Souvenir of Velázquez: John Everett Millais, James Jebusa Shannon and Joaquín Sorolla

13 Sep

Today let’s take a look at three gorgeous portraits of little girls by John Everett Millais, James Jebusa Shannon and Joaquín Sorolla inspired by the paintings of Diego Velázquez’s, mainly the painting “Las Meninas” from 1656 but also some of his other portraits of Infanta Maria Teresa.

John Everett Millais, Souvenir of Velázquez, 1868

Just like Infanta Margaret Theresa from Velázquez’s painting “Las Meninas” (1656), the girl in Millais’ painting is a serious young lady. Two centuries divide the lives of these two moody girls, yet I am sure they would understand each other and could gleefully spend many idle hours giggling and chatting. Millais’ sweet, round faced girl has a pale skin and masses of strawberry blonde hair that are a stark contrast to the darkness of the background. Unlike Infanta Margaret Theresa, this girl is all alone on the canvas. Her face looks like many other from Millais’ canvases, yet her attire is noticeably different from that of any other Victorian girl. This was Millais’ homage to a very famous Baroque painting made by Diego Velázquez, the court painter of Philip IV, in 1656. But Millais used a Pre-Raphaelite colour palette and the brush strokes on the hair and details of the dress are particularly loose, unrestrained and confident. Millais was apparently so skillful a painter that he was able to paint a leaf in a few brushstrokes and achieve the liveliness and accuracy. I think these strokes are a proof of that.

Diego Velázquez, Las Meninas, 1656, detail

Velázquez’s position as a court painter clearly placed him in a subservient position to the members of the royal family. In his time, he was just a painter and they were the grand and powerful Habsburgs and yet, looking back in time, it is Velázquez who is famous and praised now for his art and little Infanta is just one in a row of royal princesses who would scarcely be remembered today if she wasn’t captured on canvas so many times and in such beautiful and memorable paintings. It is a good thing that Velázquez painted so many beautiful portraits of her as a child because those were her glory days in a way; she married at the age of fifteen to Leopold I, and she was both his niece and his first cousin, and died at the age of twenty-one, after giving birth to four children and being pregnant with the fifth. So, if it wasn’t for these glorious portraits and especially the very much loved and enigmatic “Las Meninas” where she is the central figure, she would have been forgotten in history, she would have been just another pale sickly girl who died very young from this illness or another, childbirth or smallpox, nothing special. But because of art, she is eternal. Even now, four centuries later, she is the blue eyed girl looking back at us, with her hair combed on the side and adorned with a bow, in her wide dress, so large for her small fragile body.

Diego Velázquez, Portrait of Infanta Margarita Teresa in silver dress, 1656

James Jebusa Shannon, Portrait of a Little Girl Holding a Toy (Kitty in a fancy dress), 1895

Next example is James Jebusa Shannon’s lovely portrait of his daughter Katherine Marjorie known as Kitty who was eight years old at the time this was painted. The portrait is beautifully cropped and focuses on the little girl in the moment of childlike playfulness; she is holding a doll in each hand. Still in the world of dreams and make-beliefs, her dolls are her friends. Loose brushstrokes and a colour palette of subtle colours such as white and grey, with touches of pink and red perfectly fit the at once playful and dreamy mood of the painting. Maybe Kitty is lost in the dreamland playing with her dolls and she can scarcely notice that her father is painting her once again, for she was his dear model, but her cheeks are rosy and she is smiling and we can tell she is a happier girl than Velázquez’s Infanta Margaret Theresa was in her constricted dress and constricting environment of the Spanish court. The dress Kitty is wearing resembles the one Velázquez painted, but it is only a fancy dress and life is still a game for Kitty as well.

