Isolated Beauty Research

Isolated Beauty Claire Kelly

encircle | en-s-rk-l| verb [ with obj. ] form a circle around; surround: the town is encircled by fortified walls.

DERIVATIVES encirclement noun

encircle verb “... and the smoke, it encircled his head like a wreath�: surround, enclose, circle, girdle, ring, encompass; close in, shut in, fence in, wall in, hem in, c onfine; literary gird, engirdle.

On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; And thro’ the field the road runs by

There she weaves by night and day A magic web with colors gay.

She has heard a whisper say, A curse is on her if she stay

To many-tower’d Camelot;

The yellow-leaved waterlily The green-sheathed daffodilly

To look down to Camelot.

She knows not what the curse may be, And so she weaveth steadily,

Tremble in the water chilly

And little other care hath she,

Round about Shalott.

The Lady of Shalott.

Willows whiten, aspens shiver.

The sunbeam showers break and quiver In the stream that runneth ever By the island in the river

And moving thro’ a mirror clear That hangs before her all the year, Shadows of the world appear.

There she sees the highway near

Flowing down to Camelot.

Four gray walls, and four gray towers Overlook a space of flowers, And the silent isle imbowers

Winding down to Camelot: There the river eddy whirls.

And there the surly village-churls And the red cloaks of market girls,

The Lady of Shalott.

Pass onward from Shalott.

Underneath the bearded barley,

Sometimes a troop of damsels glad,

The reaper, reaping late and early,

An abbot on an ambling pad,

Hears her ever chanting cheerly,

Sometimes a curly shepherd-lad,

Like an angel, singing clearly,

Or long-hair’d page in crimson clad

O’er the stream of Camelot.

Goes by to tower’d Camelot;

Piling the sheaves in furrows airy, Beneath the moon, the reaper weary

And sometimes thro’ the mirror blue

Listening whispers, ‘ ‘Tis the fairy,

The knights come riding two and two:

Lady of Shalott.’

She hath no loyal knight and true, The Lady of Shalott.

The little isle is all inrail’d With a rose-fence, and overtrail’d With roses: by the marge unhail’d The shallop flitteth silken sail’d,

But in her web she still delights To weave the mirror’s magic sights, For often thro’ the silent nights

Skimming down to Camelot.

A pearl garland winds her head: She leaneth on a velvet bed,

A funeral, with plumes and lights And music, went to Camelot: Or when the moon was overhead

Full royally apparelled,

Came two young lovers lately wed;

The Lady of Shalott.

“I am half sick of shadows,” said The Lady of Shalott.

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A bow-shot from her bower-eaves, He rode between the barley-sheaves,

The sun came dazzling through the leaves, And flamed upon the brazen greaves

She left the web, she left the loom, She made three paces thro’ the room, She saw the water-lily bloom, She saw the helmet and the plume,

Of bold Sir Lancelot.

She looked down to Camelot.

A red-cross knight for ever kneel’d

Out flew the web and floated wide;

To a lady in his shield,

That sparkled on the yellow field, Beside remote Shalott.

The mirror cracked from side to side; “The curse is come upon me,” cried The Lady of Shalott.

The gemmy bridle glitter’d free,

In the stormy east-wind straining,

Like to some branch of stars we see

The pale yellow woods were waning,

Hung in the golden Galaxy.

The broad stream in his banks complaining,

The bridle bells rang merrily

Over tower’d Camelot;

As he rode down to Camelot:

Down she came and found a boat

And from his blazoned baldric slung

Beneath a willow left afloat,

A mighty silver bugle hung,

And round about the prow she wrote

And as he rode his armour rung,

The Lady of Shalott.

Beside remote Shalott.

And down the river’s dim expanse

All in the blue unclouded weather Thick-jewell’d shone the saddle-leather, The helmet and the helmet-feather

Like some bold seër in a trance, Seeing all his own mischance— With a glassy countenance Did she look to Camelot.

Burn’d like one burning flame together,

And at the closing of the day

As he rode down to Camelot.

As often through the purple night, Below the starry clusters bright,

She loosed the chain, and down she lay; The broad stream bore her far away, The Lady of Shalott.

Some bearded meteor, trailing light, Moves over still Shalott.

His broad clear brow in sunlight glow’d; On burnish’d hooves his war-horse trode; From underneath his helmet flow’d

Lying, robed in snowy white That loosely flew to left and right— The leaves upon her falling light— Thro’ the noises of the night She floated down to Camelot:

His coal-black curls as on he rode,

And as the boat-head wound along

As he rode down to Camelot.

