Tag Archives: John Everett Millais

Elizabeth Siddal – All changes pass me like a dream

23 May

Famous Pre-Raphaelite painter Dante Gabriel Rossetti and his beautiful melancholic muse, Elizabeth Siddal, who was the walking epitome of Pre-Raphaelite beauty with her lavish masses of coppery golden hair, greenish-blue unsparkling eyes and heavy-lidded gaze, married on the 23th May 1860 in the seaside town of Hastings. Last year on their wedding anniversary, I posted one Rossetti’s poems, and this year here’s one called “Love and Hate” by Lizzie herself.

I remember when I fell in love with Pre-Raphaelites, in August 2014, in one of those afternoons of late summer, rain had lingered for days, sky was coloured in greys, chill air in twilight seemed to whisper that autumn is coming, and every time I picked red rosebuds I treasured them as if they were the season’s last jewels, my soul already soaked in that special combination of melancholy and sweetness which occurs only in autumn when rustling leaves bring me delight and yet I feel overwhelmed by the transience of everything in nature and our lives of humans – it was in those days that I gazed for long hours at Millais’s beautiful Ophelia and idealised the image of a drowned girl, and the red-haired maiden who posed for the painting, reading about her destiny and slowly discovering her poetry, laced with sadness, its verses spoke of love and death. A particular verse has been my favourite since those days, I have it written on my wall, and I almost feel it etched into my soul:

“All changes pass me like a dream,
I neither sing nor pray;
And thou art like the poisonous tree
That stole my life away.

Lizzie Siddal posed for Ophelia and died an equally tragic death (is there a non-tragic death?); she overdosed on laudanum. Onyx black poppy seeds from that fragile yet passionate red flower, lulled her to eternal sleep. Rossetti dramatically buried his book of poems with her coffin, only to have it exhumed years later. Their tumulus relationship was the main source of inspiration for her poetry. I can understand her sadness, but Rossetti’s infidelities I cannot. With that beautiful gem at home, why on earth would he ever want to spend time with other women? Wasn’t his idol Dante content with just daydreaming about Beatrice?

John Everett Millais, Ophelia, 1851-52

Love and Hate

Ope not thy lips, thou foolish one,
Nor turn to me thy face;
The blasts of heaven shall strike thee down
Ere I will give thee grace.

Take thou thy shadow from my path,
Nor turn to me and pray;
The wild wild winds thy dirge may sing
Ere I will bid thee stay.

Turn thou away thy false dark eyes,
Nor gaze upon my face;
Great love I bore thee: now great hate
Sits grimly in its place.

All changes pass me like a dream,
I neither sing nor pray;
And thou art like the poisonous tree
That stole my life away.

John Everett Millais – The Vale of Rest

3 Dec

Painting ‘The Vale of Rest’ isn’t as famous as Ophelia, nor as vibrant and richly coloured as Mariana or The Blind Girl, but it is certainly one of Millais’ most atmospheric paintings, and also the one whose mystery can’t be solved despite all the details, symbols and hints, typical for early Pre-Raphaelite paintings. Roman Catholic nuns on a graveyard in the dusk of an autumn day. Mood of mystery, anxiety and secrecy.

The Vale of Rest 1858-9 Sir John Everett Millais, Bt 1829-1896 Presented by Sir Henry Tate 1894 http://www.tate.org.uk/art/work/N01507John Everett Millais, The Vale of Rest, 1858-59

Dusk of a late Autumn day. Poplar trees are looming on the horizon. Tombstones coated in moss; names of the dead nearly erased with time, their lives now mere legends. Sky dazzles with purple, vanilla yellow and pink-lavender shades as chillness descends in this walled enclosure. A contour of a low chapel with a bell. Two Roman Catholic nuns. One digging a grave, the other – observing with a worried look on her face, and clutching a rosary in her hand. Art critic Tom Lubbock said of the painting: ‘Corpses, secrets, conspiracy, fear. It’s a picture that pulls out all the stops.’ The whole scene evokes mystery. Why is the nun digging a grave? Is it a burial, or an exhumation? What secrets are they hiding, and whose body lies in the cold, dark soil. Then the subject of Catholic nuns – still an object of scepticism in Victorian Britain.