Joaquín Sorolla, María Figuero dressed as a menina, 1901

And the last example I will be talking about in this post is an unfinished work by a Spanish painter Joaquín Sorolla which shows a girl dressed in an attire of the Infanta Margaret Theresa and the kind of dress that would be worn by other noble girls at the court. Just like Kitty in the previous picture, María was eight years old when this was painted and she was not just any child; she was the daughter of Sorolla’s friend Rodrigo de Figueroa y Torres, Marquis of Gauna and later a Duke of Tovar also. Inspiration for this painting was not Velázquez himself, but his pupil Juan Bautista Martínez del Mazo’s portrait of Infanta Margaret Theresa in a pink dress from 1660. Just like in the portrait of Infanta, María Figuero is wearing a very wide dress which fills the canvas horizontally, the sleeves are equally puffy and there is a pink decoration on the bodice. Her hair also resembles the hairstyle Infanta Margarita wore in some of her other portraits, for example the portrait in blue by Velázquez painted in 1659.

Juan Bautista del Mazo, Infanta Margarita Teresa in a Pink Dress, 1660

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Beauty of Journaling

9 Sep

“The diary is my kief, my hashish, and opium pipe. This is my drug and my vice. Instead of writing a novel, I lie back with this book and a pen, and dream, and indulge in refractions and defractions… I must relieve my life in the dream. The dream is my only life. I see in the echoes and reverberations, the transfigurations which alone keep wonder pure. Otherwise all magic is lost. Otherwise life shows its deformities and the homeliness becomes rust…. All matter must be fused this way through the lens of my vice or the rust of living world would slow down my rhythm to a sob.” (Anais Nin)

Picture by Svetlana Zdrnja, found here.

I love reading diaries, or journals, how ever you wanna call them. Journal of Anais Nin in particular because it’s so full of feelings, sincerity and imagination, and because there is so many volumes of it. Franz Kafka’s diary entries are fascinating as well. Journals, letters, memoirs, I am getting more and more interested in this intimate, introspective, raw side of writing. And… I also enjoy journaling!

I have been writing in my diary regularly since the beginning of 2015 and it was one of the best decisions in my life. It started by accident; I had gotten a diary from a family member with one page for one day, and it occurred to me to perhaps start writing in it every day, but I hesitated because, being an introvert and a dreamer that I am and being a person who spends most time in her bedroom like young Morrissey, I didn’t want to be confronted by seeing how boring my life actually is. I don’t hang out with people, I don’t go places, I don’t travel… what is there worthy of writing? That is how my thoughts went on, but I started writing it nonetheless; I consciously wrote it in a way that would eliminate feelings because feelings are passing, changeable and may be embarrassing to read later on. I chose instead to focus on things which are beautiful! I wrote down quotes from books I read, or quotes which I found inspiring, I wrote about flowers that I’ve seen or picked for my vase, my daydream or a real dream, sometimes I would sketch something simple, like a cloud, cottage, an apple pie my mum made, or Ophelia floating down the river, I recorded the films I saw and the stories or paintings I was working on, which 1960s style icon fascinated me that day, what was the sunset like, what scents were in the air that April morning, something that made me laugh. 2019 is the fifth year that I have been keeping this kind of journal and it has changed my life in the best possible way!

First of all, writing in the journal made me aware of the beauty of everyday life which surrounds me; beauty of simple things, walks by the river, birds, flowers, beauty of changes and passing of seasons. Also, reading Rilke’s letters further inspired me to seek Beauty all around me, here is something he wrote in “Letters to the Young Poet”: ”If your daily life seems poor, do not blame it; blame yourself, tell yourself that you are not poet enough to call forth its riches; for to the creator there is no poverty and no poor indifferent place.” And then, after being aware of all the beauties around oneself, a wave of joy and gratitude overwhelms you. Even if I feel sad or melancholy, I still rejoice in the fact that I am capable of feeling it, that I am alive to experience it. Writing in my journal also showed me how special my life actually is, how rich and filled with art, beauty, joy, new discoveries and creativity. And through that, I ceased to be envious of other people’s lives, imagining they are better. Well, I still do that from time to time, but keeping a journal made me put more effort into living my life because if my day is boring and empty, I won’t have something to write about. So, I started making everything special, turning a boring afternoon in my room into a glamorous occasion. I made it special, no one else did, it didn’t come from outside and therefore it cannot be taken away from me. It was in me all along; the power to transform my seemingly boring reality into a magical one. In my writing, I created a world for myself, where I could live and breath, the way Anais Nin says, and I stopped expecting something to happen from the outside world.