The willowy hills and fields among,

From the bank and from the river

They heard her singing her last song,

He flashed into the crystal mirror,

The Lady of Shalott.

“Tirra lirra,” by the river Sang Sir Lancelot.

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Heard a carol, mournful, holy Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darkened wholly, Turned to tower’d Camelot.

For ere she reach’d upon the tide The first house by the water-side, Singing in her song she died, The Lady of Shalott.

Under tower and balcony, By garden-wall and gallery, A gleaming shape she floated by, Dead-pale between the houses high, Silent into Camelot.

Out upon the wharfs they came, Knight and burgher, lord and dame,

The Lady Of Shalott Alfred, Lord Tennyson 1832

And round the prow they read her name, The Lady of Shalott.

Who is this? and what is here?

And in the lighted palace near Died the sound of royal cheer; And they cross’d themselves for fear, All the knights at Camelot: But Lancelot mused a little space; He said, “She has a lovely face; God in His mercy lend her grace, The Lady of Shalott.”

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“Tennyson is indicating that the production of art occurs in melancholy isolation from the very world it mimics. Thus, in the first two parts of The Lady of Shalott Tennyson constructs a representation of the artist as a solitary and confined figure, inexplicably compelled to create, as if literally bound by a curse”.

Alison Fanous

Howard Pyle Published in Tennyson’s The Lady of Shalott, 1881

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Howard Pyle Illustrations for Alfred, Lord Tennyson The Lady of Shalott, 1882 Commissioned by Dodd, Mead and Company The illustrations begin the process of the research.

Pyle created drawings which, he felt illustrated Tennyson’s poem and the happenings within the story. In the illustrations, each verse and important line is illustrated quite exact to the text, yet due to the numerous amounts of illustration it does include some inconsistencies. Pyle’s illustration is less powerful than other interpretations for example William Holman Hunt’s Moxon engraving. Pyle has neither Hunt’s “imaginative power nor his supernatural atmosphere” this could be due to Pyle illustrating over forty different images, whereas Hunt’s focus of one happening in the poem allows for additional passion.

The interest lies in each persons representation of the poem. Before studying these images I imagined my own initial artwork to coincide with the poem, this will feed the textile design.

Pyle illustrates the poem as intended, Tennyson was happy with the results and felt they illustrated what he was writing. The detail within the illustrations speaks more of inspiration than the figures of the Lady. The drawing of the Lady entrapped within the circle surrounded by detailed pattern in red, inspires my approach to drawing and aesthetic of use of detail in design.

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William Holman Hunt Study for the Lady of Shalott, 1850 Tennyson’s poem popularity is due to the embodiment of the highly complex Victorian conception of women and the Victorian attitude towards the home. The problems Victorian England faced created a psychological need to retreat into safety, confined to their tasks weaving and embroidery.

Tennyson’s Lady of Shalott, who could not be more unattainable, perfectly embodies the Victorian image of the ideal woman: virginal, embowered, spiritual and mysterious, dedicated to her womanly tasks.

Tennyson’s poem with its hypnotic rhythm and repetition, the imprisoned woman, the enclosed rooms, in which the live, the ‘tangled strands binding their limbs’ all metaphors of woman’s condition, signifying the docile, passive, reflective and domestic role that dominated Victorian ideas of femininity. The Lady unable to break free from her constraints, with a movement towards independence occurring in a curse to break upon her. Hunt depicts this very moment.

A reoccurring theme in Pre- Raphealite work, women confined within the gold ‘gilded cage’ of a picture frame.

“The whole image is a circle, each detail in the painting is a circle. The loom in which her tapestry is on draws the eye around the entire image and back to the starting point” Jacobi, 2012

William Holman Hunt The Lady of Shalott, 1857

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Sir Joseph Noel Paton, The Lady of Shalott William Holman Hunt, Studies for The Lady of Shalott William Holman Hunt, Sketch for The Lady of Shalott - The Lady Sitting Cross-Legged Elizabeth Eleanor Siddal, The Lady of Shalott at Her Loom William Holman Hunt, Sketch for The Lady of Shalott - The Lady In Her Boat William Holman Hunt, Sketch for The Lady of Shalott Shelah Horvitz Higgins

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Collection of mirrored images Fili-Lina1941, Scopinich 1943, Scaioni 1926 Charles Robinson, The Lady of Shalott Zuli evening gown, 1937 John William Waterhouse, The Lady of Shalott

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The powerful imagery of confinement and bondage, presaged by Tennyson’s poem in its “tale of solitary seclusion.”