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Millais intended this painting to be a pendant to Spring or The Apple Blossoms (1856-59) where the subject of death is only hinted, but here it is fully exposed. There’s a skull on the nun’s rosary, and in the sky there’s a purple cloud vaguely shaped like a coffin – a harbinger of death, according to a Scots legend. As if the sight of a graveyard in the dusk isn’t unsettling enough, Millais incorporated these little morbid details. As you can see, the Pre-Raphaelite paintings are like books, you can read them by observing the details and symbols, which can always be interpreted in a different way.

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Although he had carried the idea of painting nuns in his mind for some time, Millais ventured into painting this scene one night in late October in 1858, when the appearance of the sky, shining in gold and purple shades, was especially pleasing to him. He had to work with his brush quickly because, as it goes in autumn, sky is beautiful and vibrant for one moment, and a second later all is dark and cold once again. Still, the idea occurred to him earlier, while on his honeymoon in Scotland in 1855. His wife Effie recalled: ‘On descending the hill by Loch Awe, from Inverary, he was extremely struck with its beauty, and the coachman told us that on one of the islands were the ruins of a monastery. We imagined to ourselves the beauty of the picturesque features of the Roman Catholic religion, and transported ourselves, in idea, back to the times before the Reformation had torn down, with bigoted zeal, all that was beautiful from antiquity, or sacred from the piety or remorse of the founders of old ecclesiastical building in this country. The abbots fished and boated in the loch, the vesper bell pealed forth the ‘Ave Maria’ at sundown, and the organ notes of the Virgin’s hymn were carried by the water and transformed into a sweeter melody, caught up on the hillside and dying away in the blue air. We pictured, too, white-robed nuns in boats, singing on the water in the quiet summer evenings, and chanting holy songs, inspired by the loveliness of the world around them…‘ (source)

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Millais painted the sky, trees and shrubs sitting just outside the front door, in the garden of Effie’s family at Bowerswell, Perth. Effie said: ‘It was about the end of October, and he got on very rapidly with the trees and worked every afternoon, patiently and faithfully, at the poplar and oak trees of the background until November, when the leaves had nearly all fallen.‘ The grave and the tombstones were painted a few months later at Kinnoull old churchyard in Perth. There’s a funny story connected to it. So, as Millais was painting at the graveyard daily, two strange or ‘queer’ bachelors, known by the names ‘Sin’ and ‘Misery’, noticed him and assumed that he made a living by painting the graves of deceased persons. So, they brought him wine and cakes every day, to reward his everyday hardships.

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To end this post, I have to say that Millais is, in my opinion, the master of painting dusks and capturing moods and psychological states in a lyrical way; in Mariana, he portrayed her longing and loneliness, and even here you can sense a certain tension, or a deeper emotional connection between two nuns, even perhaps a game of power; while one is digging, tired, with rolled up sleeves, the other sits calmly, though her direct gaze at the viewer reveals anxiety and worry. Millais perfectly captured the colours of an autumn dusk; even softening the gold and purple, according to Effie. In ‘The Vale of Rest’, he perfectly captured the mood, just like he did in his painting ‘Autumn Leaves’, 1856.

Still, after analysing this painting, and observing its every detail, every symbol and every brushstroke, I can’t solve the mystery behind it. Perhaps it was never meant to be solved, but enjoyed. And I certainly did; drowned in its dusky mood and morbid, doomy beauty.

Fall, Leaves, Fall – Emily Bronte’s Verses on Autumn…

16 Oct

I love this poem by Emily Bronte and since it is Autumn, oh finally, the beautiful season of rains, mists, falling leaves and rich colours, I thought I’d share it with you, my lovely readers, accompanied by an equally beautiful painting ‘Autumn Leaves’ by the Pre-Raphaelite painter John Everett Millais.

1856-autumn-leaves-john-everett-millais

John Everett Millais, Autumn Leaves, 1856

Fall, leaves, fall – Emily Bronte

Fall, leaves, fall; die, flowers, away;
Lengthen night and shorten day;
Every leaf speaks bliss to me
Fluttering from the autumn tree.
I shall smile when wreaths of snow
Blossom where the rose should grow;
I shall sing when night’s decay
Ushers in a drearier day.
***

John Everett Millais: Mariana and Autumn Yearning

29 Aug

Dusky, velvety colours, intricate detailing and that peculiar mood of yearning and melancholy that pervades paintings from Millais’ early phase, make Mariana a true Pre-Raphaelite gem, comparable by beauty and emotional intensity only to the more famous Ophelia painted around the same time.

