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    1860s Sir John Everett Millais
    albumen silver print 10.2 x 6.3 cm
    The Metropolitan Museum of Art, New York

    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 3 also.

    This is part 4 of a 10-part post on the works of Millais:


    1857-64 Parables of Our Lord:



    1857 Study for The Good Samaritan
    graphite with pen and brown ink on paper 15.2 x 8.8 cm
    The British Museum, London

    after 1857 The Good Samaritan
    watercolour and gouache on off-white wove paper 14.5 x 10.7 cm
    Harvard Art Museums / Fogg Museum, MA
    © President and Fellows of Harvard College

    1857 Study for 'The Good Samaritan'
    pen and brown ink on paper 5.7 x 5.3 cm
    The British Museum, London

    1863 The Good Samaritan
    wood engraving by Dalziel family after Millais for The Parables of Our Lord
    ( Good Words )
    The Fitzwilliam Museum, Cambridge, UK

    1863 The Parable of the Virgins
    wood engraving by Dalziel family after Millais
    illustration to The Parables of Our Lord ( Good Words )
    The Fitzwilliam Museum, Cambridge, UK

    1863 The Prodigal Son
    wood engraving by Dalziel family after Millais
    illustration to The Parables of Our Lord ( Good Words )
    The Fitzwilliam Museum, Cambridge, UK

    before 1864 The Foolish Virgins
    watercolour and gouache on off-white wove paper 14.1 x 10.6 cm
    Harvard Art Museums / Fogg Museum, MA
    © President and Fellows of Harvard College

    1864 The Foolish Virgins
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Good Shepherd
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Hidden Treasure
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Importunate Friend
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 before The Labourers in the Vineyard
    watercolour and gouache on off-white wove paper 14.1 x 10.7 cm
    Harvard Art Museums / Fogg Museum, MA
    © President and Fellows of Harvard College

    1864 The Labourers in the Vineyard
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 before The Lost Piece of Silver
    watercolour and gouache on off-white wove paper 14.6 x 10.4 cm
    Harvard Art Museums / Fogg Museum, MA
    © President and Fellows of Harvard College

    1864 The Lost Piece of Silver
    wood engraving by Dalziel Brothers 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Lost Sheep
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Marriage Feast
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Parable of the ( Ten ) Virgins
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Parable of the Leaven
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1865 The Parable of the Tares
    oil on canvas 111.8 x 86 cm
    © Birmingham Museums and Art Gallery, UK

    1864 The Parable of the Tares
    wood engraving on paper 14 x 10.8 cm
    Tate, London

    1860c The Pearl of Great Price
    pen and grey ink, touched with watercolour on paper 15.8 x 11.9 cm
    The British Museum, London

    1864 The Pearl of Great Price
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Pharisee and the Publican
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 ( image )
    The Metropolitan Museum of Art, New York

    before 1864 The Rich Man and Lazarus
    watercolour and gouache on off-white wove paper 14.1 x 11 cm
    Harvard Art Museums / Fogg Museum, MA
    © President and Fellows of Harvard College

    1864 The Rich Man and Lazarus
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Sower
     wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    before 1864 The Unjust Judge
    watercolour and gouache on off-white wove paper 14.4 x 11 cm
    Harvard Art Museums / Fogg Museum, MA
     © President and Fellows of Harvard College

    1864 The Unjust Judge and the Importunate Widow
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    1864 The Unmerciful Servant
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
     The Metropolitan Museum of Art, New York

    1864 The Wicked Husbandman
    wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )
    The Metropolitan Museum of Art, New York

    *          *          *          *          *

    1859c A Lady Seated with a Dog by her Side
    watercolour with touches of black chalk on off-white wove paper 12.2 x 9.7 cm
    Harvard Art Museums/ Fogg Museum, MA
     © President and Fellows of Harvard College

    1860 A Head of Hair for Sale
    wood engraving by Joseph Swain after Millais for Once a Week November 1860
     The Fitzwilliam Museum, Cambridge, UK

    1860 Dark Gordon's Bride
    wood engraving by Joseph Sain after Millais for Once a Week August 1860
    The Fitzwilliam Museum, Cambridge, UK

    1860 Happy Springtime
    etching on paper 25 x 17.7 cm ( plate )
    Yale Centre for British Art, New Haven, CT

    1860 Last Words
    wood engraving by Dalziel family after Millais
    Cornhill Magazine November 1860

    1860 Lord Lufton and Lucy Robarts
    wood engraving by Dalziel family for Trollope's "Framley Parsonage" in Cornhill Magazine April 1860
    The Fitzwilliam Museum, Cambridge, UK

    1860 Musa
    wood engraving by Dalziel family after Millais for Once a Week June 1860
    The Fitzwilliam Museum, Cambridge, UK

    1860 The Huguenot
    watercolour and gouache on off-white wove paper 29.9 x 24.6 cm
    Harvard Art Museums / Fogg Museum, MA
     © President and Fellows of Harvard College

    1860-62 The Ransom
    oil on canvas 129.5 x 114.4 cm
    The J. Paul Getty Museum, Los Angeles, CA


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    1860s Sir John Everett Millais
    albumen silver print
    The Metropolitan Museum of Art, New York

    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 4 also.

    This is part 5 of a 10-part post on the works of Millais:



    1860 The Black Brunswicker
    oil on canvas 104 x 68.5 cm
     Lady Lever Art Gallery, Port Sunlight, Merseyside, UK

    1860c Study for The Black Brunswicker
    graphite on paper 8.6 x 6.4 cm x 11.7 cm
    Tate, London

    1860c Study for The Black Brunswicker
    graphite on paper 19.9 x 11.7 cm
     Tate, London

    1860c Study for The Black Brunswicker
    graphite on paper 8.6 x 6.4 cm x 11.7 cm
    Tate, London

    1863 or 1867 The Black Brunswicker
    watercolour heightened with white 15.6 x 9.9 cm
    The British Museum, London


    1860c The Ransom
    watercolour and white gouache on cream card 21.6 x 19.5 cm
    Harvard Art Museums / Fogg Museum, MA
    © President and Fellows of Harvard College

    1861 Framley Parsonage; 6 illustrations by Millais:


    1860-61 Lord Lufton and Lucy Robarts
    illustration to Framley Parsonage by Anthony Trollope

    1860-61 "Was it not a lie?"
    illustration to Framley Parsonage by Anthony Trollope

    1860-61 The Vrawley Family
     illustration to Framley Parsonage by Anthony Trollope

    1860-61 Lady Lufton and the Duke of Omnium
    illustration to Framley Parsonage by Anthony Trollope

    1860-61 Mrs Gresham and Miss Dunstable
    illustration to Framley Parsonage by Anthony Trollope

    1861 Mrs Gresham and Miss Dunstable Trollope's 'Framley Parsonage' in The Cornhill Magazine
    wood engraving by Dalziel family after Millais
    The Fitzwilliam Museum, Cambridge, UK

    1860-61 "Mark," she said, "the men are here."
    illustration to Framley Parsonage by Anthony Trollope

    *          *          *          *          *

    1861 Iphis and Anaxarete
    wood engraving by Joseph Swain after Millais for Once a Week
    The Fitzwilliam Museum, Cambridge, Uk

    1861 Summer Indolence
    ink on paper 16 x 11.1 cm
    © The Samuel Courtauld Trust, The Courtauld Gallery, London

    1861 Summer Indolence
    etching 17.6 x 25.3 cm ( plate )
    Philadelphia Museum od Art, PA

    1861 Swing Song Once a Week
    wood engraving by Joseph Swain after Millais
    The Fitzwilliam Museum, Cambridge, UK

    1861 Tannhaüser
    wood engraving by Joseph Swain after Millais for "Once a Week" August 1861
    The Fitzwilliam Museum, Cambridge, UK

    1861 The Temptation
    wood engraving by Dalziel family after Millais for The Cornhill Magazine February 1861
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c Orley Farm:


    1861-62c "Why Should I Not?"
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c Bread Sauce is so Ticklish
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c Farewell!
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c Felix Graham in Trouble
    wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c Guilty
    engraving by Dalziel Brothers after Millais illustration for Anthony Trollope's Orley Farm 17.1 x 10.8 cm
    © Victoria and Albert Museum, London

    1861-62c John Kenneby and Miriam Dockwrath
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Lady Mason Going Before the Magistrates
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Lady Mason Leaving the Court
     wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Moncton Grange
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Mr Chaffanbrass and Mr Solomon Aram
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Mr Furnival's Welcome Home
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Never is a Very Long Word
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Orley Farm
    wood engraving by Dalziel family after Millais illustration to  Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c Over Their Wine
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Sir Peregrine and His Heir
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c Sir Peregrine at Mr Round's Office
    wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c Sir Peregrine Orme's Great Love
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c The Angel of Light
    wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c The Court
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
     The Fitzwilliam Museum, Cambridge, UK

    1861-62c The Drawing-Room
    wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK

    1861-62c Van Bauhr's Drean
    wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
    The Fitzwilliam Museum, Cambridge, UK


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    1862 Sir John Everett Millais as Dante
    albumen print by David Wilkie Wynfield

    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 5 also.