The bondage motif was popular amongst the artists, despite Tennyson’s claim that the poem “articulated the dilemma of art, caught between reflection and reality”.

The ‘Bondage’ is represented different by the artists.

J.W Waterhouse produced three versions of the story, each with a sign of entanglement.

The tapestry web trailing in the water in fig.04. The roundals of the tapestry she weaves fig 05. The Lady entangled in threads, with a composition similar to Hunt’s image fig 08.

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John William Waterhouse, ‘I am half sick of Shadows’ said the Lady of Shalott William Maw Egley, The Lady of Shalott John Byam Liston Shaw, The Lady of Shalott John William Waterhouse, The Lady of Shalott Dante Gabrielle Rosetti, The Lady of Shalott Dante Gabriel Rossetti, Launcelot Gazing upon the Lady of Shalott (from the Moxon Tennyson)

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Lying, robed

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In snowy white

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Tennyson pointedly remarks that the gray towers “Overlook a space of flowers” which plays up the contrast between the lifelessness of the gray stone, and the vibrancy of the garden outside. in the first two parts of “The Lady of Shalott” Tennyson constructs a representation of the artist as a solitary and confined figure, inexplicably compelled to create, as if literally bound by a “curse”.

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Henry Peach Robinson, The Lady of Shalott Atkinson Grimshaw, Elaine William A, Breakspear, The Lady of Shalott Charles Edwin Fripp, Elaine

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“Entangled in her web, her hair flowing wildly above her head, on a canvas crowded with exotic decorative detail…within a dense pattern of encircling lines.”

Mariotti, 2004

William Holman Hunt With the assistance of Edward Robert Hughes

The Lady of Shalott c.1888-1905

“The Lady’s body is surrounded by an arabesque of threads from the tapestry that

“The designs that Hunt and Rossetti made for “The Lady of Shalott” in Moxon’s edition of Tennyson’s poetry (1857) produced a new awareness of the poem’s pictorial potential.”

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imprisons her, even as her hair flares wildly across the composition emphasizing the movement of her bowed head, with Tennyson remarks of “her hair wildly tossed about as if by a tornado” and the threads “wound round and round her like threads of a cocoon.” Tennyson disliked the illustrations yet, it sees to be no mere illustration yet a complex response by Hunt of the poem.

“It’s compressed energy and complex geometry display Hunt’s mastery of the medium” Tim Barringer.

The Lady of Shallot entangled in her web, her hair floating wildly around her head leads the inspiration behind the textiles. The painting is bounded with circular imagery, creating a loop that commands the viewer’s eye in an unbreakable circuit. Two sizable roundels beside the mirror, the head of Hercules in the painting is encircled by a halo. Hunt’s reference to the planets and their orbit in the story Er. Relating to the layers of thread on the spindles. The presence of the planets symbolize a great importance, conjuring up an image that if to leave their orbit (tower), danger will present itself.

“The whole image is a circle, each detail in the painting is a circle. The loom in which her tapestry is on draws the eye around the entire image and back to the starting point” Carol Jacobi.

Hunt juxtaposes the various realities in his painting just as Tennyson does in his poem. Although the individual details seem intensely real, the subject of the painting itself is an ‘unrealistic story told in an unnatural setting.’ The placement of the mirror in back of the Lady creates a tension between the reality of the claustrophobic room and the reflection of the world outside.

The approach of the inclusion of circular imagery inspired later artists, when illustrating Tennyson’s poem. The roundels of the tapestry in John William Waterhouse’s, The Lady of Shalott make an allusion to the round tapestries in Hunt’s image.

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W.D. Downey, Fanny Cornforth, 1863

Dante Gabriel Rossetti “What were my prize, could I enter thy bower, This day, to-morrow, at eve or at morn?

Large lovely arms and a neck like a tower, Bosom then heaving that now lies forlorn.”

Dante Gabriel Rossetti, The Song Of The Bower

The Blue Bower 1865 B

ower refers to a private space in a castle of garden.

Model Fanny Cornforth, a Pre Raphaelite muse, surrounded by the passion flower, Blue Cornflowers. The painting’s composition is based on colour harmonies, making it great inspiration.

The arrangement of the flowers within the blue background, makes for a great print.

The entangled flowers within the trellis is reminiscent of the Lady of Shalott in her tower.