1851. John Everett Millais, Mariana, 1851 smallerJohn Everett Millais, Mariana, 1851

Painting Mariana is a beautiful and psychologically stimulating example of Millais’ early work and his devotion to the values of The Pre-Raphaelite Brotherhood, that is, to study nature attentively, to have genuine ideas to express and to produce thoroughly good pictures. Pre-Raphaelites had a tendency to draw inspiration from works of literature such as Dante and Lord Tennyson’s poems, and plays by William Shakespeare. This painting is no exception. Its mood and composition instantly attract the viewer. A tired lady in a gown of shiny midnight blue velvet stands by the window, supporting her aching back with hands, gazing into the distance. That’s Mariana, a character from Shakespeare’s play Measure for Measure and Lord Tennyson’s poem Mariana, a young woman doomed to a life of solitude because her fiancé Angelo abandoned her after her dowry was lost in a shipwreck at sea.

In her lonely, virginal chamber time stands still. Modern, Victorian interior in carnelian brownish reds and peridot greens is contrasted with old Medieval stained glass windows that show the scene of Annunciation which perhaps serves to compare Mariana’s waiting to that of Virgin Mary. If you look closely, you’ll notice a needle pinned into a discarded embroidery. Mariana seems occupied by her pursuit while seasons change and winds roar around her lonely claustrophobic abode. The abundance and lushness of late Summer transitions in Autumn as orange and green leaves come dancing softly into her cluttered Victorian chamber. Seasons change but her longing seems infinite and still. Autumnal nature dying in rich shades could symbolise Mariana’s inner dying. The seal in the right corner of stained glass windows reads In coelo quies or In Heaven there is rest, further implying Mariana’s suicidal thoughts as she contemplates on her dreary world. These verses of Velvet Underground’s song Venus in Furs remind me of Mariana’s emotions: I am tired, I am weary/ I could sleep for a thousand years/ A thousand dreams that would awake me/ Different colours made of tears.

At first sight, this painting seems like a simple Victorian genre scene; passive and sad woman in a dark cluttered room, in a Medieval-style dress, exhibiting a typical Victorian nostalgia for the past eras. However, Millais portrays a complex psychological state underneath the aesthetically pleasing exterior, and that’s what makes this painting stand out amongst other similar Victorian artworks. Attentive to details like he was in his early artistic phase, Millais managed to evoke Mariana’s feelings – her yearning, pain, loneliness and seeming resignation, mood of dreariness and ‘changes that all pass her like a dream’, as Lizzie Siddal, another Pre-Raphaelite muse, would late wrote in her poem. This painting is so iconic in my opinion, just like the famous Ophelia. You simply can’t think of the character Mariana without imagining the scene the way Millais portrayed it and he based the painting on this particular verse by Lord Tennyson:

She only said, ‘My life is dreary,
He cometh not,’ she said;
She said, ‘I am aweary, aweary,
I would that I were dead!’

Looking at her pose and her surroundings you can feel her tiredness and desperation. You can imagine the broken thoughts running through her mind; What am I doing with my life? What awaits me? Will my life be this dreary forever? Perhaps she still feels the softness of her silk wedding dress under her fingers, but, oh, misery, all too soon she has buried it along with her dreams. Millais is quite daring in his choice of subject. In rigid Victorian world, a woman did well if she got married, and if she remained a spinster, well, that must be her fault. And here we have a dashing young artist portraying a sexually frustrated woman; a woman who is not content with being silent and doing her embroidery but wants more, from life and love equally. Almost twenty years later, a fellow Pre-Raphaelite Dante Gabriel Rossetti revisited the theme and painted his own version of Mariana; portraying her as a sensuous and arrogant femme fatale disdainfully gazing into the distance, using Jane Burden Morris as a model. I prefer Millais’ version because he, in my opinion, managed to portray Mariana’s feelings much better. I feel that in general, Millais is the poetic one, and Rossetti is the passionate one. With this subject, lyrical and poetical approach is better.