    This is part 6 of a 10-part post on the works of Millais:



    1862 Anna Receives Instruction ( Sister Anna's Probation )
    wood engraving by Joseph Swain after Millais from Once a Week
    The Fitzwilliam Museum, Cambridge, UK

    1862 ( attributed to ) Study of a Girl
    graphite and white gouache on moderately thick, slightly textured, brown wove paper 191 x 13.7 cm
    Yale Centre for British Art, New Haven, CT

    before 1862 Illustration to "The Border Witch" published 1862
    engraving by Dalziel Brothers after Millais

    1862 Maid Avoraine
    wood engraving by Joseph Swain after Millais for "Once a Week" July 1862
    The Fitzwilliam Museum, Cambridge, UK

    1862 Mistress and Maid
    wood engraving by Dalziel family after Millais from "Good Words" January 1862 frontispiece
    The Fitzwilliam Museum, Cambridge, UK

    1862 Olaf the Sinner and Olaf the Saint from "Good Words"
    wood engraving by Dalziel family after Millais from Good Words
    The Fitzwilliam Museum, Cambridge, UK

    1862 Polly in Reverie ( The Anglers of the Dove )
    wood engraving by Joseph Swain after Millais from Once a Week
    The Fitzwilliam Museum, Cambridge, UK

    1862 The Battle of the Thirty
    wood engraving by Joseph Swain after Millais for Once a Week February 1862
    The Fitzwilliam Museum, Cambridge, UK

    1862 The Drowning of Kaer-is - I'll win the Key from my Father's Side
    wood engraving on paper 11.9 x 13.3 cm
    © Birmingham Museums and Art Gallery, UK

    1862 The Parting of Ulysses
    wood engraving by Joseph Swain after Millais for Once a Week December 1862
    The Fitzwilliam Museum, Cambridge, UK

    1862c Love
    pen and ink and watercolour wash 13.3 x 10.7 cm
    © Victoria and Albert Museum, London

    1862c The Parting Ulysses
    11.8 x 10.3 cm
    © The Samuel Courtauld Trust, The Courtauld Gallery, London

    1863 Endymion on Latmos
    wood engraving by Joseph Swain after Millais for Once a Week January 1863
    The Fitzwilliam Museum, Cambridge, UK

    1863 Hacho, the Dane: or The Bishop's Ransom
    wood engraving by Joseph Swain  after Millais for Once a Week October 1863
    The Fitzwilliam Museum, Cambridge, UK

    1863 My First Sermon
    oil on canvas 92 x 77 cm
    Guildhall Art Gallery, London


    1863 The Baby House
    etching on cream chine, laid down on ivory wove paper 14.5 x 18.4 cm ( image )
    Art Institute of Chicago, IL

    1863 The Eve of St Agnes
    watercolour on paper 20.8 x 27.5 cm
    © Victoria and Albert Museum, London

    1863 The Eve of St Agnes
    oil on canvas 117.8 x 154.3 cm

    1863 Two Men Seated by the Fireside
    wood engraving by Joseph Swain after Millais for Once a Week October 1863
    The Fitzwilliam Museum, Cambridge, UK

    1864 Charlie is my Darling
    oil on panel 42.5 x 26 cm
    Private Collection

    1864 Leisure Hours
    oil on canvas 88.9 x 118.1 cm
    Detroit Institute of Arts, MI

    1864 Little Red Riding Hood
    oil on panel 35.5 x 25 cm
    Private Collection

    1864 Macleid of Dare
    wood engraving by Joseph Swain after Millais from Good Words
    The Fitzwilliam Museum, Cambridge, Uk


    1864 My Second Sermon
    oil on canvas 97 x 72 cm
    Guildhall Art Gallery, London

    1864 My Second Sermon
    oil on wood 27.3 x 21 cm
    Birmingham Museums Trust, UK

    1864 My Second Sermon
    watercolour 40 x 25 cm
    © Victoria and Albert Museum, London


    1864 Polly
    wood engraving by Joseph Swain after Millais for Good Words
    The Fitzwilliam Museum, Cambridge, UK

    1864 Prince Albert
    wood engraving by Joseph Swain after Millais for Good Words
    The Fitzwilliam Museum, Cambridge, UK

    1864 Sepia photograph of Teresa Furtado as Robin in The Lion and the Unicorn at Her Majesty's Theatre
    sepia photograph by Millais 9.2 x 5.6 cm
    © Victoria and Albert Museum, London

    1864 Sepia photograph of Teresa Furtado as Robin in The Lion and the Unicorn at Her Majesty's Theatre
    sepia photograph by Millais 9.3 x 5.6 cm
    © Victoria and Albert Museum, London

    1864 Swallow, Swallow
    oil on canvas 102 x 76 cm
    Private Collection

    1864 The Bride of Dandelot
    wood engraving by Joseph Swain after Millais from Good Words
    The Fitzwilliam Museum, Cambridge, UK

    1864 The Proscribed Royalist
    watercolour and white gouache on off-white wove paper 15.3 x 10.4 cm
    Harvard Art Museums / Fogg Museum, MA
    © President and Fellows of Harvard College

    1864 Waiting
    oil on panel 32.4 x 25 cm
    Birmingham Museums Trust, UK

    1864c Girl's Head
    oil on canvas laid down on panel 15.2 x 12.1 cm
    Walker Art Gallery, Liverpool, UK

    1865 Esther
    oil on canvas
     Private Collection

    1865 Joan of Arc
    oil on canvas 82 x 62 cm
    Private Collection

    1865-67 Waking
    oil on canvas 90.8 x 70.5 cm
    Perth and Kinross Council, UK

    1866 Miss Davidson
    oil on canvas 95 x 71 cm
     Private Collection

    0 0



    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 6 also.

