#artist is edward robert hughes

[diioonysus]

"You with the dark curls. You with the watercolor eyes."

[the-evil-clergyman]

Wings of the Morning by Edward Robert Hughes (1905)

[life-imitates-art-far-more]

Edward Robert Hughes (1851-1914) "The Princess Out of School" (c. 1901) Pre-Raphaelite Located in the National Gallery of Victoria, Melbourne, Victoria, Australia

[arteafact]

Art detail -

God Speed (1908), by Edmund Blair Leighton

[mythical-art]

Night with her Train of Stars, 1912 by Edward Robert Hughes

(1912, watercolour with gouache and gold on paper)

[edwardian-girl-next-door]

~ Edward Robert Hughes, "Juliette Gordon Low" detail (1887)

edit via willowful

[thatfrailsoul]

– The princess out of school

by Edward Robert Hughes

_

[art1for2the3masses]

Edward Robert Hughes, Midsummer Eve, 1908

[gettothedancing]

This painting is frequently mis-attributed to Annie, but it seems to be a case of sources pointing backwards to nowhere. The artist could be an unknown artist from the Pre Raphaelite (1848-1890) or Arts and Crafts period (1880-1920). One person guesses it may have been by Edward Robert Hughes, some of whose paintings were only recently uncovered and exhibited.

Annie Louisa Swynnerton - 26 February 1844 – 24 Octobre 1933, England - “The Glow Worm”  

[classicalcanvas]

Title: Midsummer Eve

Artist: Edward Robert Hughes

Date: 1908

Style: Romanticism

Genre: Literary Painting

[diioonysus]

creatures in art: fairies

[the-evil-clergyman]

Night with Her Train of Stars by Edward Robert Hughes (1912)

[yoannlossel]

Soon, I will share with you the illustrations I created for American Gods. This work, the result of four years of research and artistic effort, reflects my vision of this rich and complex universe.

However, this project is overshadowed by the serious allegations made against Neil Gaiman. I had great respect for him, both for his work and his commitments. His position as a defender of victims of sexual violence and his support for these causes earned him particular respect. It is therefore all the more difficult for me to reconcile this admiration with the testimonies that have emerged about him.

I intend to share these illustrations with you, as they are the result of my own artistic work. This project, which blends contemporary America with the myths that shape it, inspired me to create a true visual journey through the history of fantastic art. I wanted to pay tribute to the legacy of tales, legends, and folklore while traversing the history of fantastic painting, reaching all the way to the works that have shaped American culture more recently.

I have explored various styles, evoked different emotions, and used a variety of techniques to create a diverse range of representations. Among my illustrations, you will find references and tributes to great names in art, such as Pieter Bruegel the Elder, Arnold Böcklin, Edward Robert Hughes, Gustave Doré, Grant Wood, Edward Hopper, Zdzisław Beksiński, Alfons Mucha, Vincent Van Gogh, and Ferdinand Keller.

This project, which is as much a journey through the history of fantastic art as it is a journey into contemporary myths, represents my personal visual interpretation of American Gods, while remaining deeply rooted in my own values as an artist.

Finally, both American Gods and the current situation remind us of the importance of questioning our relationships with idols and heroes. This lesson is more relevant than ever.

Photograph taken on April 14, 2024.

[primordialsoundmeditation]

“And then, one fairy night, May became June.” — F. Scott Fitzgerald

Midsummer-Eve. Edward-Robert-Hughes, Artist.

The Heirloom Gardener John Forti

[omgeddon]

300,000 Kisses by Sean Hewitt & Luke Edward Hall

I keep this as short as possible (because I'm trying to dissociate for the rest of the year tbh)

👍 I love gay shit and I love old shit and I love humanising the great lost generastions of the past, so this couldn't really lose for me.

🦅 I thought starting with Ganymede was brave and smart for these two, refusing to shrink away from the classical legacy of pederasty to a broad audience is bold. Gotta respect that. It's a feature of classical literature that becomes more complicated over time, not less - and rightly so, as every generation piles condemnation or defence on top of the last so it's easy to get lost in it.

