The Pre-Raphaelites

(via The Outline of Art) William Orpen writes:

The Art Of Ford, Madox Brown, Rossetti, Holman Hunt, Millais, And Burne-Jones

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Among the pupils of John Sell Cotman when he was a drawing master at King’s College School was a strange, foreign-looking boy, the son of an Italian poet and patriot living in exile in London. This boy was Dante Gabriel Rossetti, who afterwards combined with Millais and Holman Hunt to found the Pre-Raphaelite Brotherhood. Innumerable books have been written in which it has been sought to show that first one and then another of these three young men was the real motive-power in the founding of a new style of painting; but the fact remains that it was not till all three came together in 1848 that any revolution was effected, and it was the peculiar and diverse gifts which each brought to the common stock which made their union so formidable and enabled them eventually to triumph over opposition and hostile criticism.

Rossetti, according to Ruskin, was ‘the chief intellectual force’ in the association; his fire, enthusiasm, and poetic feeling were valuable assets, but technically he was the least accomplished of the three. He had ideas, but at first he was weak in translating them into drawing and painting, and he shirked the drudgery of the discipline necessary to perfect his powers of expression. Millais, on the other hand, was not remarkable for original ideas, but he had brilliant powers of eye and hand; he was a precocious genius in technique to whom the problems of drawing and painting presented no difficulty. Holman Hunt had neither the facility of Millais nor the impatience of Rossetti, but he had a high seriousness of purpose and a determined perseverance which held the others steadily together and chained their endeavors to lofty ideals.

Before considering what ‘Pre-Raphaelitism’ was, and what if ultimately became, it will be helpful to glance briefly at the origin of its three founders. William Holman Hunt, the eldest of the trio, was born in Wood Street, Cheapside, on April 2, 1827. His father, the manager of a city warehouse, opposed his wish to be an artist and placed him at the age of twelve in the office of an estate agent. His employer encouraged young Hunt’s artistic leanings, and the father reluctantly allowed the boy to spend his salary on lessons from a portrait painter. In 1843 Hunt was at last allowed to devote himself to art, but entirely at his own risk, and the sixteen-year-old boy bravely struggled along, studying half the week at the Brisith Museum and supporting himself by painting portraits on the other three days. Eventually he was admitted as a probationer to the Academy Schools, where he soon made friends with his junior, Millais, and while studying still managed to earn a bare living.

The youngest of the three was John Everett Millais, who was born at Southampton in 1829. He came from a Norman family settled in Jersey, and his early childhood was spent in that island, at Le Quailhouse, near St Heliers. His father was a popular, gifted man with some artistic talent, who delighted in and encouraged the precocious ability his son soon showed in drawing. In 1837 his parents came to live in Gower Street, London, and on the advice of the Irish artist Sir Martin Archer Shee (1769-1850), who was then President of the Royal Academy, young Millais was sent to Henry Sass’s art school in Bloomsbury. Here his progress was so phenomenal that when he was only nine years old he won the silver medal of the Society of Arts. Two years later he was admitted to the Royal Academy Schools as the youngest student who ever worked there, and ‘The Child’, as he was then called, was already considered to be a marvel of precocity whose achievements rivalled those of the youthful Lawrence.

The Pre-Raphaelites (continue)

BIL

BIL is...an open, self-organizing, emergent, and anarchic science and technology conference.
Nobody is in charge.
If you want to come, just show up.
If you have an idea to spread, start talking.
If someone is saying something interesting, stop and listen.

Useful link:
http://bilconference.com

I liked this one.

A Historic Icon

The intriguing history of The Napoleon Diamond Necklace @ http://www.smithsonianmag.com/science-nature/diamond3.html?c=y&page=2 involves both royals and con artists + analysts have identified a high proportion of the larger diamonds as rare type IIa + most of the smaller stones as type IaAB via infrared spectrophotometric analysis + luminescence reactions + it is one of the most spectacular jewelry pieces of its period.

Art Hotels

I found Bunny Wong's article on hotels collaborating with artists @ http://www.budgettravel.com/bt-dyn/content/article/2008/02/05/AR2008020502192.html fascinating + in my view the reexperience will always have something old/something new for everyone + I liked the idea and hope others will follow the creative concepts.

Jan De Cock

The Belgian artist De Cock's installation in the photography galleries at MOMA is intriguingly beautiful + I liked them.

Useful link:
http://www.moma.org/exhibitions/2008/jandecock/

Aha! Gotcha

The book Aha! Gotcha by Martin Gardner is a delight + analytical + insightful + I liked it.

Start A Business

I found the article via HBS Working Knowledge @ http://hbswk.hbs.edu/item/5841.html interesting + insightful.

European Jewelry: Eighteenth And Nineteenth Centuries

(via 5000 Years of Gems and Jewelry) Frances Rogers and Alice Beard writes:

4. Engraved Gems, Real And Imitation

Early in the eighteenth century some attempt had been made to excavate the long-buried city of Herculaneum, and later Pompeii. General interest was aroused in the classic forms of art unearthed in these ancient cities. Artists and archeologists flocked to Naples, and fashion took note. Not suddenly but by degrees did the classic influence touch one art after another.

In jewelry the effect was to increase the demand for engraved gemstones, cameos in particular. Immediately there followed a flood of imitation ‘antiques’.

Among those who experimented with making imitation gems was Henry Quinn, a physician, whose name might not have been remembered if it had not been for his young laboratory assistant, James Tassie (1735-99).

The two invented a new form of vitreous paste with which to reproduce ancient gems and medallions, not by copying the engraving by hand, but by casting wax models of the gems.

Tassie became so skillful that his imitations possessed to a high degree the color, transparency and beauty of the originals. His work attracted much attention and he was given access to the finest private collections of ancient gems in Europe in order that he might study and reproduce them. His own collection of reproduction became famous.

At the command of Catherine, Empress of Russia, Tassie made for her copies of all his pastes, a matter of several thousand specimens.

Many of Tassie’s copies eventually became treasured museum pieces. However, to a certain extent it seems to have bene unfortunate for the trade in genuine gems that the copies were so good. Numbers of them fell into the hands of unscrupulous dealers, who passed them off as real, and the too often duped public presently became suspicious of all engraved gems and fearing to find itself deceived, ceased to buy.

More familiar and well known, even down to our times, is the name of the English potter, Joshiah Wedgwood (1730-95). Besides his famous jasperware in classic style, he made cameos for jewelry. Mounted in rings, brooches, or bracelets, his little cameos in delicately tinted jasperware, partcularly in blue and white, became exceedingly popular.

European Jewelry: Eighteenth And Nineteenth Centuries (continued)