    This is part 7 of a 10-part post on the works of Millais:



    1866 The Minuet
    oil on canvas

    1866 The Minuet
    watercolour 25.5 x 10 cm

    1867 Jephthah
    oil on canvas 127 x 162.7 cm
    National Museum Wales, UK

    1867c Study for Jephthah's Daughter
    brush drawing in brown wash, heightened with white, with graphite 25.1 x 29.7 cm
    The British Museum, London

    1868 Sisters
    oil on canvas 108 x 108 cm
    Private Collection

    1868 Taking his Ease
    wood engraving after Millais for Once a Week Christmas 1868
    The Fitzwilliam Museum, Cambridge, UK

    1868 The Souvenir of Velázquez
    oil on canvas 102.7 x 82.4 cm
     Royal Academy of Arts, London

    1868 Vanessa
    oil on canvas 112.7 x 91.5 cm
    Sudley House, Liverpool, UK

    1868-69 Nina Lehmann
    oil on canvas

    1869 Stella
    oil on canvas 112.7 x 92.1 cm
    Manchester Art Gallery, UK

    1870 A Flood
    oil on canvas 99.3 x 144.9 cm
    Manchester Art Gallery, UK

    1870 A Widow's Mite
    oil on canvas 131.5 x 92.4 cm
    Birmingham Museums Trust, UK

    1870 Chill October
    oil on canvas 141 x 186.7 cm
    Private Collection

    1870 Rosalind in the Forest
    oil on board 22.6 x 32.7 cm
     Walker Art Gallery, Liverpool, UK

    1870 The Boyhood of Raleigh
    oil on canvas 120.6 x 142.2 cm
    Tate, London

    1870 The Knight Errant
    oil on canvas 220 x 170.8 cm
     Tate, London

    1870 The Marquess of Granby
    oil on canvas 35.5 x 29.5 cm
    Southwark Art Collection, London

    1871 Flowing to the Sea
     oil on canvas 143 x 188 cm
    Southampton City Art Gallery, UK

    1871 The Martyr of the Solway
    oil on canvas 70.5 x 56.5 cm
     Walker Art Gallery, Liverpool, UK

    1871 The Somnambulist
    oil on canvas 154 x 91 cm
    Delaware Art Museum, Wilmington, DE

    1871 Victory O Lord
    oil on canvas 194.7 x 141.3 cm
    Manchester Art Gallery, UK

    1871 Yes or No
    oil on canvas
    Yale University Art Gallery, New Haven, CT

    1872 Going to the Park
    etching on cream chine, laid down on ivory wove paper ( chine collé )
    18.5 x 13.1 cm ( plate )

    1872 Hearts are Trumps
    oil on canvas 165.7 x 219.7 cm
    Tate, London

    1873 Effie Millais, née Gray
    oil on canvas 99.6 x 84.1 cm
    Perth and Kinross Council, UK

    1873 Mrs Bischoffsheim
     oil on canvas 136.4 x 91.8 cm
    Tate, London

    1873 Winter Fuel
    oil on canvas 194.5 x 149.5 cm
    Manchester Art Gallery, UK

    1874 ( attributed to ) Reflection
    oil on canvas 28 x 22 cm
    Calderdale Metropolitan Borough Council, UK

    1874 Day Dreams ( Effie Millais, the artist's daughter )
    oil on canvas 89.1 x 69 cm
    The Dick Institute, Kilmarnock, UK

    1874 Miss Eveleen Tennant
    oil on canvas 107.9 x 80 cm
    Tate, London

    1874 Picture of Health, Alice, the Artist's Daughter
    oil on canvas 110 x 90 cm
    Jersey Museum and Art Gallery, St Helier, UK

    1874 The North-West Passage
    oil on canvas 176.5 x 222.2 cm
    Tate, London

    1874 The North-West Passage study
    red and black pencil, wash, heightened with white 17.5 x 19.7 cm
    The Huntington Library Art Collections, San Marino, CA

    1875 Gracia Lees
    oil on canvas 107 x 75 cm
    Private Collection

    1875 James Wyatt Junior ( b.1812 ), Aged 65
    oil on canvas 73.5 x 61 cm
    Oxford Town Hall, UK

    1875 The Convalescent
     oil on canvas 76,8 x 64 cm
    Aberdeen Art Gallery and Museums, UK

    1875 The Crown of Love
    oil on canvas 127.6 x 86.7 cm
    Private Collection

    1876 Edward Robert Bulwer Lytton, 1st Earl Lytton
    oil on canvas
    © Victoria and Albert Museum, London

    1876 Edward Robert Bulwer Lytton

    1876 Mrs Leopold Reiss
    oil on canvas 122 x 95 cm
    Manchester Art Gallery, UK


    0 0

    1881 Self-Portrait
    oil on canvas
    Uffizi Gallery, Florence

    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 7 also.

    This is part 8 of a 10-part post on the works of Millais:



    1876 The Sound of Many Waters
    oil on canvas 57.5 x 107.8 cm
    The National Trust for Scotland, Fyvie Castle, Turriff, UK

    1876 The Twins, Kate and Grace Hoare
    oil on canvas 153.5 x 113.7 cm
    The Fitzwilliam Museum, Cambridge, UK

    1876 The Yeoman of the Guard
    oil on canvas 139.7 x 111.8 cm
    Tate, London

    1877 Anthony Ashley-Cooper ( 1801–1885 ), 7th Earl of Shaftesbury,
    President of the Bible Society
    oil on canvas 121 x 101 cm
    Cambridge University Library, UK

    1877 Bright Eyes
    oil on canvas 92 x 71.5 cm
    Aberdeen Art Gallery and Museums, UK

    1877 Effie Deans
    ( from "The Heart of Midlothian" by Sir Walter Scott )

    1886 Effie Deans print by Thomas Oldham Barlow
    mezzotint with stipple and etching on chine collé 78.5 x 58 cm
    The British Museum, London

    1877 Puss in Boots
    oil on canvas 106.7 x 79.3 cm
    Dundee Art Galleries and Museums Collection
    Dundee City Council, UK

    1877 The Good Resolve
    oil on canvas 110 x 82.2 cm
    Walker Art Gallery, Liverpool, UK

    1877 Yes
    oil on canvas 116.8 x 149.8 cm
    Private Collection

    1878 A Jersey Lily ( actress Lillie Langtry )
    oil on canvas 109 x 85 cm
    Jersey Museum and Art Gallery, St. Helier. UK

    1878 Lillie Langtry

    1878 The Bride of Lammermoor
    oil on canvas 151 x 107.3 cm
     Bristol Museum and Art Gallery, UK

    1878 The Bride of Lammermoor 1882 after Millais
    mezzotint with stipple and etching on chine collé 68.8 x 50.3 cm ( image )
    The Metropolitan Museum of Art, New York

    1878 The Princes in the Tower
    oil on canvas 147.2 x 91.4 cm
    Royal Holloway, University of London 

    1879 Cherry Ripe
    oil on canvas 134.5 x 89 cm

    1879 Cherry Ripe
    chromolithograph from the newspaper "The Graphic", a Christmas gift

    1788 Penelope Boothby
    by Sir Joshua Reynolds

    1879 Louise Jane Jopling
    oil on canvas 124 x 76.5 cm
    National Portrait Gallery, London

    1879 Meditation
    oil on canvas 91.5 x 61.4 cm
     Shipley Art Gallery, Gateshead, Greater Newcastle, UK

    1879 William Ewart Gladstone
    oil on canvas 125.7 x 91.4 cm
    National Portrait Gallery, London

    William Ewart Gladstone

    1880 James Fraser
    oil on canvas 128 x 93.6 cm
    Manchester Art Gallery, UK

    James Fraser, Bishop of Manchester

    1880 Kate Perugini ( daughter of Charles Dickens )
    oil on canvas 125 x 80 cm
    Private Collection

    1880 Kate Perugini ( Kate Dickens, right )

    1880 Luther Holden ( 1815–1905 ), Surgeon at St Bartholomew's Hospital ( 1865–1881 )
    oil on canvas 126 x 92 cm
    St Bartholomew’s Hospital Museum and Archive, London

    1880c Luther Holden ( version 2 )
    oil on canvas 124.4 x 92.7 cm
    The Foundling Museum, London

    1880 Reverend John Caird, Principal of Glasgow University
    oil on canvas 127 x 92.1 cm
    Hunterian Art Gallery, Glasgow University, UK

    1881 "Sweetest Eyes Were Ever Seen"
    oil on canvas 100.5 x 72 cm
    National Galleries of Scotland, Scottish National Gallery, Edinburgh

    1881c "Sweetest Eyes Were Ever Seen"
     pen and ink with bodycolour 23.5 x 17 cm

    1881 Alfred Tennyson ( 1809–1892 ), 1st Baron Tennyson, FRS
    oil on canvas 127 x 93 cm
    Lady Lever Art Gallery, Wirral, UK

    after 1881 Alfred Lord Tennyson after Millais
    engraving Harvard Art Museums/ Fogg Museum, MA
    © President and Fellows of Harvard College

    Alfred Lord Tennyson

    1881 Benjamin Disraeli, Earl of Beaconsfield
    oil on canvas 127.6 x 93.1 cm
    National Portrait Gallery, London
    Benjamin Disraeli

    1881 Cinderella
    Private Collection

    1886 Cinderella afterMillais
    engraving by Illman Brothers

    1881 John Henry Newman
    oil on canvas 121.3 x 95.3 cm
     National Portrait Gallery, London

    Cardinal John Henry Newman

    1881 Sir Henry Thompson, Bt
    oil on canvas 125.7 x 91.4 cm
    Tate, London

    Sir Henry Thompson, Bt


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    1883 Self-Portrait
    oil on canvas 34.5 x 29.7 cm
    Aberdeen Art Gallery and Museums, UK

    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 8 also.