Photograph of model Fanny Cornforth painted in the ‘The Blue Bower’in the top left of the page.

The photograph shows a large bedroom mirror, which was carried into the garden with Fanny assuming a pensive pose. The mirror sows overtones of The Lady of Shalott, life experience through the mirror.

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John Everett Millais Ophelia 1851-2 Milais made a career from painting women in trying emotional circumstances.

Much like the Lady of Shalott in William Holman Hunt’s images.

The multicolored blossoms That speak eloquently Sir John Everett Millais, Mariana, 1851

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“The sense of artistic community...The dialogues between the artists and their muses” Laura Bailey

TateShots: Laura Bailey Art Of The Muses Model Laura Bailey goes head to head with Rossetti’s famous femme fatale ‘Lady Lillith’, and discusses the endurance of Pre-Raphaelite symbols in contemporary fashion photography.

Three modern muses, Karen Elson, Daisy Lowe and Laura Bailey, visit Tate Britain to meet the women at the heart of the Pre-Raphaelite movements most celebrated paintings.

“I realise how much the Pre Raphaelite reference is used in work (fashion) so much from hair and beauty.. As its just a true representative of female beauty across time” Laura Bailey

“White flowers and the white costume representing purity, its all there in clues in the hair in the flowers in the costumes” Laura Bailey

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Tennyson and the Pre-Raphalites Literature as an inspiration Literature of Tennyson inspired the Pre- Raphalitte brotherhood, with their paintings rendering the subjects within the poems. One central to the project the Isolated woman.The isolation of the embowered woman, which carries the theme of the woman at the window to a further extreme, became a major subject for the artists. The Lady appeared as the romantic victim of love in paintings like Millais’s Mariana, in which the disconsolate heroine of Tennyson’s lyric “Mariana” waits, cut off from the world, waiting for her lover. In Millais’s painting, like Waterhouse’s representation of the Lady of Shalott , the woman weaves her tapestry in a richly appointed, artificial bower cut off from the world.

Tennyson’s poem presents the Lady’s view of the world as restricted to reflections of the exterior world she sees in the large circular mirror.T ennyson’s Lady of Shalott is further removed from nature and the pageantry of life than Millais’s Mariana. The Lady sees the exterior world, not through a window that opens onto real space and nature, but only as the shadow of that reality reflected in the mirror., she is totally cut off. The emphasis upon love and confinement of the woman becomes intensified in the fictional Lady of Shalott, a subject that allowed the artist’s imagination more freedom of interpretation. Artists like Waterhouse who concentrated on the emhpowered Lady’s desire for love.

Illustrating the part of the poem, when she sees the “young lovcrs lately wed.”

Waterhouse’s painting “I Am Half-Sick of Shadows,” said the Lady of Shalott refers to the Lady’s newly aroused desire to share in the experience of life and love, represented to her in her mirror. Waterhouse’s Lady leans back from her loom with a “wistful, girlish, and indecisive expression” and contemplates the “pagent of life” and the “young lovers.

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The embowered woman, like many a Pre-Raphalitte muse was looked upon as eroyic. Their erotic appeal is suggested by the fact that both women stretch to relieve muscles cramped from long and tedious hours of weaving, a position that displays the female figure.

Mariana’s posture, which expresses the boredom of her selfimposed imprisonment and the frustration that resulted from her intense longing, contrasts with the more relaxed position in which Waterhouse placed his Lady, who contemplates renouncing the shadows in her mirror in order to participate in life and love. Meteyard confines his embowered Lady in a narrow, cramped space in which her semireclining figure, her tapestry, and her mirror fill the picture plane. His use of predominantly blue hues, the color of the mirror in the poem, further heightens the intense sensual atmosphere.

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Edward Burne-Jones, William Morris, John Henry Dearle The Attainment: The Vision of the Holy Grail to Sir Galahad, Sir Bors and Sir Perceval, 1890-4 Dante Gabriel Rossetti, The Beloved (‘The Bride’), 1865-6 Edward Burne-Jones, William Morris, John Henry Dearle, The Arming and Departure of the Knights of the Round Table and the Quest for the Holy Grail, 1890–4

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J.M Prater Stills taken from “The Lady of Shalott”

The short film directed by J.M Prater sets a mood for the Pre Raphaelite research. The film shot mostly in blue tones and soft imagery is a great inspiration for design. The design process will benefit through research into film, looking into how another art form interprets Tennyson’s poem of The Lady Of Shalott. Allowing research to expand into other becomes less focused on static paintings and images and

As often through the purple night,

Below the starry clusters bright

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The fluidity and movement of this image.

