Aug 29, 2025
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Portrait of Siegfried Sassoon (1917) by Glyn Warren Philpot. Fitzwilliam Museum.
The Bridesmaid, oil on panel (1851) Pre-Raphaelite John Everett Millais (1829–1896) portrayed a young woman performing a ritual to foresee her future husband. Tradition claimed that passing a bit of wedding cake through a ring nine times would induce visions of true love.
Bruna Brunelleschi
Artist: Dante Gabriel Rossetti (English, 1828–1882)
Date: 1878
Medium: Watercolor and gouache paint on paper
Collection: Fitzwilliam Museum, Cambridge, England
Description
Presumably a study for the oil portrait of Mrs Morris (Surtees no. 372), begun in 1878. The head and shoulders of Mrs. Morris. Rossetti wrote concerning this work: "27 Feb 1878. I have finished an old watercolour for the head of your portrait and it comes well - it is for Valpy. I did not want it to be talked about, among strangers by your name so have christened it "Bruna Brunelleschi" of course bearing on the dark complexion. I did think of calling it "Vittora Colonna" who I find was certainly the original of those heads by M.A. which are portraits of you but I thought it would not do to tackle Mike" (from 'Unpublished Letters to Jane Morris', British Museum).
The wall is lavender. Not violet, not lilac - lavender. And against it, Édouard Vuillard placed a honey-yellow stoneware vase full of white daisies. That's the entire engine of "Stoneware Vase with Flowers": warm yellow against cool violet. Complementary colors, straight out of Chevreul's theory - the same principle the Impressionists used - but Vuillard, a Nabi painter who knew his Chevreul, doesn't let the contrast scream. He muffles it. Oil on paper laid down on wood. That support matters. Paper drinks the oil, leaving pigment sitting drier, chalkier on the surface. The lavender wall has that matte, almost powdery quality because of it. The vase glows warmer by comparison, thickly painted with visible texture. Light enters from the right, catches the belly of the vase, and dies before reaching the dark brown table legs below. Your eye follows a clear vertical path: white daisy heads at the top, down to the golden vessel, down into near-black furniture at the base. Three stops on a single axis. But what makes this a Vuillard and not just a competent still life is everything he leaves half-said. A framed picture on the wall - just smudges of red and green. A cropped surface at upper right, cut mid-thought. He painted rooms the way you actually see them: the flowers sharp, everything else peripheral, dissolving. The Fitzwilliam Museum in Cambridge holds this quiet painting. Flowers that were probably dead by Thursday - Vuillard made them permanent by making them ordinary. Quelle: meisterdrucke.com
BREAKING: 4,000-Year-Old Handprint Found on Ancient Egyptian Soul House
A rare, complete handprint — likely left by an ancient potter has been discovered on the underside of a 4,000-year-old clay soul house at the Fitzwilliam Museum, Cambridge.
Dating to c. 2055–1650 BCE and found at Deir Rifa, this burial model reflects domestic architecture and was used for offerings to the deceased.
The print was revealed during conservation work ahead of the museum’s upcoming Made in Ancient Egypt exhibition, which highlights the lives and craft of Egypt’s artisans.
Experts believe the print was made while the model was being moved before firing.
This discovery offers a tangible link to the maker, emphasizing the human presence behind ancient objects.
A beautiful gothic style Mace, probably German, ca. 1450-1500, housed at the Fitzwilliam Musuem, Cambridge.
Book of Hours, Office of the Dead, ca. 1460-70 Fitzwilliam Museum, University of Cambridge.