from The heroines of Shakespeare, by Charles Heath, Boston, 1850.
The Heir of all Ages by Thomas Cooper Gotch
Male Figure In Egyptian costume, egypt, 1825-1850 (drawn)
by Artist: Ramelet, Charles
Ripper Street (TV Series)
The Awakening Conscience by William Holman Hunt
Its inspiration was a verse from Proverbs: ‘As he that taketh away a garment in cold weather, so is he that singeth songs to an heavy heart’. With his typical thoroughness, Hunt hired a room at Woodbine Villa, 7 Alpha Place, St John’s Wood, a ‘maison de convenance’, to use as the setting. A gentleman has installed his mistress (known to be such because of her absence of a wedding ring) in a house for their meetings. As they play and sing to Thomas Moore’s Oft in the Stilly Night, she has a sudden spiritual revelation. Rising from her lover’s lap, she gazes into the sunlit garden beyond, which is reflected in the mirror behind her. The mirror image represents the woman’s lost innocence, but redemption, indicated by the ray of light in the foreground, is still possible. Intended to be ‘read’, the painting is full of such symbolic elements. The cat toying with the broken-winged bird under the table symbolises the woman’s plight. A man’s discarded glove warns that the likely fate of a cast-off mistress was prostitution. A tangled skein of yarn on the floor symbolises the web in which the girl is entrapped. Indeed, as Ruskin wrote to the Times on 25 May 1854, ‘the very hem of the poor girl’s dress, at which the painter has laboured so closely, thread by thread, has story in it, if we think how soon its pure whiteness may be soiled with dust and rain, her outcast feet failing in the street’. The frame, designed by Hunt, also contains various symbolic emblems; the bells and marigolds stand for warning and sorrow, the star is a sign of spiritual revelation. (cr: tate.org.uk)
By Kate Greenaway - English children’s book illustrator and writer. Helped shape children’s fashion in the 19th century.
Marion Viola Stark Gaines (1850-1942)
Self-Portrait with Camera and Flowers, circa 1890
Elaine by Sophie Gengembre Anderson
The beauty and wild sublimity of what I beheld, seemed almost to crush my faculties,—I felt dizzy, as though my senses were drowning,—I felt as though I had been carried into the immediate presence of God. Though I were to live a thousand years, I never can forget it.
Edvard Munch, The Kiss 1897
Frederic Edwin Church (American; 1826–1900)
Clouds, Hudson River, Catskill Mountains
Brush and oil paint on paperboard, ca. 1870–75
Smithsonian Cooper-Hewitt, National Design Museum, New York