🌈 There are a lot of lovely little lessons from the classical period about identity and acceptance (and the lack of it obviously) which I enjoy. I think that's worth reflecting on [Now More Than Ever] because while the great global fash movement is obviously dedicated to deminishing the fruit brigade, I think even within the "progressive movement" (not a thing) things can so quickly become about policing, and correction, and definition, which is counter-productive. [IMO]. Just being is enough you know, the anatomisation of experience is an Enlightenment impulse, and I think the Classical Mind (and medieval actually) has us beat on that, in many respects. This is a conversation I'm not particularly interested in having to be honest because it bores me and it's irreconcilable anyway, but I can pull out a pin and throw. I don't care.

📚 Further Reading:

✅ If you liked this book: The Song Of Achilles by Madeline Miller

No brainer. Very period, very charming, very of this reimagining of the classics moment that's been happening since, well, since 9/11 i guess. Weird that this book, 300, and HBO's Rome are all part of the same movement, but they are I guess?

❌ If you didn't like this book: Gay Life Stories by Robert Aldrich

If you're not into the classical revivalism thing, but like feeling a part of a larger historical continuum of queerness, this might be more your bag. It's an anthology of queer biographies from across history and cultures, the majority are Western and Male, but effort has clearly been made to cover other cultures and experiences. It's a lovely little book, I can recommend it.

❔Other Stuff That Might Interest You ...

Tales from Metamorphosis by Ted Hughes

Blank verse retellings of some of Ovid's Metamorphosis. I am a big Ted Hughes fan, I get that not everyone is because of, you know, the suicidal wives thing. Not interested in getting into that, human relationships aren't team sports, you know? That's my take. But, of all the billion million Ovids that are out there, this is a fave. Really accessible, really tender, and yeah, probably there's a note of misogyny there. Hughes not gay, very hetero, and clearly a great lover and idoliser of women and femininity, as many male artists are, to perhaps the point of objectification. Which considering the nature of Metamorphosis, is not inappropriate maybe? Hughes also has an Oresteia, which is the best thing ever written in any language, tbh.

Frogs by Aristophanes (and Stephen Sondheim)

If you can bare to read classical drama, this is a cute one. It's not gay, but it is short, and it is "funny" to a modern reader (if you try to find it funny anyway). It's nice a low brow, plenty of dick and fart jokes. Taking the piss out of prominent Athenians of whom history leaves absolutely nothing else. The plot is an fruity actor from the Festivals is sick of plays being so shit since Aeschylus died, so he decends into the underworld to bring him back and save The Theatre. Sondheim did a flop musical version in the 70s, which Nathan Lane (and Whoopi Goldberg I think???) revived in the 00s. Also flopped. But the public has no idea what art is or whatevs. Check it out, if you can be at all bothered.

tl;dr:

[preraphaelitepaintings]

The Valkyrie's Vigil

Artist: Edward Robert Hughes (British, 1851-1914)

Date: 1906

Medium: Watercolour and gold paint on Whatman paper

Collection: The Leicester Art Galleries, London

Description

Edward Robert Hughes was a notable and respected figure amongst the second generation of Pre-Raphaelite artists. Hughes, with a number of his contemporaries, was influenced by and continued to practice the painting techniques pioneered in the middle of the century by members of the Pre-Raphaelite Brotherhood; he, like Millais and Holman Hunt, was concerned with qualities of minute realism and bright colour. Hughes maintained these traditions, along with a fondness for romantic and symbolical subjects, well into the Twentieth Century.

The present watercolour is imbued with an extraordinary and phantasmagoric character, and may be seen as an Edwardian contribution to European Symbolism. Its subject The Valkyrie’s Vigil shows one of Odin’s war-maidens who, in Scandinavian mythology, hovered over battlefields selected those warriors who were to die and conducted them to Valhalla. Hughes was certainly influenced in his choice of subject, which he returned to on several occasions, by Richard Wagner’s Die Walkure, the second opera of The Ring, which had been first performed in London in 1882.