It’s your life, your only life and you’ve gotta to make it special, you’ve gotta fill it with beauty, for no one else will do it for you. It’s on you to put on rose-tinted glasses and see the world in a rosier shade. I am not promoting shallow artificial happiness but rather a more sensitive awareness to both beauty and transience of our lives; no matter how much we weep, we cannot save a flower from withering, but we can enjoy its beauty with a smile, and enjoy it with the same rapture every time. I encourage you all to take a notebook and filled it with beauty! It’s a moment of contemplation every day, just five minutes is enough, but as pages fill and fill, you will see how rich your life actually is. When I flip through my old journals from time to time, I see how I turned my past into a fairytale by finding beauty in each day. Of course, there are empty pages, where the skies were grey or my heart felt gray, but that is life too.

Theophile Gautier: To your parted lips I would go and there would I die

6 Sep

Here’s a beautiful and devastatingly romantic poem “Butterflies” by Theophile Gautier!

Odilon Redon, Five Butterflies, c. 1912

Butterflies

Butterflies, the colour of snow,
In clouds to the sea now fare;
White butterfly beauties, when can I follow
Your path through the blue of the air?

Do you know, oh beauty of beauties,
My sacred dancer with jet black eyes,
If they could lend me their wings,
Do you know where my journey would lie?

Without taking one kiss to the roses,
Across valleys and forests I’d fly,
To your parted lips I would go,
And there, flower of my soul, would I die.

John Everett Millais: Early Years of Married Life and Pre-Raphaelite Gems

3 Sep

I have written a lot about the Pre-Raphaelites on this blog over the years and I don’t wish to be repetitive but at the same time there there is always something new to learn and focus your attention on. So, in this post we’ll take a look at John Everett Millais’ early years of married life and the art he created at that time, with a special focus on three beautiful painting “The Blind Girl”, “Autumn Leaves” and “Peace Concluded”, all painted in 1856.

John Everett Millais, The Blind Girl, 1856

On 3rd July 1855, twenty-six year old Pre-Raphaelite painter John Everett Millais finally married Effie Gray. They were overjoyed about the prospect of finally being together, but also emotionally exhausted after years of dealing with the struggles; for Effie the struggle was her previous unhappy marriage with the Victorian art critic John Ruskin, and for Millais it was the anguish at having to suppress his love for Effie during the time she was still married or just recently divorced. The irony is that it was through John Ruskin that the couple got acquainted in the first place. They did meet once before, on a ball, but it wasn’t a memorable event for either of them. Ruskin was a huge supporter of the Pre-Raphaelites and one of the first critics who praised their style. In 1853, Ruskin proposed that John Millais and his brother William join him and Effie on a holiday in the emerald green wilderness of Scotland.

John Everett Millais, Waterfall or Effie at Glenfinlas, 1853, 11.5″ (29.2 cm) x 15.4″ (39.1 cm) 

While there, Millais worked on his painting “The Order of Release” and Effie posed for the female figure. They grew fond of each other’s company and Effie soon started opening up about her life; about her loving parents, childhood spent in Scotland, her siblings, but also about the sad truth of her marriage with Ruskin. Naturally, this was a delicate topic and she must have had great trust in him to share such a thing. Millais as absolutely shocked that Ruskin could be so cold and disinterest in his young beautiful wife, and he was also overwhelmed with a feeling of futility and empathy. He wanted to help Effie but didn’t know quite how, and his own feelings of affection towards her added an even greater torment. In his letters home during that trip he writes of Effie “She is the most delightful unselfish kind-hearted creature I ever knew, it is impossible to help liking her…” And also he started giving her drawing lessons and she proved to be a very dutiful pupil, Millais writes “She has drawn and painted some flowers in oil (the first time she has ever touched a brush) almost as well as I could do them myself.” Millais also painted this charming and very detailed little painting of Effie on the rocks by a waterfall.