    This is part 9 of a 10-part post on the works of Millais:



    1882 For the Squire
    oil on canvas 85 x 63 cm
    Fine Art Society, London

    1882 George du Maurier
    oil on canvas 34.5 x 29.7 cm
    Aberdeen Art Gallery and Museum, UK

    George du Maurier 

    George Louis Palmella Busson du Maurier was a Franco-British cartoonist and author, known for his cartoons in Punch and for his novel Trilby.



    1882 Lucy Stern
    oil on canvas 126 x 85 cm

    1882 Pomona
    oil on canvas 103.5 x 74.5 cm
     Private Collection

    1882 Princess Marie of Edinburgh ( later Queen of Romania )
    oil on canvas 91.4 x 63.4 cm
    Royal Collection Trust, Buckingham Palace, London

    1882 The Captive
    oil on canvas 143.6 x 106.1 cm
    Art Gallery of New South Wales, Sydney

    1882-89 Forbidden Fruit
    etching 50.3 x 35 cm
    © Birmingham Museums and Art Gallery, UK

    1883 Dropped from the Nest
    oil on canvas 104.1 x 69.8 cm

    1883 Miss Margaret Millais
    oil on canvas

    1883 Robert Gascoyne-Cecil, 3rd Marquess of Salisbury
    oil on canvas 127.3 x 93.3 cm
    © National Portrait Gallery, London

    1884 An Idyll of 1745
    oil on canvas 140 x 191 cm
    Lady Lever Art Gallery, Wirral, UK

    1884 Lady Campbell, née Nina Lehmann
    oil on canvas 129.5 x 86 cm

    1884 Message from the Sea
    oil on canvas 134.6 x 99.1 cm
    Private Collection, USA

    1884c Sir Henry Irving by Harry M. Allen after Millais
    ( a faithful copy of the original )
    oil on canvas 111.5 x 81.4 cm
    National Portrait Gallery, London

    1885 Sir Henry Irving
    aquatint and etching by Thomas Oldham Barlow after Millais 57.5 x 41.9 cm
    © Victoria and Albert Museum, London


    1885 Lilacs
    oil on canvas 102.9 x 72.4 cm
    Hugh Lane Gallery, Dublin

    1885 The Ornithologist
    oil on canvas 160.7 x 215.9 cm
    Kelvingrove Art Gallery and Museum, Glasgow

    1885 William Ewart Gladstone
    oil on canvas 91.4 x 69.9 cm
    Christ Church, Oxford University, UK

    William Ewart Gladstone
    British Prime Minister 1868-94

    1886 Archibald Philip Primrose, 5th Earl of Roseberry
    oil on canvas
    Archibald Philip Primrose
    British Prime MInister 1894-95

    1886 Bubbles
    oil on canvas
    Lady Lever Art Gallery, Wirral, UK

    1888-89c Bubbles poster for Pears Soap
    chromolithograph on paper 16.5 x 11.6 cm

    1886 Mercy: St Bartholomew's Day, 1572
    oil on canvas 184.1 x 130.8 cm
    Tate, London

    1886 Mrs Isabella Elder
    oil on canvas 127.6 x 84.5 cm
    Glasgow Museums Resource Centre, UK

    1886 Portia
    oil on canvas 125.1 x 83.8 cm
    The Metropolitan Museum of Art, New York

    1887 Clarissa
    oil on canvas 146 x 94 cm
    Private Collection

    1887 The Nest
    oil on canvas  128.5 x 99 cm
    Lady Lever Art Gallery, Wirral, UK

    1888 Forlorn, or I am Never Merry when I hear Sweet Music
    oil on canvas 107.5 x 92.5 cm

    1888 Sir Arthur Seymour Sullivan
    oil on canvas 115 x 87 cm
    National Portrait Gallery, London

    Sir Arthur Seymour Sullivan

    Sullivan was a prodigy, composing his first anthem aged eight. He achieved early success as a composer of serious music; wrote Cox and Box, a comic operetta, 1866, and in 1872 first collaborated with W. S. Gilbert on Thespis. With Gilbert as librettist, Sullivan composed a series of triumphantly successful comic operas, performed after 1881 at the Savoy Theatre, built for them by Richard D'Oyly Carte.



    1888 The Grey Lady
    oil on canvas 140 x 94.5 cm

    1889 Afternoon Tea
    oil on canvas 104.5 x 133.3 cm
    Winnipeg Art Gallery, Canada

    1889 Ducklings
    oil on canvas 121.7 x 76 cm
    The National Museum of Western Art, Tokyo

    1889 Robert Rankin
    oil on canvas 132 x 80.8 cm
    Leighton House Museum, London

    1889-90 Dew-Drenched Furze
    oil on canvas 173.2 x 123 cm
    Tate, London

    1890 Lingering Autumn
    oil on canvas 124.7 x 195.5 cm
    Lady Lever Art Gallery, Wirral, UK

    1890 ‘The Moon is Up, and Yet it is not Night’
    oil on canvas 104.1 x 168.9 cm
    Tate, London

    1891 Mrs Joseph Chamberlain
    oil on canvas 134.1 x 102.4 cm
    Birmingham Museums and Art Gallery, UK

    Mary Endicott, Mrs Joseph Chamberlain


    Joseph Chamberlain was a British politician and statesman, who was first a radical Liberal then, after opposing Home Rule for Ireland, a Liberal Unionist, eventually serving as a leading imperialist in coalition with the Conservatives.


    1891 Glen Birman
    oil on canvas 145.2 x 101.1 cm
    Manchester Art Gallery, UK


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    Sir John Everett Millais

    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 9 also.

    This is part 10 of a 10-part post on the works of Millais:



    1891 Lear and Cordelia
    oil on panel 27 x 23 cm
     Private Collection

    1892 Blow, Blow Thou Winter Wind
    oil on canvas 108 x 155 cm
    Auckland Art Gallery, New Zealand

    1892 Little Speedwell's Darling Blue
    oil on canvas 98 x 73 cm
    Lady Lever Art Gallery, Wirral, UK

    1892 Sweet Emma Morland
    oil on canvas 121.3 x 90.8 cm
    Private Collection

    1893 Merry
     oil on canvas 91.8 x 71.4 cm
    Private Collection

    1893 Pensive
    oil on canvas 96 x 75.5 cm

    1895 A Disciple
    oil on canvas 125 x 89.5 cm
     Tate, London

    1895 Saint Stephen
    oil on canvas 152.4 x 114.3 cm
    Tate, London

    1895 Speak! Speak!
    oil on canvas 167.6 x 210.8 cm
     Tate, London

    exhibited 1896 Margaret Fuller Maitland
    oil on canvas 47 x 38.1 cm
    Private Collection

    1896 Sir Richard Quain
    oil on canvas 127 x 78.7 cm
    Royal College of Physicians, London
    Sir Richard Quain

    Sir Richard Quain (1816-98) 1st Baronet, was an Irish physician.