I recognise Mariana’s feelings in these lyrics written by Morrissey:

And as I climb into an empty bed

Oh, well, enough said…” (The Smiths, I Know It’s Over)

Dream is gone, but Mariana’s loneliness is real. She could have been a bride and now she’s a fool. Oh, if only that dowry wasn’t lost at sea. If only Angelo had been more faithful. Please, save your life, Mariana, because you only got one.

Desperate Romantics (2009) – A Review

6 May

I’ll start off this post by saying I absolutely loved ‘Desperate Romantics‘ – a period drama set in Victorian London which revolves around the Pre-Raphaelite Brotherhood; their art, lives, loves and scandals.

WARNING This image may only be used for publicity purposes in connection with the broadcast of the programme as licensed by BBC Worldwide Ltd & must carry the shown copyright legend. It may not be used for any commercial purpose without a licence from the BBC. © BBC 2009***

First glimpse of Desperate Romantics, from left to right; Rafe Spall as a somewhat austere perfectionist William Holman Hunt, also known as ‘Maniac’, Aidan Turner as the dashing Byronic Hero, ‘half-Italian, half-mad’ Dante Gabriel Rossetti, Samuel Barnett as a child-prodigy, sweet and bewildered John Everett Millais, and lastly Sam Crane as the gentle, caring and ‘always-in-the-shadow-of-others’ Fred Walters; a composite character mainly based on Fred Stevens and several other historical figures who serves as a journalist and a diarist of the brotherhood.

I found the actors and actresses wonderful and perfectly suitable for their roles. Every character has an individualised personality and that is one of the main reasons this period drama is so brilliant. This emphasis on individual personality traits, be it good or bad ones, helps a great deal to understand the artworks they produced. Their choice of subjects seems so natural after understanding their characters. For example, the strong-willed and religious Hunt would never go on painting sensual women or characters from Roman mythology, and likewise it’s inconceivable that Rossetti would ever paint anything similar to The Light of the World.

***

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Brooding Rossetti and his sorrowful muse

***

I very much enjoyed how relatable everyone seemed. Their conversations and jokes in the pub sounded beautifully modern. Pre-Raphaelites smoked hashish, consumed opium, flirted with waitresses and visited brothels. In several scenes you can even see Charles Dickens himself entertaining the ‘ladies’. After watching this, I feel like the Victorian world wasn’t as grim and proper as presented, perhaps in the higher classes but not amongst artists and intellectuals.

In Desperate Romantics Featurette (you can watch it on YouTube) actors and actresses talk about their roles and opinions of the PRB. I found it especially thrilling how Rafe Spall connected the members of the Brotherhood to modern artists and writers. He made a parallel with the Beat Generation and compared Fred Walters to Jack Kerouac, Millais to Neal Cassady, Rossetti to Allen Ginsberg and Hunt to William Burroughs. Also, he compared the radical avant-garde quality of the brotherhood to Punk Rock, and he described the make-up and hairstyle of Annie Miller (Hunt’s girfriend and model) as being Vivienne Westwood-esque.

***

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DESPERATE ROMANTICS

Amy Manson as Lizzie Siddal

***

I’m afraid that costumes are a great factor for me, and in Desperate Romantics it was yet another source of enjoyment. As you can see from the pictures I’ve assembled here, dresses worn by Lizzie Siddal are very simple and romantic, made of printed cotton in earthy colours, no corsets or crinolines. Along with her long flowing coppery hair, she looks more like a Medieval maiden than a Victorian lady. Apart from a few bonnets, everything seemed historically accurate. Men’s attire was interesting as well, which is unusual because it tends to be boring and grey. Millais is a true peacock, usually wearing scarlet-coloured velvet jackets and lots of purples and greens. Rossetti is very flamboyant but more sophisticated, he wears loose, half-unbuttoned shirts and vibrant coloured scarves. Fred is all simple and proper, true mama’s boy and Hunt is dressed according to his reserved nature, but after his trip to the East, he starts growing a beard, smoking hashish straight from Syria and dressing with a touch of East just like The Rolling Stones when then discovered Marocco.

