Sculpture of Captain Cook by Woolner

Thomas Woolner (17 December 1825 – 7 October 1892)



Woolner was an English sculptor and poet who was one of the seven key members of the Pre-Raphaelite brotherhood.  He was the only sculptor out of the main seven artists.  Woolner was taught by sculpting expert  William Behnes at a young age, and exhibited art at the Royal Academy as early as 1848.  While in the academy he became very friendly with Rossetti, who later invited him to become a member of the Pre-Raphaelite brotherhood.  Thomas Woolner later emigrated to Australia for a bit where he gained recognition and obtained commission for sculptures of British imperial heroes such as, Captain Cook and Sir Stamford Raffles.



Statue of Captain Cook, Sydney, Austrailia- By: Thomas Woolner

Captain Cook was a British explorer, navigator and cartographer who ultimately rose to the rank of captain in the Royal Navy. Cook made detailed maps of Newfoundland prior to making three voyages to the Pacific Ocean, during which he achieved the first European contact with the eastern coastline of Australia and the Hawaiian Islands, as well as the first recorded circumnavigation of New Zealand.  Cook paid a great deal of attention to science, nature, and mapping /navigation.

Ophelia by Millais

Background:

 John Everett Millais (8 June 1829 – 13 August 1896) was born in Southampton on 8 June 1829. His family was of (Jersey) French descent.  Millais was an English painter and illustrator and one of the founders of the Pre-Raphaelite Brotherhood (art movement).

While still a youth, he won various awards and medals for his drawings.  His prodigious artistic talent won him a place at some of the top art schools throughout England. In 1838 he attended Henry Sass' Drawing School and the Royal Academy in 1840.  His first painting was Pizzarro Seizing the Inca of Peru, 1846.   While at the Royal Academy, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood (known as the "PRB") in September 1848 in his family home on Gower Street, off Bedford Square.

Ophelia, begun in the summer of 1851 and exhibited the following year at the Royal Academy, marks the culmination of Millais' youthful period. Endowed with a virtuoso technical skill and encouraged by Ruskin, he rapidly outstripped his Brotherhood colleagues and won lasting fame. He was elected a member of the Royal Academy in 1863 and served as President in 1896.

Millais' works never failed to elicit praise. His remarkable technique lent his canvases a unique distinction, particularly in his last paintings, long after the exhilaration of the radiant Pre-Raphaelite period had died away. Towards the end of his life, he turned to portraiture. He was also a fine illustrator.

Millais died of throat cancer in London on 13 August 1896.

Ophelia (1852):

Although not given much credit by the Royal Academy, Millais' painting Ophelia is probably one of the best-known paintings in the Tate Britain gallery in London today.  Ophelia, completed in 1852 (oil on canvas), depicts Ophelia, a character from Shakespeare's play Hamlet, singing while floating in a river just before she drowns. The scene is described in Act IV, Scene VII of the play in a speech by Queen Gertrude.

This scene depicted does not take place on stage, but only exists in Gertrude’s description:

Ophelia was strolling along a local riverbank collecting flowers, when she accidentally slipped into the river.  At first, Ophelia lies in the water singing songs, as if unaware of her danger ("incapable of her own distress"). Her clothes, trapping air, have allowed her to temporarily stay afloat ("Her clothes spread wide, / And, mermaid-like, awhile they bore her up."). But eventually, "her garments, heavy with their drink, / Pull'd the poor wretch from her melodious lay" down "to muddy death."

Ophelia's death has been praised as one of the most dramatic, poetically written death scenes in all of literature.  Millais decided to take on the challenge of depicting this scene, and putting it on paper via art.

The painting is widely known for the detailed flowers along the river and riverbank, stressing the patterns of growth and decay in a natural ecosystem.  This type of natural/ environmental stress and effect was quintessential of Millais’ style, and the Pre- Raphaelite movement as a whole.

Symbolism:

Ophelia's pose—her open arms and upwards gaze— greatly symbolizes religion.  This classic pose resembles traditional portrayals of saints or martyrs, but has also been interpreted as erotic.

The flowers shown floating along Ophelia in the river are supposed to represent and correspond with Shakespeare’s description of Ophelia’s garland.  They are also meant to represent the Victorian interest in “the language of flowers”, where every flower carried a distinct meaning.

For instance, the red poppy flowers represent sleep and death.

Reaction:

At first, the painting, Ophelia, was not given much praise at the Royal Academy and worldwide.  Critics claimed that the depiction of Hamlet’s, Ophelia, did not do justice, as it seemed she was just lying there dead in a “weedy ditch”.  Critics argued that Millais’ painting of Ophelia robbed “the drowning struggle of that lovelorn maiden of all pathos and beauty.”  They also criticized the landscape of the painting, saying that it was too raw and natural.