    1896 Sir Robert Pullar, MP for Tayside
    oil on canvas 127 x 79.3 cm
    Perth and Kinross Council, UK

    1896 The Honourable John Nevile Manners
    oil on canvas 127 x 81 cm
    Private Collection

    n.d. A Girl and a Bird
    oil on panel 16 x 11 cm
    Private Collection

    n.d. After the Battle
    brush drawing in brown wash over graphite on paper 22 x 28.8 cm
    The British Museum, London

    attributed to: n.d. Portrait of a Young Girl
    oil on canvas 36 x 31 cm
    The Ashmolean Museum of Art and Archaeology, Oxford, UK

    attributed to: n.d. Portrait of a Girl
    graphite 19.7 x 17.1 cm
    The Huntington Library Art Collections, Dan Marino, CA

    n.d. Boys Rabbiting
    oil on canvas 81.5 x 74.7 cm
     Gallery Oldham, UK

    n.d. c1859 Lost Love
    watercolour on paper 10.4 x 8.5 cm
    The British Museum, London

    n.d. Caller Herrin'
    oil on canvas 110.5 x 78.7 cm
     Private Collection

    n.d. Christmas Eve
    oil on canvas 157.5 x 134 cm
    Private Collection

    n.d. Early Days
    oil on canvas 113.7 x 94.6 cm

    n.d. Escape of the Heretic, 1559
    oil on canvas 25.5 x 19 cm
    Museo de Arte de Ponce, Puerto Rico

    n.d. Girl with a Doll
    oil on canvas

    n.d. Male Nude in Riding Stance
    pen and ink over pencil on paper 31.8 x 21.9 cm
    © Victoria and Albert Museum, London

    n.d. Miss Anne Ryan
    oil on canvas 55.9 x 45.1 cm
    Tate, London

    n.d. Non angli sed angeli
    oil on canvas 106.8 x 133.3 cm
    Brighton and Hove Museums and Art Galleries, UK

    n.d. Portrait of a Dead Child
    graphite and black chalk on buff paper 20.9 x 15.5 cm
    The British Museum, London

    n.d. Portrait of a Girl
    oil on panel 19.5 x 17 cm
    Museums Sheffield, UK

    n.d. St. Agnes of Intercession
    etching on wove paper 18.7 x 26 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Stained Glass Study, Water Plant with Grasshopper, Fish and Newt
    graphite on moderately thick, slightly textured, cream wove paper 14.3 x 6.3 cm
    Yale Centre fir British Art, New Haven, CT

    n.d. The Bridge of Sighs
    etching on paper 17.5 x 12.5 cm ( plate )
    © Victoria and Albert Museum, London

    n.d. The Baby House ( Dolls House )
    etching on chine applique 14.5 x 18.5 cm ( plate )
    National Gallery of Art, Washington, DC

    n.d. The Farmer's Daughter
    oil on canvas 45.4 x 35 cm

    n.d. The New Ride, Kensington Gardens
    ink on paper 20.3 x 32.1 cm
    Tate, London

    n.d. The Proposal
    oil on canvas 44.3 x 34.3 cm
    Museums Sheffield, UK

    n.d. Thomas Oldham Barlow
    oil on canvas 100.5 x 117 cm
    Gallery Oldham, UK

    n.d. William Carr Standish
    oil on canvas 86 x 71 cm
    Astley Hall Museum and Art Gallery, Chorley, UK


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  • 07/10/17--08:40: Harry Clarke - part 1

  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    The son of a craftsman (Joshua Clarke), Harry Clarke was exposed to art (and in particular Art Nouveau) at an early age. He went to school at Belvedere College, and by his late teens was studying stained glass at the Dublin Art School. While there, his The Consecration of St Mel, Bishop of Longford, by St Patrick won the gold medal for stained glass work in the 1910 Board of Education National Competition.

    After completing his education, Clarke moved to London to seek work as an artist. He won commissions to work on illustrations for new editions of Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and Alexander Pope’s “The Rape of the Lock,” but completed neither of them. As it turned out, his first completed work was illustrating Hans Christian Andersen’s Fairy Tales (1916). 


    Clarke’s next endeavour was a series of illustrations for an edition of Edgar Allan Poe’s  “ Tales of Mystery and Imagination” (1916). This work sealed his reputation as a skilled illustrator, and was followed by editions of “The Years at the Spring” (1920), containing twelve colour plates and more than fourteen monotone images, Charles Perrault’s“Fairy Tales of Perrault” (1922), and Goethe’s “Faust” (1927), containing eight colour plates and more than seventy monotone and duotone images. The last of these is considered his masterwork – and largely prefigures the disturbing yet colourful imagery of 1960s psychedelia.


    Clarke’s timing could not have been more perfect, as he was working as an illustrator just as the golden-age of gift-book illustration was taking off (in the first quarter of the twentieth century). His work can be compared to other masters of the craft such as Arthur Rackham, Kay Nielsen and Virginia Frances Sterrett.  


    Two of his most sought-after titles include promotional booklets for Jameson Irish Whiskey: “A History of a Great House” (1924) and “Elixir of Life” (1925), which was written by Geoffrey Warren. Clarke’s final book was the “Selected Poems of Algernon by Charles Swinburne,” published in 1928.


    During the 1920s, he also directed much of his attention at stained glass, producing more than 130 windows. Alongside his brother Walter, Clarke took over their father’s artist studio. (Their father had died in 1921). His glass is distinguished by the finesse of its drawing, unusual in the medium, his use of rich colours (inspired by an early visit to see the stained glass of the Cathedral of Chartres, he was especially fond of deep blues), and an innovative integration of the window leading as part of the overall design (his use of heavy lines in his black and white book illustrations is probably derived from his glass techniques).


    Clarke’s best-known stained-glass works are the windows of the Honan Chapel in University College Cork, the windows of Bewley’s Café on Dublin’s Grafton Street, and the window illustrating John Keats’ The Eve of St. Agnes in the Hugh Lane Municipal Gallery in Dublin


    Clarke died of tuberculosis on 6th January 1931 (while attempting to convalesce in Switzerland). Ill health had plagued both brothers, and his younger sibling died a year previous. Influenced by both Art Nouveau and Art Deco, Clarke’s illustrations and stained glass work remain highly sought after and appreciated in the present-day.


    Harry created over 160 stained glass windows for religious and commercial commissions throughout Ireland and England, and as far a field as the USA and Australia. Clarke is known as Ireland's greatest ever stained glass artist.


    This is part 1 of a 7-part series on the works of Harry Clarke:

    1913 "The Dream"
    from The Rape of Lock by Pope

    1913 "The Silver Apples of the Moon, The Golden Apples of the Sun"
    The Irish Review July 1913

    1913 De Profundis ( Oscar Wilde )
    watercolour and gouache 57.5 x 25.7 cm

    1913 Rime of the Ancient Mariner:

    1913 The Rime of the Ancient Mariner

    1913 The Rime of the Ancient Mariner
    Ah! Well a-day! What evil looks had I from old and young! Instead of the cross, the albatross around my neck was hung

    1913 The Rime of the Ancient Mariner
    The souls did from their body fly, — they fled to bliss or woe! And every soul, it passed by me, like the whizz of my cross-bow!

    1914 Hibernia
    calendar design for an insurance company

    1914 Mephisto
    pencil, pen and black ink and watercolour on paper 19 x 15.9 cm

    1916 Hans Andersen's Fairy Tales:















































































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  • 07/12/17--06:35: Harry Clarke - part 2
  • Self-Portrait

    Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes, and for earlier works by Clarke, see part 1 also.

    This is part 2 of a 7-part series on the works of Harry Clarke:

    1919-1923 Tales of Mystery and Imagination by Edgar Allan Poe:








    "He shrieked once, once only."


    The Man in the Crowd
    "It was the most noisome quarter of London"


    The Fall of the House of Usher.
    "Say, rather, the rending of her coffin"


    The Murders in the Rue Morgue
    "In death we have both learned the propensity of man to define the indefinable"




    Ligeia
    "And now slowly opened the eyes of the figure which stood before me"


    Metzengerstein
    "An attachment which seemed to attain new strength"




    Berenice
    "It was a fearful page in the record of my existence"


    Morella
    "The earth grew dark, and its figures passed by me ... and among them all I beheld only Morella"




















    The Murders in the Rue Morgue
    "Gnashing its teeth and flashing fire from its eyes, it flew upon the body of the girl"








    The Pit and the Pendulum
    "They swarmed upon me in ever-accumulating heaps"


    The Tell-Tale Heart
    "But, for many minutes, the heart beat on with a muffled sound"




    The Black Cat
    "I had walled the monster up within the tomb!"