Each maiden is draped in chiffon that displays her soft curving limbs; they for a full half circle on the staircase The descending flow of ribboning lines.

The girls’ graceful wet-fold muslin gowns struck contemporary cord, simplicity acknowledging the dress reform movement.

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Unknown Artist, Drape Inspiration Unknown Artist, Drape Inspiration Unknown Artist, Print Placement Inspiration John Ruskin, Detail of Carved Pillar from East Door, Baptistery, Pisa, 1882 Edward Burne-Jones, The Golden Stairs, 1866-80

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Parsons, John R, collection of photographs of Jane Morris posed by Rosetti,1865 A main Pre-Raphaelite muse. Jane Morris (wife of craftsman William Morris)

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Jane Morris the favorite model of Rosetti’s later years immortalized as the dark, long troated, limber-fingered woman who gazes soulfully from so many photographs and canvases, photographed here in loose Aesthetic dress.

The soft mannerisms of model Jane Morris in Asarte Syriaca, are complimented by the green-blue tonality of the painting, and the gentle textures handling of the paint. The softness carried through in thus painting is highly inspiring for the mood of the collection. With a modern Jane Morris as it’s muse.

John R. Parsons, Photographs of Jane Morris, 1865

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Dante Gabruelle Rosetti, Astarte Syriaca, 1877 Marie Spartali Stillman, Convent Lily, 1891 Julie Margret Cameron, Mnenosyne, 1868

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Julia Margaret Cameron, Hypatia, 1868 Unknown photograph Unknown photograph Collage artists own Edward Burne-Jones, Pygmalion and the Image series, 1878: The Heart Desires The Hand Refrains The Godhead fires

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The yellow-leaved water lily 01

The green-sheathed daffodilly

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Temple of Flora William Morris William Morris panel Temple of Flora

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Temple of Flora, Book Cover Dante, Gabriel Rossetti, Mariana, 1868-70 Temple of Flora, including The Blue Passion Flower and The Queen Flower Unknown image Dante, Gabriel Rossetti, Lady Lilith, 1866-8 Dante Gabriel Rossetti, Ecc Ancilla Domini, 1850

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Tennyson pointedly remarks that the gray towers “Overlook a space of flowers” which plays up the contrast between the lifelessness of the gray stone, and the vibrancy of the garden outside.

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John Everett Millais, John Ruskin, 1853-4 William Henry Fox Talbot, The Geologists, 1843 John Dillwyn Llewelyn, Rabbit, 1852 Roger Fenton, Double Bridge on the Machno, 1857 John Ruskin, Cascade du Dard, Chamonix, 1854 John Ruskin, Mountains of Villeneuve, 1846 Rosa Brett, The Artist’s Garden, 1859

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John Brett, Val d’Aosta, 1858 John Ruskin, Mountain Rock and Alpine Rose, 1844 or 1849

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Dante Gabriel Rossetti Monna Vanna 1866 “Bold circular rhythms dominate the design, from the vast billowing sleeve that extends the arch of the Woman’s shoulder, to details such as the curve of the armrest against which she inclines and the spiral ornament that adorns her auburn locks.”

A pearl garland winds her head

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Charles Allston Collins, Convent Thoughts

The image represents a Nun in an enclosed garden. The botanical painting along with the drape in the Nun’s dress is very inspiring. The layer of drape from the Nun’s dress could be interesting for silhouette, with the possibility of different fabrics layering. Botanical imagery is of high importance in Pre Raphaelite art, the flowers symbolising beauty “Art for Art’s sake”

Dante Gabriel Rossetti, The Day Dream, 1880

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Aubrey Beardsley, The Toilette of Salome from Oscar Wilde’s Salome Aubrey Beardsley, The Peacock Skirt from Oscar Wilde;s Salome, 1984 Aubrey Beardsley, The Toilette of Salome from Oscar Wilde’s Salome Aubrey Beardsley, The Woman in the Moon from Oscar Wilde’s Salome W. Holman Hunt, The Ballad of Oriana Engraved by the Dalziels, 1857 Aubrey Beardsley, The Black Cape from Oscar Wilde’s Salome Aubrey Beardsley, The Platonic Lament from Oscar Wilde’s Salome

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girls

cloaks Red

of market

Giovanni T. Fercioni designs, 1939

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Chandeliers 1927 The round columns, the small beading within the lights, arranged in continuous circular rings.