***

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First love couple: Rafe Spall as William Holman Hunt and Jennie Jacques as Annie Miller

***

I’ve read some complaints about the lack of art in the series and I highly disagree. Exhibition of Millais’ Ophelia, an important moment for the PRB, was well presented and so was the moment when Rossetti found his new direction in portraying pure womanly sensuality after an encounter with Fanny Cornforth. Millais, Rossetti, Hunt and Fred are often seen visiting the Royal Gallery, even objecting the mainstream Victorian art, Rossetti said: The Academy’s utter disgust is what gets us all out of bed in the morning‘, continuing Where is the naturalism, where is the life, the flesh, the blood, the nature?’ When Hunt comes back from his trip, he also showcases his paintings, and after Lizzie dies we see grief stricken Rossetti painting Beata Beatrix. We see Rossetti painting Jane Morris and the murals in a nearby church, and Lizzie painting as well. Is this not enough art?

In Desperate Romantics we are presented by something even more important than ‘art’, we see the background of their artworks and everything that went on in their personal lives and the way it reflected on their works. The series captured the mood of the Brotherhood and I think that’s not only more interesting, but more important. Anyone can simply google their paintings, but it takes a lot more to understand them.

***

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Dante Gabriel Rossetti and Lizzie Siddal as Victorian era Mick Jagger and Marianne Faithfull

INTERESTING QUOTES:

“We are artists, we thrive on strong emotions.” (Elizabeth Siddal, ep 5)

“We cannot confuse our feeling about the artist with the art, that would leave us only able to admire works of those we like.” (John Ruskin, ep 3)

“I insists it’s the most noble profession there is. An artist only records beauty, but a model radiates it. If I were Millais, oh, I would paint you in a pure white silk dress.” (Rossetti’s opinion on modelling and words directed to Jane Burden)

“I find the modern world the most random and confusing place.” (Millais, ep 3)

***

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Love couple number 3: Millais and Effie as Victorian version of Keith Richards and Anita Pallenberg

A only have a few objections. Firstly, I’d love to have seen Rossetti’s family because his sister Christina was a poet and his brother William Michael also belonged to the Pre-Raphaelite Brotherhood. Secondly, no mention of Lizzie’s stillborn child and that was something that deeply saddened her and ultimately led to her death. Thirdly, too many sex scenes which was tasteless and unnecessary in my opinion. It’s obvious that Rossetti wasn’t celibate. Perhaps a hint of intimacy would be more interesting than seeing Rossetti jump on every redhead in London.

All in all, I loved Desperate Romantics – escapism into the bohemian circles of Victorian era London. It’s beyond inspiring, the story itself is enigmatic and interesting, actors were brilliant, thoroughly recommend it! There are six episodes, each is one hour long. If you can spare six hours of your life, I sincerely recommend you to do that.

‘Found Drowned’ by George Frederick Watts

19 Dec

One more Unfortunate
Weary of breath
Rashly importunate,
Gone to her death!
Take her up tenderly,
Lift her with care;
Fashion’d so slenderly,
Young, and so fair!‘ (The Bridge of Sighs, by Thomas Hood, 1844)

1850. Found Drowned is an oil painting - George Frederic WattsFound Drowned, George Frederic Watts, 1850

Painting Found Drowned was painted in c. 1850 by the famous Victorian painter George Frederic Watts, who is usually associated with the Symbolist movement. In this case however, he employed his talents in social realism genre. The painting depicts the dead body of a woman washed up beneath the arch of Waterloo Bridge, her body still immersed in the cold, dirty water of the River Thames. She is presumed to have drowned after throwing herself in the river in despair, trying to get away from the stigma of ‘fallen woman’: a term used in Victorian era to describe women who had lost their innocence. The painting was inspired by Thomas Hood’s poem ‘The Bridge of Sighs‘, published in 1844. The poem tells a story of an anonymous young woman, desperate and abandoned by her lover, pregnant and thrown out of her home, who committed suicide by jumping off a bridge.

In the foreground we see her dead body, her torso and arms in the shape of a cross. The simplicity of her orange-coloured gown suggests that she belonged to the lower class, perhaps she was a servant. Some parts of the poem directly describe her appearance: ‘Look at her garments/Clingling like cerements; /Whilsts the wave constantly/drips from her clothing…‘ and ‘Loop up her tresses/Escaped from the comb,/Her fair auburn tresses…‘ and ‘And her eyes, close them,/Staring so blindly.‘ As a contrast, the background is painted in dark shades of blue and grey, portraying the gloomy London night sky and industrial cityscape. City sleeps, and so do the people, in their quiet and cozy homes, sitting by the fireplace; chatting or reading. Questions arise: Will she be missed? Will anyone even notice that she’s gone? What will they say when they find her body in the morning? Will anyone’s heart be filled with regret? And yet there’s a star in the sky, could there be hope? Hardly, I’d say.