    The Cask of Amontillado
    "Yes," I said, "for the love of God!"

    Landor's Cottage
    "Landor's Cottage"

    Ligeia
     "I would call aloud upon her name"








    1936 edition - Tales of Mystery and Imagination:




    1917 Cover for the fifth exhibition of the Arts and Crafts Society




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  • 07/10/17--08:38: Harry Clarke - part 3
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 and 2 also.

    This is part 3 of a 7-part series on the works of Harry Clarke:

    1920 The Years At The Spring:


    The Year's at the Spring dust jacket

    Title illustration

    Frontispiece
    "And I shall have some peace there, for peace comes dropping slow"

    Title page

    Introduction page illustration

    Front matter

    Acknowledgement page illustration

    Acknowledgement end page illustration

    Contents page illustration

    List of Illustrations page

    List of Illustrations end page

    “April, April, laugh thy girlish laughter!”

    The Fiddler of Dooney
    "When we come at the end of time, to Peter sitting in state"

    Page decoration

    “I bring for you, aglint with dew, a little lovely dream”

    The Donkey
    "With monstrous head and sickening cry and ears like errant wings"

    Page decoration

    Sea Fever
    "All I ask is a windy day with the white clouds flying"

    Page decoration

    Page decoration

    A Ballad of the Captains
     “… drumming up the channel, haling prizes in their wake”

    A Ballad of the Captains
    “With a dead Hidalgo’s daughter as a dower for the day”

    Arabia
    “Demi-silked dark-haired musicians”

    Page decoration

    Page decoration

    The Song of the Mad Prince
    “All time’s delight hath she for narrow bed”

    The Shepperdess
    "She walks - the lady of my delight-a shepperdess of sheep"

    The Dead
    “Honour has come back, as a king, to earth”

    The Great Lover
     "Out on the wind of time, shining and streaming"

    The Great Lover
    "Moist black earthen mould;... and high places: footprints in the dew"

    Page decoration

    If I had a Broomstick
     “If I had a broomstick… over the tops of the chimneys I’d guide it”

    The Dying Patriot
    "And the dead robed in red and sea-lilies overhead sway when the long winds blow"

    The Dying Patriot
     "I saw them march from Dover, long ago"

    Star-Talk
     “How is your trade, Aquarius, this frosty night?”

    Page decoration

    Page decoration

    Overheard on a Saltmarsh
    "Give me your beads. I desire them. No."

    Page decoration

    The Coming Spring
    "With magic Key…unlocking buds that keep the roses"

    Alms in Autumn
     "They'll set the realms of fairyland all dancing with delight"

    Very Nearly!
    “All alone, those rocks amid–one night I very nearly did!”

    All is Spirit and Part of Me
    “I am born of a thousand storms, and grey with the rushing rains”

    Black and White
     “Midst of all was a cold white face”


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  • 07/19/17--06:09: Harry Clarke - part 4
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 - 3 also.

    This is part 4 of a 7-part series on the works of Harry Clarke:


    1922 The Fairy Tales of Perrault:


    Front cover

    Title page

    Frontispiece
    "Cinderella"

    List of illustrations















































































    *          *          *          *          *

    1922 "The Last Hour of the Night"
    frontispiece to "Dublin of the Future: The New Town Plan" planning report

    1923 Christmas Card

    1923 Cover illustration for "The White Blackbird" by Lennox Robinson

    1924 The Devil's Wife and her Eldest

    1925 Ophelia lying among sea creatures.
    Drawing based on a print by Hokusai
    ink on parchment 13.3 x 22 cm
    National Library of Ireland, Dublin

    1925 The Dublin Drama League

    1925 Elixir of Life:

    Elixir of Life
    title page

    Elixir of Life
    "Doctors are recommending it"

    Elixir of Life
    "The two distilleries on the same hill"

    Elixir of Life


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  • 07/21/17--05:47: Harry Clarke - part 5
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 - 4 also.

    This is part 5 of a 7-part series on the works of Harry Clarke:


    1927 Faust:


    Title page

    Margaret
     "Dearest and best, with my whole heart I love thee"

    Mephistopheles
    "Is there anything in my poor power to serve you?"

    Siebel
     "Clustering grapes invite the hand"

    Faust
    "Methinks, a million fools in choir are raving and will never tire"

    Margaret
     "Drest thus, I seem a different creature!"

    Weathercock
     "I'll fly from this place, with one bound, to hell, or anywhere, to leave 'em"

    Mephistopheles
     "Forward! forward! faster! faster!"

    Mephistopheles
     "Come - she is judged!"

    Tailpiece

    Faust
     "Modest she seems and good and mild, though something pert was her reply"

    Faust
     "I wish you had something else to do than thus torment me when I'm quiet"

    Margaret
     "And who my wound can heal, and who the pain can feel?"

    Mephistopheles
     "Already is the cry of murder raised." 

    Mephistopheles
     "Firmly seize the old projections of the ribbed rock"

    Wizards and Warlocks
     "On a road like this men droop and drivel, while woman goes fearless and fast to the devil"

    Margaret "Does not death lurk without?"

    Contents page
    spot illustration

    Dedication page




















































































    Endpaper

    Endpaper


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  • 07/24/17--05:41: Harry Clarke - part 6
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 - 5 also.

    This is part 6 of a 7-part series on the works of Harry Clarke.


    1928 Selected Poems of Algernon Charles Swinburne:


    Front cover
    Selected Poems of Algernon Charles Swinburne

    Spine

    Title page

    "Felise"

    "The Leper"

    "St. Dorothy"

    "Hymn to Proserpine"

    "Hesperia"



    Stained Glass:

    During the 1910s, 1920s and 1930 Clarke directed much of his attention to stained glass designs, producing more than 160 windows. Alongside his brother Walter, Clarke took over their father’s artist studio. They undertook religious and commercial commissions throughout Ireland and England, and as far a field as the USA and Australia. Clarke is known as Ireland's greatest ever stained glass artist.

    The remainder of posts in this series on Harry Clarke is devoted to his stained glass designs.


    1914 The Saint Gobnait window in Honan Chapel, Cork, Ireland

    1914 Clarke's design drawing for the Saint Gobnait window in Honan Chapel, Cork, Ireland

    1921 Saint Elizabeth of Hungary, St. Mary's Church, Sturminster Newton, Dorset

    1921 Saint Elizabeth of Hungary, St. Mary's Church, Sturminster Newton, Dorset

    1924 Agony in the Garden now in Díseart Institute of Education and Celtic Culture, Dingle:


    Agony in the Garden
    Díseart Institute of Education and Celtic Culture, Dingle

    Agony in the Garden
    Díseart Institute of Education and Celtic Culture, Dingle

    Agony in the Garden
    Díseart Institute of Education and Celtic Culture, Dingle

    Agony in the Garden
    Díseart Institute of Education and Celtic Culture, Dingle

    1924 The Eve of St Agnes:


    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane


    1925 St. Michael's Church, Ballinasloe depicting St. Patrick

    1927-28 Detail from The Apparition of the Sacred Heart, Phibsborough Church, Dublin

    1930 The Geneva Window:
    In June 1925 a representative of the Irish Department of Industry and Commerce asked Clarke if he would be interested in designing a window for the International Labour Court in Geneva. By May 1927 Clarke had submitted his proposal and subjects to the Minister. In March 1929 his health deteriorated and he was forced to travel to a Swiss sanatorium. He left two of the studio staff to complete the final processes on the Geneva Window.