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Sandro Radice, Evening gowns, 1836

Littoriali dress with cape, Frare, 1934

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Gustav Klimt Water Snakes, 1904-7 Klimt’s Watersnakes embodies the theme of ‘sensual women in water.’

Klimt’s image is dictated by the colour and medium used, the pattern within the painting, flowing into one and other ,the paints stream as if painted in the water. The natural organic approach of Klimt’s work is affecting to the deign approach.

It is the gold- leaf threads entangled around the woman’s body much like the threads in The Lady of Shalott. Kimt’s work oozes eroticism alike to Pre Raphaelite work, invariably the infatuation with woman.

Klimt’s woman bodes many similarities to the Pre Raphaelite woman.

Klimt although not directly influenced by Pre-Raphaelite work is undeniably conscious of their aesthetic “Beauty for Beauty’s Sake’ , “Art for Arts Sake”

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Unknown Artist, Pre Raphaelite Jewelry Design Harpers Bazaar Advertisement Poster c.1926 Unknown Artist, Pre Raphaelite Jewelry Design

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Selection of images highlighting inspiration for circular imagery Illustration of event hall, c.1926 Beach fashion, c.1924 Carpark in Paris, inspiration for detail using circular and organic pattern

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Mixed Umbrellas, c.1920

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Isa Miranda transformed in Hollywood, 1962

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Unknown photograph Room scenes, c.1924

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Images inspiring silhouette

Lorris Riccio, illustrations, 1924

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Maxwell Snow The Lady of Shalott Cursed to remain alone in her island fortress, The Lady of Shalott is unable to Participate in the world except to view its distorted reflection in her mirror and weave those images on her loom. Both the poem and the show serve to raise questions about society and the artist’s role, responding to the conflicting commands to create art inspired by the world and also to live in it.

“Their features are reduced to the outline of their curves and contours through the fabric.”

Andrew Lenoir

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Lose Hair, Large eyes, elongated neck and soulful expression

“A rose garden of stunners.”

Swinburne commenting in Pre-Rahaelitism.

The association of girl with flowers, a traditionally expressive of youthful love and gently unfolding bliss.

“The fair jewel” described in the harmonizing poem is referring to her wedding ring, the tragic symbol of her imprisonment.

01 Gustav Klimt, Love, 1895 02 Dante Gabriel Rossetti, La Pai de’ Tolomei, 1868-80 03 Dante Gabriel Rossetti, The Rose leaf, 1870

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Gustav Klimt, Pallas Athene, 1898 Gustav Klimt, Finished Drawing for the Allegory of Tragedy, 1897 Gustav Klimt, Hope 1, 1903 Gustav Klimt, Flowing Water ,1898 Gustav Klimt, Portrait of Serena Lederer ,1899 Gustav Klimt, Quiet Pond in the Park at the Schloss Kammer, 1899 Gustav Klimt, Island in Lake Atter, 1901

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The Pre-Raphaelite artists, such as Dante Gabriel Rossetti, were a big influence on Klimt’s brother Ernst. When Ernst died Klimt finished his brother’s Pre-Raphaelite-inspired work. During his long depression he became very interested in these artists, and then painted what is for me the most important picture he did at this time – Portrait of Sonja Knips from 1898. Moll saw this Pre-Raphaelite influence and how Klimt could work with it to create a very particular Viennese art.

In Klimt’s case, he transformed the rather boring aspects of the Pre-Raphaelites and injected ‘pornosophic fantasies’ into his work. Klimts ‘Flowing Water’ is painted with the flow of the water around the models curvaceous bodies. ‘Finished Drawing for the Allegory of Tragedy’ is embodied with pattern circles. The hooped earings mirror the ‘O’ in the word above, encouraging the viwer to look for other repeated circles and patterns in the drawing. The natural approach of Klimts work along with the Pre-Raphaaelite attention to nature within their paintins, speaks higly to the path for design.

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Nature was a main aspect for Pre-Raphalitte work, depicted in many a way, from the Blue passion flower in ‘The Blue Bower’ to the nature scene of waterfalls in Roger Fenton’s ‘Double Bridge on the Machno’, Klimt holds a similar passion for nature which is portrayed in his earlier works ‘Island in Lake Atter’, and ‘Quiet Pond in the Park at the Schloss Kammer’. Both artists capture movemnt in their paintings, with the use of atmosphehic and muted tones.

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