Impact:

Although, not given much publicity and recognition at first, as time went on, people began to appreciate the beautiful painting of Ophelia (by Millais).  Many people refer to it now as a considerable thing of beauty.

**The painting has been widely referenced and pastiched in art, film and photography

The Goblin Market by Christina Rossetti

Christina Rossetti

Born in 1830 London, Christina came from a family of renown artists and poets.  Her brother, Dante was a prominent artist of the Pre-Raphaelite movement and although she was not an official member of the brotherhood, she was a crucial member of the circle.  In fact, her most famous poem “Goblin Market” marked the first major literary success of the group.  Exposed to nature and the wilderness in the British countryside, Christina often refers to these themes of freedom in her works.  Philanthropic, feminist, and political messages were also present in her writing, as she did much charity work for single mothers and addressed starvation and inequality in Britain.  As a prominent Victorian poet of her time, her personable style made her writing both enjoyable and engaging, though deeper meanings have often been interpreted from her works.

Goblin’s Market

This narrative poem is about two sisters, Laura and Lizzie who live by themselves by a stream.  One evening, the sisters hear goblin merchants calling, selling their fantastic fruit- not for money, but for a lock of Laura’s hair and a teardrop as well.  Laura devours the delicious fruit and returns home, while Lizzie remains sober from the goblins’ fruit.  By the next evening, Laura finds that she is addicted to the fruit, but can no longer hear the calling of the goblin merchants.  Lizzie however can, but vows not to buy the fruit.  Months path, and Laura’s health begins to diminish, a sort of withdrawal effect of the fruit.  Her sister goes to the market in the middle of winter and attempts to buy via a silver penny.  The goblins are enraged by her method of payment and assault her with fruit, drenching her in juice and pulp.  Lizzie runs home and is able to feed her sister juices from the mess covering her.  Laura violently recovers, and returns to her old self.  The two sisters live to tell their children of the evil of the goblins’ fruits and the powers of sisterly love.

Theme:  the importance of family and the strength of sisterhood.

Symbolism: Allusion to the biblical account of “The Fall” and the forbidden fruit of Eden

This challenges the patriarchal hierarchy of Victorian culture, as the Christian story is reconstructed with a different outcome- the redemption of the female!  Rossetti was a strong advocate for feminist ideals and the overarching significance of the story capitalizes on this fact.

Purpose and Controversy: Rossetti was diagnosed with “religious mania” as a young lady and her promotion of virginity was parallel to the Catholic belief of Mary’s eternal virginity.  Moreover, when Laura defiles herself and offers up her hair to the Goblins, terrible things happen.  Though she is initially satisfied, her appetite becomes insatiable over time- not unlike the effects of lust and adulterous sin that went on in British brothels and prostitution rings.  This promotion of abstinence was very much conveyed in Rossetti’s story and because of its sexual implications, came the banning of such a story claiming to be a “children’s story”.

Christ in the House of his Parents by Millais

Description: The setting of this painting is Joseph’s workshop and is meant to depict a likely scene from Christ’s youth. In the forefront sits the Virgin Mary consoling Jesus who has cut his hand. To the left a young John the Baptist carries a bowl of water to cleanse the wound. In the background Joseph, St. Anne, and an apprentice look upon Jesus. The painting is meant to foreshadow events of Christ’s adult life. He has a cut in the center of his palm to signify the eventual crucifixion, John carries the water to represent the baptism of Jesus. In addition, several symbols are hidden throughout the painting. The sheep seen through the doorway are meant to represent Jesus’, the Shepard, followers. Also the unfinished basket represents Jesus’ unfinished work.

Behind the Scenes: Millais actually lived in a carpenter’s shop and used friends and relatives to model for this painting. This approach was common for the Pre-Raphaelites as it provided realistic detail.

Reaction: Christ in the House of His Parents was first exhibited as the Pre-Raphaelite movement began gaining extremely negative attention. In particular, the public found this painting offensive due to the portrayal of a child Christ and the holy family in a carpentry workshop, instead of the traditional idealized view. For these reasons, this is one of the most notorious Pre-Raphaelite paintings. 

The Awakening Conscience by Hunt

Description: At first glance, this painting seems to be of a woman sitting on a man’s lap as they play the piano and sing happily. However, upon closer inspection it becomes clear that this woman is not married. Her left ring finger is barren. Also, the mirror in the background reveals that the woman is gazing out the window. These signs along with the confined room indicate that this woman is being kept as a mistress. As the title indicates, the woman is experiencing a sudden moment of realization. The pureness and light of nature sweeping through the room reveal the immorality of her actions. Notable symbols include the cat who has captured a bird and the sleeping cupid found on the wallpaper.