    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1928 Design for panel, Geneva Window, based on Yeats'"Countess Cathleen"

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930-37 St Oswald and St Edmund's, Ashton-in-Makerfield:

    Ambulatory behind the high altar - apsidal chapel originally built to house the the Holy Hand of St Edmund Arrowsmith

    Chapel of Our Lady and the English Martyrs - St Ambrose Barlow

    St Joseph's Chapel - St Columba

    St. Catherine of Sienna

    St. Clare

    St. Ita

    St. Juliana Falconieri

    St. Pashal Baylon

    St. Tarcisius


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  • 07/26/17--05:44: Harry Clarke - part 7
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 - 6 also.

    This is part 7 of a 7-part series on the works of Harry Clarke.


    Continuing and concluding with more stained glass designs by the Harry Clarke studio:


    Adoration of the Magi
    St Barrahane Church, Castlehaven, County Cork, Ireland

    All Saints Church, Bedworth, Warwickshire, England:


    All Saints Church, Bedworth, Warwickshire, England
    All Saints Church, Bedworth, Warwickshire, England
    St. John

    All Saints Church, Bedworth, Warwickshire, England
    St. John detail

    All Saints Church, Bedworth, Warwickshire, England
    All Saints Church, Bedworth, Warwickshire, England
    Conversion of St. Paul

    All Saints Church, Bedworth, Warwickshire, England
    St. Peter's Denial

    St Colman's College, Violet Hill, Newry, Co. Down, Ireland:


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland

    St. Joseph's, Carrickmacross, County Monaghan, Ireland:


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland

    St Finnbarr window in the Honan Chapel, UCC, Cork:


    St Finnbarr window in the Honan Chapel, UCC, Cork

    Miscellaneous stained glass:











































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    Paula Modersohn-Becker (1876-1907) spent most of her childhood in Bremen, Germany, and decided to become a painter at a young age. After her education at a private painting and drawing school in Berlin, she continued her studies from 1898 at the artist’s colony Worpswede with Fritz Mackensen. In the village north Bremen she also met her future husband, the painter Otto Modersohn (1865-1943).
    In addition to numerous paintings, impressionistic studies of the Worpswede moorland and birch tree landscape emerged during this period. These studies already show Modersohn-Becker’s preference for a strictly reduced picture composition and its departure from deep-illusion.

    After a few years in the narrow circle of Worpswede painters, she travelled to Paris for the first time in 1900. There she encountered the works of the French avant-garde, who confirmed her in her search for new forms of expression. By 1907, three more stays in Paris followed. From 1903, she increasingly served the still-life to clarify formal questions – the influence of Paul Cézanne’s sill-lifes becomes apparent.

    The human form is very much at the centre of Modersohn-Becker’s work; children, old women, and Worpsweder peasants inspired her to undertake portraiture.

    Only after she died at an early age, her extensive work was seen and she was recognised as being among the pioneers of the modern style and the first woman to paint a full-length nude self-portrait.


    This is part 1 of a 5-part post on the works of Paula Modersohn-Becker:

    1896 Self-Portrait Semi-nude with Amber Necklace II
    oil on canvas 61.1 x 50 cm
    KunstmuseumBasel

    1896 Self-Portrait Semi-nude with Amber Necklace
    photo study

    1897 Girl with Tiger Lilies
    oil on cardboard 39.3 x 48 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1897 Portrait of a Girl in Landscape
    oil on cardboard 44.5 x 49 cm
    Private Collection

    1897 Self-Portrait
    gouache 24.5 x 26.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1897 Self-Portrait
    gouache 42 x 32 cm
    Paula Modersohn-Becker Museum, Bremen, Germany


    1897 Self-Portrait
    pastel 45.8 x 30.8 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1897-98 Portrait of an Old Woman in Profile
    oil on cardboard 66 x 45 cm
    Paula Modersohn-Becker Museum, Bremen

    1898 Peasant Woman with Child at Breast
    charcoal and red chalk 80 x 46 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1898 Portrait of a Woman
    charcoal and graphite on wove paper 34.4 x 49.1 cm
    National Gallery of Art, Washington, DC

    1898 Self-Portrait
    tempera? on paper 28.2 x 23 cm
    Kunsthalle Bremen, Germany

    1899-1902c Seated Old Woman
    etching on green paper 19 x 14.5 cm
    de Young/Legion of Honour Fine Arts Museums of San Francisco, CA

    1898 Study for "Seated Old Woman"
    40.3 x 26 cm
    1898-99 Peasant Woman with Fork
    indian ink, pastel and graphite 44.5 x 74.5 cm
    Private Collection

    1898-99 Portrait of a Peasant Woman
    charcoal on cream wove paper 46.7 x 65.4 cm
    Art Institute of Chicago, IL

    1898c Portrait of an Old Woman
    oil on cardboard 67.9 x 48.6 cm
    Paula Modersohn-Becker Museum, Bremen

    1898c Portrait of a Woman with Poppies
    oil on cardboard 57 x 46 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899 Birch Tree in a Landscape
    oil on composite board 55.4 x 42.1 cm
    Harvard Art Museums
    © 2017 President and Fellows of Harvard College

    1899 Chalet
    etching and aquatint in green-black on wove paper 14.3 x 11.2 cm ( plate )
    National Gallery of Art, Washington, DC

    1899 Landscape with Marsh Channel
    oil on cardboard 46 x 73.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899 Sand Dune in Weyerberg
    oil on cardboard 55 x 74 cm
    Neue Pinakothek - Bayerische Staatgemäldsammlungen, Munich, Germany

    1899 Seated Female Nude
    charcoal 103 x 68 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899 Standing Female Nude to the Right
    charcoal 169 x 80 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899 Standing Male Nude to the Left
    charcoal 189.5 x 84.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899-1902c Seated Old Woman
    etching on green paper 19 x 14.5 cm
    de Young/Legion of Honour Fine Arts Museums of San Francisco, CA

    1899-1902c Two Farmer's Girls
    etching with drypoint and roulette on cream wove paper 14 x 10 cm

    1899c Old Blind Woman Sitting
    charcoal 45.8 x 36.5 cm
    Kunsthandel Wolfgang Werner, Bremen-Berlin, Germany

    1899c Old Blind Woman Sitting
    pastel 73.5 x 47 cm
    Arp Museum Bahnhof Rolandseck, Germany

    1899c Seated Female Nude
    charcoal with stumping 62.2 x 33.9 cm ( sheet )
    The Ceveland Museum of Art, Ohio

    1899c Standing Nude Girl, Arms Crossed Behind the Head
    charcoal 124.5 x 41.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1900 Apple Tree against a Bright Sky
    oil on pencil sketch on thin brown cardboard 42 x 54.9 cm

    1900 Birch Trees in front of a Barn
    oil on card 55.5 x 41.7 cm
    Private Collection

    1900 Don Quixote
    oil on cardboard 53 x 39 cm
    Paula Modersohn-Becker Museum, Bremen

    1900 Marsh Channel with Peat Barges
    tempera on cardboard 36 x 51 cm
    Private Collection

    1900 Portrait of a Young Lady in Red Hat
    oil on cardboard 68 x 45 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1900 Sand Pit
    oil on cardboard 41 x 54 cm
     Paula Modersohn-Becker Museum, Bremen, Germany

    1900 Standing Female Nude, Against a Dark Wall
    charcoal and brown chalk 59.5 x 42 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1900 Still Life with Blue and White Porcelain and Kettle
    oil on cardboard 50 x 58 cm
    Niedersächsisches Landesmuseum, Hanover, Germany

    1900 Worpsweder Landscape with Red House
    Lower Saxony State Museum, Hanover, Germany

    1900-02 Fruit Tree in Bloom
    charcoal on blue laid paper 26.3 x 31.6 cm
    National Gallery of Art, Washington, DC

    1900-02 Sitting Child
    drypoint on vellum 8.5 x 12 cm

    1900-02 The Goose Girl
    etching and aquatint printed in brown on japan paper 25.5 x 20.5 cm

    1900-02 The Moor
    tempera on cardboard 54.1 x 33 cm
    Private Collection


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    Paula Modersohn-Becker (1876-1907) spent most of her childhood in Bremen, Germany, and decided to become a painter at a young age. After her education at a private painting and drawing school in Berlin, she continued her studies from 1898 at the artist’s colony Worpswede with Fritz Mackensen.

