#pre-raphaelite movement

[savage-kult-of-gorthaur]

A LOOK AT THE ART OF THE MYSTIC LOVE POTION.

PICS INFO: Resolution at 3840x6033 -- Mega spotlight on "The Love Potion," oil on canvas painting by Evelyn De Morgan, c. 1903. 104.1 × 52.1 cm (41.0 × 20.5 in), housed at the De Morgan Centre, Wandsworth, England.

TITLE: "The Love Potion"

ARTIST: Evelyn De Morgan (1855-1919)

OBJECT TYPE: Painting

DATE: 1903

MEDIUM: Oil on Canvas

DIMENSIONS: height: 104.1 cm (40.9 in); width: 52 cm (20.4 in)

COLLECTION: De Morgan Centre

DIGITAL RESOLUTION: 3183x5000.

PIC #3: Resolution at 1085x1680 -- Another rendition, with muted color grading, of Evelyn De Morgan's "The Love Potion" (1903). Oil on canvas (painting). De Morgan Centre, Wandsworth, UK.

Source: https://commons.wikimedia.org/wiki/File:The_Love_Potion.jpg.

[artemlegere]

The Beautiful Lady Without Mercy

Artist: Arthur Hughes (English, 1832-1915)

Title: La Belle Dame Sans Merci

Date: 1863

Medium: Oil on canvas

Collection: National Gallery of Victoria, Melbourne, Australia

Description

This tragic tale was popularised by the English poet John Keats (1795–1821). His sensual and romantic poetry, often drawn from medieval narratives, helped to make such themes relevant to a modern audience. Here the knight falls in love with a beautiful woman who lures him to ‘her elfin grot’. There he sleeps and suffers a nightmare, seeing ‘pale kings and princes too, Pale warriors, death-pale were they all; They cried – “La Belle Dame sans Merci, Thee hath in thrall!”’. The knight wakes to find that he is one of many victims of her unrequited love, and is condemned to an eternally lonely existence. At the moment captured by Hughes, the knight is unaware of his impending doom.

[portrait-paintings]

Baronne Madeleine Deslandes

Artist: Edward Burne-Jones ARA (English, 1833-1898)

Date: 1895-1896

Medium: Oil on canvas

Collection: National Gallery of Victoria, Melbourne, Australia

Description

Baronne Madeleine Deslandes (1866–1929) was an accomplished novelist who moved in literary and artistic circles in Paris. She was hostess of a busy salon that attracted many Symbolist artists, poets and composers, such as Gabriel Fauré, Jean Lorrain, Robert de Montesquiou, Jules Bois and Oscar Wilde. A firm enthusiast for the English Pre-Raphaelite style, and a particular advocate of Edward Burne-Jones’s art in France, the Baronne had lobbied the artist, a somewhat reluctant portraitist, to create her likeness during a visit she made to England in 1893. The Baronne perceived herself as something of a visionary, and Burne-Jones has made reference to this self-awareness by placing a laurel tree (a traditional emblem of prophecy) behind her, and a crystal ball on her lap. This may also account for the formal qualities of this work – the rather rigid pose of the sitter and her very serious, inwardly reflective and sensitive facial expression.

[trovadorando]

the soul of the rose, john william waterhouse

[kyalia]

A picture inspired by the pre-raphaelite Dante Gabriel Rosetti

[fromblaketoburnejones-blog]

Isabella or Lorenzo and Isabella (1848-1849) by John Everett Millais. This painting was inspired by a Keats poem, called Isabella or The Pot of Basil (1818). Keats himself was influenced by the tale of Lisabetta from Boccaccio’s Decamerone (1353-1470). In the nineteenth century, a revival of Italian authors of the late middle ages and the renaissance, such as Dante Alighieri, Petrarca, and, of course, Boccaccio, takes place. The interest in the story of Lisabetta, reinforced by Keats’ poem, is visible in the art of that time. Most of the time Lisabetta, or Isabella, is represented mourning the loss of her lover Lorenzo by herself with a pot of basil. William Holman Hunt, a fellow Pre-Raphaelite, has made such a painting. Millais’ take on the story is completely different. He takes us to the moment where the murder of Lorenzo has not happened yet. The mood of the scene is tense. The group of gentlemen on the left side are Isabella’s brothers, who disapprove of the match between Lorenzo and Isabella. The heroine herself already has a sense of foreboding, when she accepts the orange, which stands for love, that is presented by Lorenzo. In the tale by Boccaccio, Lorenzo and Lisabetta are caught in the act of love. The dog, which is resting its head on Isabella’s lap, is a sign of the loyalty of its owner. This depiction by Millais  resembles a baroque painting, since it functions like a snapshot of the moment before a distinct plot twist is about to happen, i.e. the murder of Lorenzo. After Lorenzo gets killed, Isabella finds the body of her lover, by an apparition of her dead lover in a dream. She cuts his head off and hides it in a pot of basil, which she will beweep for the rest of her life.

[magictransistor]

Edward Coley Burne-Jones

[tumblngphilopoet]

It's the birthday of the artist and poet Dante Gabriel Rossetti (books by this author), born in London (1828). Rossetti studied art at the Royal Academy, and was one of the founders of the Pre-Raphaelite Brotherhood, a group of artists who rejected any art from Raphael onward. They wanted to return to the lush colors and passionate subjects of 15th-century Italian painting. Rossetti was fascinated with medieval culture, especially the legend of King Arthur, and a lot of his subjects were drawn from stories of the Middle Ages. He often wrote sonnets to accompany his paintings, and also provided illustrations for his sister Christina's poems. When his wife, Elizabeth, died of a laudanum overdose in 1862, he buried many of his poems with her. Later, his friends persuaded him to exhume the poetry, which he published in 1870. They were sensual and erotic, and caused a scandal. (b. 5-12-1828)

Writers Almanac - at NPR.org   http://www.elabs7.com/functions/message_view.html?mid=1483156&mlid=499&siteid=20130&uid=ff7f570920