John Everett Millais, A portrait of Effie Gray, 1853

Let’s skip the part about the sad and bitter marriage annulment between Effie and Ruskin and focus on the young newlyweds in the summer of 1855. After the wedding ceremony, they sat in a train and were on their way to spend a five week honeymoon in the west coast of Scotland. Millais was very nervous but Effie cheered him up and they had marvelous time together. Since Effie had horrible experiences with the London life, the couple decided to live in Scotland, near to her parents’ house. The letters both wrote to their families show the joy they experienced, Effie wrote to her mother saying “I am so happy with him. You can imagine how much I appreciate his natural character. (…) he is so kind and nice and easy to be with.” She also wrote to her brother George “He diverts me beyond everything. I don’t think I have laughed so much since I was Alice’s age.” (Alice was ten years old at the time.) As they settled into their home, Effie tried to do everything in her power to make their life revolve around his art. She was very practical and nurturing, and offered both her help and compassion when his painting drove him crazy; she would urge him to take a rest when he was working to hard and was very successful in finding local young girls to pose for him. And if he needed a historical costume for his painting, she would do the research and sew it for him.

John Everett Millais, Autumn Leaves, 1856

In 1856 Millais had three remarkable paintings to show; “The Blind Girl” where he portrayed two child beggars one of whom is blind, resting after a rainstorm before they continue their journey to another town. The sad fate of the blind girl and their destitute situation is in contrast with the vibrant and warm colours; that overwhelming warm green-yellow of the endless field behind them, the orange of her dress, the coppery orange-red of her cloak and her hair, and even the blue sky in the upper part of the painting seems so warm. It’s very detailed; just look at the grass and the ground in the lower left corner, and all the birds and the animals, the glistening magical rainbow, and the town in the distance. All this beauty of nature around her, but the poor blind girl cannot see it. But she is able to enjoy other sensations; smell of fresh grass and summer’s day, and song of birds.

Another memorable masterpiece is “Autumn Leaves”. I don’t even know how to do justice to the painting’s beauty with my words. I adore the mood and the colours so much, it’s full of feelings and at the same time beautiful and tinged with melancholy and transience, and it so vividly captures the moment, the twilight of the autumn day. The warmth of the colours, the details of the leaves, the faces of young girls, the sensitivity to capturing the atmosphere so well, it’s just stunning and it’s easy to see what all these paintings where a huge success in London in 1856. Despite the bitter feeling of betrayal, Ruskin still managed to be objective when analysing Millais’ art and he praised this picture saying that it is “by much the most poetical work the painter has yet conceived; and also, so far as I know, the first instance of a perfectly painted twilight. It is easy, as it is common, to give obscurity to twilight, but to give the glow withing its darkness is another matter; and though Giorgione might have come nearer glow, he never gave the valley mist. Note also the subtle difference between the purple of the long nearer range of hills and the blue of the distant peak.

John Everett Millais, Peace Concluded, 1856

The Last picture of the 1856 trio is “Peace Concluded”, also known as “The Return from Crimea” which shows a wounded officer who had recently returned from the war and is now resting in his family nest, surrounded by his loving wife and rose-cheeked children. The foliage behind them looks as if it came from Millais’ painting “Ophelia” while the garish carpet looks like it belongs to the interior from William Holman Hunt’s painting “Awakening Conscience”. A dog curled on the sofa overlooks the scene. Effie Millais posed for the central figure of the wife, and the husband and wife are presented as very close to each other; her arms are wrapped around him comfortingly and this could be related to Millais’ personal life and his joy and closeness with Effie because the date of the picture matched the date of their first year marriage anniversary.

I felt it was important to discuss this short period in Millais’ life because his style changed a lot after he got married; being the man and the bread-winner for an ever growing family (he and Effie ended up having eight children) he was strained by responsibilities and chose to paint with less emphasis on details and focusing on themes that he knew the audience would love and approve, and people would want to buy. Some, like William Morris for example, have commented that he had sold out and that he didn’t stay true to the original aims of the Pre-Raphaelite Brootherhood; he certainly didn’t spent as much time studying nature attentively or painting in a very detailed style like he did early in his career, and he didn’t stay true to the original aim of originality. Still, that’s not to say all his later work is bad, not at all, there are many interesting paintings in his oeuvre but I feel that these paintings from mid 1850s are some of his last Pre-Raphaelite gems.