Behind the Scenes: Hunt stated that he found inspiration for this painting in Charles Dickens’s David Copperfield. This is ironic as Dickens was a vocal opponent of the Pre-Raphaelite movement.

Reaction: This painting has been greatly misinterpreted.  

The Girlhood of Mary Virgin by Rossetti

Dante Gabriel Rossetti: An English poet and painter who, along with Millais and Holman Hunt, founded the Pre-Raphaelite Brotherhood in an attempt to free themselves and other artists from the neoclassical conventions of art that the Royal Academy of Art saw as proper.  He exemplified  Pre-Raphaelite art’s flattened perspective, "fidelity to nature," typological details, mannerist figures, and illuminated colors.  His “work presents an iconoclastic and personal mythology in which art and eroticism mediate spiritual redemption.”  His wife, Elizabeth Siddal, posed for not only his paintings, but for Millais and Holmen Hunt’s works as well.  

The Girlhood of Mary Virgin:
Description - This painting depicts Mary and her mother, St. Anne, both with halos above their heads, sewing red cloth.  The facial features and colors that both of them are wearing seem to convey very little emotion.  The main focus, however, is not on the characters, but rather, the red shroud symbolising Jesus’ future shroud and the blood that will be spilt throughout the story of the bible.  On the left portion of the painting is the red-winged angel watering the lily of innocence.  The lily lies on top of an unusual pile of books.  The books are so unusual because it was rare for even wealthy households to own books, let alone the Virgin Mary in her youth.  A rose can be seen on the windowsill.  In the background, behind the window in Mary’s father, St. Joachim, pruning vines with a dove at his back.

Historical - This was created by Dante Gabriel Rossetti in 1849 and was the first painting to ever be labeled with the mark “PRB” (Pre-Raphaelite Brotherhood).  It was considered to be a foreshadowing of Millais’ “Christ in the House of his Parents” due to the focus on a biblical figure’s childhood, despite very little mention of that time in his/her life.  

Style - “Was painting in oils with water-colour brushes, as thinly as in water-colour, on canvas which he had primed with white till the surface was as smooth as cardboard, and every tint remained transparent”
Symbolism - As you can see, this painting is saturated with religious figures and symbols, such as the lily, which connotes purity.  The dove is a metaphor for the holy spirit and the rose signifies virginity.  Some interpretations say that the books are placed in the scene more for their colors; green means hope and gold means charity.

Lady of Shallot by Waterhouse

Waterhouse: An English painter who was born in Rome to English parents and was associated with the Royal Academy of Art, and therefore knew their vices them firsthand.  Though the themes and style of his paintings can be categorized as Pre-Raphaelite, many people consider him to instead by a neo-classical artist because of his focus on classic Italian subject matter.  He created over 200 paintings, mostly with Roman mythological and historical themes.  A common focus of his paintings is Femme fatale.  Waterhouse was popular while he was alive, which was unusual for most artists.  His paintings were generally on a larger scale than many painters, with bold brushwork and harsher than usual shadows.

Lady of Shalott:
Description: This painting depicts a worried woman from the kingdom of Shallott sailing in a small boat towards Camelot.  A variety of flora can be seen growing around the river.  Adorning the boat is a tapestry with images of herself sailing toward Lancelot, who is surrounded by his knights.  On the front of the boat is a cross with Jesus hanging from it, surrounded by candles.  Behind the boat are the stairs leading away from where the boat was previously docked.  The woman herself is in a white, gilded cloak.  One of the most important parts of the painting that Waterhouse included is the emotion in the woman’s face.   “Waterhouse fully captured the Lady in her crazed, frantic state, desperately trying to reach Camelot, dying as she goes.”   

Historical: Painted in 1888 by Waterhouse.  This painting is based on The Lady of Shalott, a poem by Alfred Lord Tennyson.  The poem, in tern, was based on an old King Arthur Legend of a girl who would have a curse befall her if she looked to Camelot.  Pursuing Knight Lancelot, she broke the rule and was cursed.  In panic, the lady boards a ship and sets sail for Camelot, but dies just before reaching its shores.  This was said to be one of the signs signaling the fall of Camelot.

Pre-Raphaelite Themes: His focus on beautiful women, devotion to painting old legends and myths, and liking for choosing tragic or brutal stories and yet finding the beauty or calm in them all fit the styles of both Waterhouse and Pre-Raphaelitism in general.