    The human form is very much at the centre of Modersohn-Becker’s work; children, old women, and Worpsweder peasants inspired her to undertake portraiture.

    For more information on Paula Modersohn-Becker, and for earlier works, see part 1 also.

    This is part 2 of a 5-part post on the works of Paula Modersohn-Becker:



    1900c Birch Trunk in Front of Landscape with House

    1900c Evening Landscape with Tracks
    oil on cardboard 41 x 55 cm
    Niedersächsisches Landesmuseum, Germany

    1900c Moonlit Landscape
    oil on cardboard 42 x 55 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1900c Twilight Landscape with House and Forked Branch
    oil on cardboard 42.5 x 55.7 cm
    Kunsthalle Bremen, Germany

    1900c Two Boys at the Moor Canal
    oil on cardboard 60.5 x 44.5 cm
    Wilhelm-Hack-Museum, Ludwigshafen on the Rhine, Germany

    1900c Two Peasant Girls
    etching, drypoint and roulette on heavy wove paper 14 x 9.8 cm ( plate )
    National Gallery of Art, Washington, DC

    1900c Worpswede Landscape
    oil on cardboard 61.5 x 68 cm
    Museum Ludwig, Cologne, Germany

    1901 Head of a Blonde Girl in front of a Landscape
    oil on cardboard 32.9 x 36 cm

    1901 Landscape with Pine
    oil on cardboard 50.6 x 31.5 cm
    Private Collection

    1901 Sand Dune
    oil on cardboard 46.6 x 64.8 cm
    Paula Modersohn-Becker, Bremen, Germany

    1901 Sleeping Beauty
    oil on cardboard 46.5 x 52 cm
    Germanisches Nationalmuseum, Nuremberg, Germany 

    1901 The Fairy Tale Drude II
    oil on canvas 48.5 x 69.5 cm
    Private Collection

    1901 Young Girl
    oil on oak panel
    Hamburger Kusthalle, Germany

    1901-02 Girl in the Garden near the Crystal Ball
    tempera on cardboard 35.7 x 35.7 cm
    Private Collection

    1901c Avenue of Birch Trees in Autumn
     tempera on cardboard 45.7 x 58.5 cm
    Private Collection

    1901c Birch Trees in front of a Landscape
    oil on cardboard 73.6 x 46.2 cm
    Paula Modersohn-Becker Museum, Bremen, Gemany

    1901c Birch Trunks against a Red Farm
    oil on cardboard 53 x 39.8 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1901c Cowshed
    tempera on cardboard 29.5 x 39.5 cm

    1901c Landscape with Birches
    oil on cardboard 73 x 37.2 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1901c Two Children Sitting in a Meadow
    tempera on cardboard 46.5 x 41 cm

    1902 Elsbeth
    oil on canvas 89 x 71 cm
    Private Collection

    1902 Girl with Child
     oil on cardboard 45.3 x 50.5 cm
    Gemeentemuseum, The Hague, Netherlands

    1902 Girl with Straw Hat and Flower in Raised Hand
    oil on canvas 40 x 37.5 cm

    1902 Mieke Vogeler with Pearl Necklace
     oil on cardboard 60.5 x 32 cm
    Heinrich Vogeler Collection, Worpsweder Kunsthalle, Worpswede, Germany

    1902 Old Farmer with a Goat
    oil on cardboard 51 x 71.5 cm
    Saarland Museum, Saarbrücken, Germany

    1902 Portrait of a Woman with a Carafe
    charcoal on blue paper 25.6 x 16 cm
    Kunsthalle Bremen, Germany

    1902 Portrait of Clara Rilke-Westhoff
     charcoal on blue paper 26 x 32 cm
     Kunsthalle Bremen, Germany

    1902 The Woman with the Goose
    engraving and aquatint 12.3 x 17.3 cm ( plate )

    1902-03 Child Sitting in an Armchair
    charcoal 29.2 x 19.7 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1902-03 Girl Sitting in the Countryside, facing right
    charcoal 31.5 x 28 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1902-03 Girl with Floral Headband
     oil on canvas 48 x 33.5 cm
    Staatliche Museen zu Berlin, Germany

    1902-03 Infant in the Chair
    charcoal and pencil 28.5 x 28.5 cm
    Kunsthalle Bremen, Germany

    1902c Child with Doll Sitting on a Birch Trunk
    oil on canvas 39.5 x 54.3 cm
    Private Collection

    1902c Elsbeth
     tempera on cardboard 27 x 31.4 cm
    Private Collection

    1902c Elsbeth with Goats
    tempera on cardboard 39.8 x 55.1 cm
    Private Collection

    1902c Elsbeth with Hens under an Apple Tree
    oil on cardboard laid down on canvas 48.9 x 38.1 cm
    Private Collection

    1902c Girl with a Goat
    Private Collection

    1902c Girl's Head against Green Foliage
    oil on paper 31.3 x 29.7 cm
    Private Collection

    1902c Landscape with Trees
    drypoint, etching and roulette on wove paper 9.8 x 13.9 cm ( plate )
    National Gallery of Art, Washington, DC

    1902c Procession of Wailing Women
    oil on cardboard 56 x 91 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1902c Self-Portrait
    tempera on paper 33 x 45.5 cm
    Museum am Ostwall, Dortmund

    1902c Still Life with Green Vase
    oil on brown wood pulp board, varnished 37.7 x 29.1 cm
    Art Institute of Chicago, IL

    1902c Two Girls and a Birch Trunk
    oil on cardboard
     Paula Modersohn-Becker Museum, Bremen, Germany

    1902c Two Naked Boys Crouching on the Shore
    oil on cardboard 54.6 x 37.8 cm
    Paula Modersohn-Becker Gallery, Bremen, Germany

    1902c Young Man Lying in Grass next to Birch
    oil on card 44.6 x 45.5 cm


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    Paula Modersohn-Becker c1905

    Paula Modersohn-Becker (1876-1907) spent most of her childhood in Bremen, Germany, and decided to become a painter at a young age. After her education at a private painting and drawing school in Berlin, she continued her studies from 1898 at the artist’s colony Worpswede with Fritz Mackensen.

    The human form is very much at the centre of Modersohn-Becker’s work; children, old women, and Worpsweder peasants inspired her to undertake portraiture.

    For more information on Paula Modersohn-Becker see part 1. For earlier works by Modersohn-Becker, see parts 1-2 also.

    This is part 3 of a 5-part post on the works of Paula Modersohn-Becker:



    1903 Five Children Sitting on the Edge of a Meadow
    chalk 19.5 x 29.7 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1903 Girl in a Birch Forest
    oil on cardboard 54.2 x 39.8 cm
    Museum of FIne Arts, Ghent, Belgium

    1903 Girl Resting on Birch Trunk

    1903 Girl with Blue and White Chain in her Hair
    oil on cardboard 48 x 42 cm
    Von Der Heydt Museum, Wuppertal, Germany

    1903 Head of an Old Woman with Black Scarf
    oil on cardboard 39 x 37.5 cm
    Kunsthandel Wolfgang Werner, Bremen, Germany

    1903 Old Peasant Woman
    oil on canvas
    Kunsthalle Hamburg, Germany

    1903 Portrait of Hedwig Hagemann
    charcoal 23.5 x 34.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1903 Seated Peasant Woman with Child on Her Lap
    oil on cardboard 61 x 49.5 cm

    1903 Self-Portrait
    charcoal and pastel 43.7 x 27 cm
    Private Collection

    1903 Woman with Straw Hat between Birches
    oil on cardboard 74 x 52.5 cm
    Kunstmuseum Gelsenkirchen, Germany

    1903-04 Portrait of a Peasant Woman with a Hood
    charcoal 19.7 x 19.7 cm

    1903-04 Sitting Woman
    charcoal 37.8 x 24.8 cm
    Paula Modersohn-Becker Museum, Bremen, Germany