John Everett Millais, Sophie Gray, 1857

John Everett Millais, The Vale of Rest, 1858-59

John Everett Millais, The Martyr of the Solway, 1871

John Everett Millais, Portrait of Alice Gray, 1858

John Everett Millais, Spring (Apple Blossoms), 1859

This is how Millais defended himself in a letter to William Holman Hunt: “You argue that if I paint for the passing fashion of the day my reputation some centuries hence will not be what my powers would secure me if I did more ambitious work. I don’t agree. A painter must work for the taste of his own day. How does he know what people will like two or three hundred years hence? I maintain that a man should hold up the mirror to his own times. I want proof that the people of my day enjoy my work, and how can I get this better than by finding people willing to give me money for my productions, and that I win honours from contemporaries. What good would recognition of my labours hundreds of years hence do me? I should be dead, buried, and crumbled into dust.

I think it’s fascinating to actually hear an artist make such a statement, and show that he does care about getting praise and approval from his time and people of his time.

My Inspiration for August 2019

31 Aug

August had not yet passed and already I am starting to daydream of autumn, its richness and colours, the final flash of abundance and joy before winter’s dreariness. As every year in August, I watched “Dark Shadows” (2012) and the scene where the train is passing through autumnal forest and the song “Nights in White Satin” playing in the background is making me so excited for autumn. The costumes and the music in that film is all I want in my life right now! Pre-Raphalite paintings have been on my mind a lot, and there are posts to come about a certain Pre-Raphaelite painter and some of his very beautiful paintings. I finally read Gay Daly’s book “Pre-Raphaelites in Love”, recommended to me by a very lovely person, and I love it to death! Love, art and gossips; always a wonderful combination if you ask me! I am slightly sad that the last official month of summer is gone, but I am at the same time ecstatic and thrilled about the joys of early autumn days which are upon me. I love the idea of a fresh start. What sweet melancholy, to be able to experience transience and yet not be able to do anything about it, like a leaf carried by the wind…

“Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow —
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.”

(Edgar Allan Poe, “A Dream Within a Dream”)

Pic found here.

Pic found here.

Pic found here.

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Pic found here.

trefriw, conwy, wales

Pic found here.

pic found here.

Pic found here.

Arthur Hughes – April Love

26 Aug

Let’s take a look at some very romantical paintings by a Pre-Raphaelite painter Arthur Hughes.

Arthur Hughes, April Love, 1855-56

On 19th May 1855, Edward Burne-Jones, English painter associated with the later phase of the Pre-Raphaelite Movement, took his beloved girl Georgiana “Georgie” MacDonald to the Royal Academy Exhibition and proposed marriage to her in front of the painting “April Love” by Arthur Hughes. What a romantical gesture!? I have always been fond of this painting because of its dreamy and romantic mood and the gorgeous indigo-purple dress that the girl is wearing. Purple dresses are somewhat rare in art history, and interestingly Arthur Hughes’s canvases are full of them. Sweet and wistful coppery-haired maidens in purple gowns, against a background of lush green nature. Very romantic and very Pre-Raphaelite. Hughes is famous for making paintings of lovers, influenced by a painting that he himself admired, “The Huguenot” by John Everett Millais, but he is also somewhat ignored, perhaps because his life wasn’t rife with scandals, lovers or travels to exotic places. He led a quiet, but joyous and serene life with his wife Tryphena Foord ‘his early and only love’ and they married in 1855, so around the time “April Love” was painted.