1859. found - Dante Gabriel RossettiFound, Dante Gabriel Rossetti, 1859

Subject of ‘fallen women’ was particularly popular in Victorian art and literature, and, I’d have to say it’s a rather compelling subject to write about. As you will see later, many artists such as John Everett Millais, Augustus Egg, Dante Gabriel Rossetti and Richard Redgrave decided to portray the sad and hopeless circumstances that tormented those fallen women after their innocence was lost. As expected, moral authority was almost always limited to women, nobody questioned the chastity of men. This is just one of many hypocrisies of Victorian society.

Fallen” was therefore an umbrella term that was applied to a variety of women in a variety of settings: she may have been a woman who had had sex once or habitually outside the confines of marriage; a woman of a lower socio-economic class; a woman who had been raped or seduced by a male aggressor; a woman with a shady reputation; or a prostitute. Furthermore, prostitution was defined in a range of ways and the “reality was that hard economic times meant that for many women, prostitution was the only way to make ends meet. Many … were only transient fallen women, moving in and out of the profession [of prostitution] as family finances dictated.’(*)

Rossetti’s painting ‘Found’ (unfinished) was inspired by fallen women, and he also wrote a poem on that subject:

There is a budding morrow in midnight:’ –
So sang our Keats, our English nightingale.
And here, as lamps across the bridge turn pale
In London’s smokeless resurrection-light,
Dark breaks to dawn. But o’er the deadly blight
Of love deflowered and sorrow of none avail,
Which makes this man gasp and this woman quail,
Can day from darkness ever again take flight?

Ah! gave not these two hearts their mutual pledge,
Under one mantle sheltered ‘neath the hedge
In gloaming courtship? And, O God! today
He only knows he holds her; – but what part
Can life now take? She cries in her locked heart,-
‘Leave me – I do not know you – go away!’

Picture 920The Bridge of Sighs, Sir John Everett Millais, 1858

Millais’ etching truly captured the alienation of the individual in the big city, a sense of hopelessness, while the question of ‘what shall I do next?’ lingers in her mind. Even though its colourless, it holds a certain warmth and vividness; city lights and the bridge seem so lively, the river glitters. Woman’s weary body is tightly wrapped in a shawl, her eyes tired, her face gloomy. A feeling of destitute pervades the atmosphere. She reminds me of Lou Reed’s Femme Fatale: ‘Where shall she go, what shall she do…’ There is no turning back, and yet the future brings nothing but uncertainty. A chance of finding a decent job was unlikely. Fantine, a character from Victor Hugo’s novel Les Miserables, is a good example of the poor treatment of fallen women. She was left with a small child, Cosette, after her lover abandoned her. Initially she worked in the factory, but lost her job after everyone found out she is an unwed mother.

For me, Millais’ visual interpretation of Hood’s poem really captured these verses:

Where the lamps quiver
So far in the river,
With many a light
From window and casement,
From garret to basement,
She stood with amazement,
Houseless by night.

The bleak wind of March
Made her tremble and shiver
But not the dark arch,
Or the black flowing river:
Mad from life’s history,
Glad to death’s mystery
Swift to be hurl’d–
Any where, any where
Out of the world!

1879. George Elgar Hicks, On the Seashore,1879George Elgar Hicks, On the Seashore, 1879

The lady above is undoubtedly facing completely different problems and dilemmas than the unfortunate woman in Millais’ etching or Hood’s poem. Her gown is black, but opulent, her hair lush and restless, her gaze wistful. All together she seems groomed and proper, on her face life has not yet left any traces of sadness and disappointment, everything awaits her, unlike Millais’ heroine who was forced to encounter the ‘real world’.

