was a French-born British Victorian painter who was also active in America for extended periods. She specialised in genre paintings of children and women, typically in rural settings.

[resplendentoutfit]

James Tissot (French) • The Ball, later renamed Evening • 1878 • Musée d'Orsay

James Tissot is known for painting elegant beautiful society women attired in the latest Paris fashions. He was also known to alter some details of a particular outfit by painting in his own flourishes to suit his taste and enhance the over-all portrait. He was criticized for this habit but it was undeniable that fashion designers of the time were paying attention. In this way, Tissot was a fashion influencer of high Victorian society.

It's only natural that Tissot was interested in the attire of his well-to-do patrons. His father was a fabric merchant and marchand "de nouveautés"(seller of the latest dress items). He grew up among the very materials he would later paint. This duality suited him well, as he was one of the most successful genre and portrait painters of his time.

Some of the criticisms aimed at Tissot from the fashion world included inappropriate accessories – the hat in the above painting, for example, was not appropriate as evening wear, some claimed. Others were that Tissot's necklines and overly flounced, pleated skirting were outdated. It is believed that Tissot chose certain details and features of the costume to showcase his painting abilities. All things considered, a critic for L’Artiste magazine stated:

"Our industrial and artistic creations may perish our customs and our costumes may fall into oblivion, a painting by Mr. Tissot will be enough for the archaeologists of the future to reconstruct our era."

[sardosycserokyric]

The Passing of Venus, Edward Burne-Jones, 1898, gouache and metallic paint on cardboard. Preliminary study for a tapestry for Morris & Company.

[paintartai]

Alien Abduction - 2023

[constanzarte]

Telegram by Max Ehrler

[edwardian-girl-next-door]

~ Édouard Debat-Ponsan Portrait de mademoiselle Élisabeth de Vilmorin (1891) (detail)

via edarlein11 on pinterest