THE VICTORIAN AGE 1837-1901
Social Conditions Population: Beginnging of Victorian Age: 2 million Victoria’s death: 6.5 Economic Problems: England had an increase in wealth, but rapid and unregulated industrialization brought a host of social and economic problems. The Reform Bill of 1832: Extended voting privileges to men of the lower middle classes and redistributing parliamentary representation more fairly. Time of Troubles: high unemployment, desperate poverty, and rioting.
Religion: Increasing debate about religious belief. The Church of England evolved into three major divisions, with conflicting beliefs about religious practice. Empire Cost: 1870–1901 the costs of Empire became apparent, and England was confronted with threats to its military and economic preeminence. The Woman Question: Women were denied the right to vote or hold political office throughout the period, but won rights such as custody of minor children and the ownership of property in marriage. Publishers: Literacy increased and publishers could print material more cheaply than ever before.
The Pre-Raphaelite Brotherhood Paintings (left to right): John Everett Millais Ophelia John Everett Millais The Order of Release John Everett Millais Christ in the House of his Parents John Everett Millais The Two Princes Edward and Richard John Everett Millais The Knight Errant John Holman Hunt The Awakening Conscience John William Waterhouse The Lady of Shalott
The Pre-Raphaelite Brotherhood began in 1848 by seven artists: Dante Gabriel Rossetti William Michael Rossetti James Collinson John Everett Frederic George Stephens Thomas Woolner William Holman Hunt These seven artists wanted to create a style of painting that was a naturalistic, throwing away the rules they were previously taught. Initially their themes were religious, however, they also used subjects that particularly dealt with love and death.
The Order of Release Title: Artist: Medium: Dimensions: Collection:
The Order of Release 1746 Sir John Everett Millais Oil paint on canvas Support: 1029 x 737 mm Frame: 1505 x 1210 x 125 mm Tate
Bonnie Prince Charlie was defeated by the English April 16, 1746 at Culloden. Many of Bonnie’s supporters were imprisoned. This painting is showing the release of one of Jacobite rebels from prison. The rebel’s wife is there supporting both her wounded husband and small child as she hands an order of release to the gaoler. Her expression is difficult to read and very detached from the action, which suggests that she may have been forced to sacrifice her virtue in order to save her husband. The painting’s original title was The Ransom. Early sketches show that Millais previously had the women handing over a purse, instead of an order of release. After Millais’s edits the painting was renamed to fit the situation.
The Lady of Shalott Title: Artist: Medium: Dimensions: Collection:
The Lady of Shalott 1888 John William Waterhouse Oil paint on canvas Support: 1530 x 2000 mm Frame: 2000 x 2460 x 230 mm Tate
“The Lady of Shalott� is a Victorian ballad by English poet Alfred, Lord Tennyson. This poem recasts Arthurian legend of Elain of Astolat loosely based on medieval sources.
The picture illustrates the following lines from part IV of Tennyson’s ‘The Lady of Shalott’: And down the river’s dim expanse Like some bold seer in a trance, Seeing all his own mischance With glassy countenance Did she look to Camelot. And at the closing of the day She loosed the chain, and down she lay; The broad stream bore her far away, The Lady of Shalott.
Carnation, Lily, Lily, Rose Title: Artist: Medium: Dimensions: Collection:
Carnation, Lily, Lily, Rose 1885-86 John Singer Sargent Oil paint on canvas Support: 1740 x 1537 mm Frame: 2185 x 1970 x 130 mm Tate
In September 1885 Sargent took on the Thames at Pangbourne with American artist Edwin Austin Abbey on a boating expedition. During this expedition Sargent saw Chinese lanterns hanging among trees and lilies. He began to work on this painting while staying in the home of painted F.D. Millet at Broadway, Worcestershire. At first he used the Millets’s five-year-old daughter Katharine as his model, but later replaced her with Polly and Dorothy Barnard, who were the daughters of the illustrator Frederick Barnard, because they had the hair color Sargent was seeking. Sargent’s painting was both acclaimed and decried at the 1887 Royal Academy exhibition. The title of this painting comes from eighteenth-century composer of operas Joseph Mazzinghi ‘The Wreath’. The refrain of the song asks the question ‘Have you seen my Flora pass this way?’ to which the answer is ‘Carnation, Lily, Lily, Rose’.
SYDNEY ROTTHAUS