Augustus Egg’s triptych ‘Past and Present’, 1858, shows the downfall of a bourgeois family, the effects of adultery not only for the ‘guilty’ woman but for the children as well, and the whole reputation of the family. Third painting, Past and Present, No. 3, Despair’, is the most interesting one because it shows the same motifs as Found Drowned by George Frederic Watts. Woman, who had played he cards wrongly, now sits under the bridge, and, helpless and alone, oh, completely alone, gazes at the moon, as if expecting salvation from the stars. One wrong step gambled away her future. Was it worth it?, she asks herself, but the night doesn’t respond. All is silent, and Thames is asleep. The scene again leads me to Hood’s poem:

Whilst wonderment guesses
Where was her home?

Who was her father?
Who was her mother?
Had she a sister?
Had she a brother?
Or was there a dearer one
Still, and a nearer one
Yet, than all other?

Alas! for the rarity
Of Christian charity
Under the sun!
Oh! it was pitiful!
Near a whole city full,
Home she had none.

1858. Augustus Leopold Egg, 'Past and Present, No. 1, Misfortune'Augustus Leopold Egg, ‘Past and Present, No. 1, Misfortune’, 1858

Past and Present, No. 2 1858 by Augustus Leopold Egg 1816-1863Augustus Leopold Egg, ‘Past and Present, No. 2, Prayer’, 1858

Past and Present, No. 3 1858 by Augustus Leopold Egg 1816-1863Augustus Leopold Egg, ‘Past and Present, No. 3, Despair’, 1858

1851. Richard Redgrave - The Outcast Richard Redgrave – The Outcast, 1851

Effie Gray (2014) – A Review

24 Apr

dakota fanning as effie gray 1

I watched Effie Gray about a month ago and I fairly enjoyed it so I thought I’d share my impressions with my readers.

First of all, I was drawn by the story because I love the Pre-Raphaelites and I have been fascinated by this ‘Victorian Love Triangle’ for quite a while. The scandalous love triangle involves Effie Gray, played by Dakota Fanning, art critic John Ruskin (Greg Wise) and the young Pre-Raphaelite painter John Everett Millais played by Tom Sturridge whom you may have watched in Waste of Shame (2004). Secondly, the costumes allured me even before I watched the movie, and I was naturally curious about Effie’s wardrobe since I am very fond of the early Victorian era fashion. Effie’s dresses and hairstyles were in the spirit of the Pre-Raphaelites, and her green dinner dress with details of black lace was splendid.

Even thought I had doubts about Effie being played by Dakota Fanning, I changed my mind after ten minutes of watching the movie. What I liked the most about the movie is the portrayal of Effie’s loneliness and isolation. I never actually thought about it, despite being familiar with the story and Effie’s marriage. This movie really made me symphatise with Effie; being very young and naive she must have felt confused and lonely living with Ruskin and his dominating parents, not even sure of his affection towards her anymore, away from home and cut off from all of her loved ones.

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My favourite part of the movie is when Effie, Millais and Ruskin travel to Scotland where Effie is to improve her health, and Millais is to paint a portrait of Ruskin. In those gloomy days of solitary and rain Effie and Everett fell in love. I think Tom Sturridge portrayed Millais very well; he seemed shy, sweet and caring, especially in comparison with Ruskin’s aloofness and general disinterest. Along with his amiable nature, Everett was young and passionate, and it doesn’t surprise me at all that Effie fell in love with him, who wouldn’t? The Scottish landscapes are exquisite, wild, gloomy and picturesque! And it rained all the time, could there have been a better background for a love story?

Lastly, I thought the ending was vague. To those who are acquainted with the story of Effie and Millais the everything will be clear; Effie’s marriage to Ruskin will be annuled and she’ll eventually marry Everett. But not everybody is familiar with the story, and to those who are not the ending might seem confusing and disappointing. We mustn’t forget that divorce wasn’t as easy in Victorian era as it is now. Effie was fortunate enough to get her marriage annulled, but things could have played out differently. I just think that the movie could have ended in a better way, a scene of Effie marrying Millais might have been appropriate?

As for Ruskin, I think he shouldn’t have married Effie and then deny her love. He seems rather selfish, cold and aloof. Marriage to him must have been a condemnation to solitude. It is clear from the beginning that Ruskin’s true bride was art. Fortunately, Effie managed to get away from the sad life that was ahead of her.

All in all, I liked the film and I’d give it 4/5 just because there are better period dramas such as Jane Eyre (2011) and Sense and Sensibility (1995) which would earn all five stars on my scale, but I still liked the film very much and I’ll probably watch it again.