Two new narrative themes that became distinctive in the mid-19th century were contemporary English poetry, and the legends of King Arthur.
Millais
Unwittingly, and outside their manifesto, the Pre-Raphaelite Brethren developed a new British narrative painting.
A controversial story of a moneylender getting revenge when a borrower defaults, and demanding a pound of flesh.
As the fiery reds of falling leaves change to dull earth browns, and we get the odd flurry of snow, we know that winter is almost upon us.
From Rubens’ double-portrait with Isabella Brant, and Rembrandt’s with Saskia, to Paul Signac’s wife with a parasol and Ferdinand Hodler’s wife Berthe Jacques.
Paintings of the death of Ophelia, from the first by Delacroix in 1838 to an etching from 1889. The most popular scene which happens entirely off-stage.
Suppressed by the Reformation, narrative painting didn’t really get going in Britain until the early 18th century, but made up for lost time.
Almost banned in the 19th century, only one scene has been painted extensively, but that could refer instead to either of two of Tennyson’s poems.
Works of the greatest English writer, they remain popular on stages around the world, and have been adapted for every narrative medium, including a great many paintings.
In many paintings, depiction of fabrics, textiles and other clothing materials is more challenging and important than that of flesh.
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