Victorian Art and Culture - 1837 - great change in victorian art world - Royal Academy (Nayioanls School of Art - moved to new premises in National Gallery) - John Constable - landscape, died in 1837. Final painting exhibited at Royal Show - Hicks, The General Post Of f i ce, On eMinute to Six (1860) - Itty - was scandalous, shocking painting. - Etty - 15 by 10ft. Reviewer so horrif i ed "disgusting" - Indecency, largely held in storage. - Still, landscape at bottom oh hierarchy - History paintings at top - intended to praise god, based on literary scene. Designed for mass canvases, usually classical f i gured, roman greek times, - Meant to be didactic - moral or religious lesson from painting. Butler - Commemoration of battle of waterloo - Female artists - number of women artists increased dramatically, 1901 cen- sus - 14,000 professional artists, 3,700 were women. Stillman - Literary theme - Unusual - all female scene Solomon - Sister of Sirian (queer artist) - Royalist woman and child seekignreufge in-house of puritan woman and sick child - different classes and religions. - Brought together through common humanities,motherhood. Jopling - Married to another artist, most successful. - Becomes f i rst female artists admitted to royal society british artists in 1901 - Not a lot of texts on female artists - Male art establisemt denied woman, less likely to eb bought, conserved, displayed. - Treated as special category.
- Delicacy, female ref i nement but not on equal professional status. - Not allowed to go to life classes (most important partfp training for artists) - Excluded from masculine privileges - founder of royal society, when women exhubit, not allowed to be members, no access to networks, teach- ing, administrative roles, harder to make a living. - Keenly involved in women's suf f rage campaigns. - Part of a wider women's movmeent, seekgnprofession equality btus also the suf f rage campaign. Pre-raf f aelite movement - 1848 - 7 young art students - Danté Risettig, John Everett-Milais - Picture gallery, no -pre-rafaellite work. - About self-publicity (pre) - Millais painted Lizzy Sizzle, as phelia, forgets to warm water, nearly dies. - Sex, drugs, rock and roll - Inspired by rediscovery of art before rafael, early itlaian renaissance art. - Believe after rafael, art has taken a wrong turn, rejecting grand hsiotricla style of the royal academy, drawing on techniques and craftsmanship of italian masters - Not interested in history and protrait, want small, private, domestic stories. - Using bright, translucent colours - also painting at a time of fear of revival of roman cathlciism on 1840s, tap- ping into anxieties, religious symbolism in painting (dove, vine - coming birth of saviour, lily- symbol of purity, virgin mary. - Italians art and poetry Millais - Isabella - about poem by John Keets - italian dining scene, small, cramped, uncom- fortable space - Timid lovers - sharing blood orange - Not what paintings should look like in