Arthur Hughes, Study for April Love, 1855

It’s interesting to note that Arthur Hughes’ own love life was happy and seemingly ideal, and yet the romantic scenes on his canvases are tinged with melancholy and unrequited feelings; transient nature of love and life are in opposition with the lasting character of nature, old oak trees and ivy with its steady and persistent growth are in contrast with the changing nature of human feelings. Maybe in his real life, love was as strong as an oak trees and could resist winds and storms, but in the gentle, dreamy and wistful world of his paintings, love is a light pink rose whose delicate petals are easily scattered by a gentle breeze, as we can see in the bottom left part of the painting “April Love” where a girl is standing by an ivy-overgrown tree trunk and looking down in disappointment and sadness, while a gentleman whose head is hard to even notice on canvas is kissing her hand and perhaps reassuring her that she is wrong in her doubts and that he does love her. The model for the lad was the sculptor Alexander Munro who shared a studio with Hughes from 1852 to 1858, and the model for the girl was originally a girl from the countryside who refused to pose for Hughes after she saw the way he had drawn her. Hughes then used his wife as a model and it is her face that we see on the canvas, so gentle and so suitable for a romantic scene. The painting was exhibited in 1856 and accompanied with these verses from Lord Tennyson’s poem “The Miller’s Daughter”:

Love is hurt with jar and fret,
Love is made a vague regret,
Eyes with idle tears are set,
Idle habit links us yet;
What is Love? For we forget.
Ah no, no.

Arthur Hughes, Amy, 1853-59

Arthur Hughes was not an official member of the Pre-Raphaelite Brotherhood, but his paintings clearly exhibit the Pre-Raphaelite style and preference of themes. Another painting, “Amy”, is also a beautiful example of Hughes’ use and choice of colours; how radiant and vivacious is the purple of her dress?! Especially in the contrast with the many shades of green of the ivy, moss and fern all around her. The rosy-cheeked Amy with a flower in her hair could be mistaken for a forest fairy. Her eyes are worryingly set on the name “Amy” freshly carved on the tree trunk. Youthful love is fragile and somewhere deep in her heart she can sense it. In a follow-up painting “Long Engagement” we see the same girl, this time with a far sadder look on her face, disappointment and pleading are in her gaze. His eyes are directed somewhere else, perhaps he doesn’t have the heart to break hers and shatter her hopes, or there is reluctance which keeps him from fulfilling his promise. Meanwhile, the carved name on the tree trunk is getting more and more overgrown with ivy. Ferns and moss have grown in abundance, and white roses with their thorny stems have started to smother the paths of the forest. The lovers’ love is lulled to everlasting sleep. Despite the sad element of Hughes’ paintings, they are still a definite proof that broodiness and melancholy are cool, and happiness is not. Also, it’s interesting to note that the couple mentioned in the beginning, Edward Burne-Jones and Georgie, also had a long engagement which made Georgie’s heart ache, but in 1860 they finally married, and luckily avoided the fate of the couple bellow.

Arthur Hughes, Long Engagement, 1859

Clarice Lispector – I know the story of a rose

17 Aug

Here’s a beautiful passage from Clarice Lispector’s novel “The Stream of Life” (Água Viva).

John Waterhouse, The Soul of The Rose, 1903

“I know the story of a rose. Does it seem strange to you to speak of a rose when I am talking about animals? But it acted in a way that recalls the animal mysteries. Every two days I would buy a rose and place it in water in a vase made specially narrow to hold the long stem of a single flower. Every two days the rose would wilt and I would exchange it for another. Until one certain rose. It was rose-colored without coloring or grafting just naturally of the most vivid rose color. Its beauty expanded the heart by great breadths. It seemed so proud of the turgescence of its wide open corolla and of its own petals that its haughtiness held it almost erect. Because it was not completely erect: with graciousness it bent over its stem which was fine and fragile. An intimate relationship intensely developed between me and the flower: I admired her and she seemed to feel admired. And she became so glorious in her apparition and was observed with such love that days went by and she did not wilt: her corolla remained wide open and swollen, fresh as a newborn flower. She lasted in beauty and life an entire week. Only then did she start to show signs of some fatigue. Then she died. It was with reluctance that I replaced her. And I never forgot her. The strange thing is that my maid asked me once out of the blue: “and that rose?” I didn’t ask which one. I knew. That rose that lived from love given at length was remembered because the woman had seen how I looked at the flower and transmitted to her the waves of my energy. She had blindly intuited that something had gone on between me and the rose. That rose-made me want to call it ‘Jewel of my life;’ because I often give things names-had so much instinct by nature that I and she had been able to live each other profoundly, as only can happen between beast and man.”