Having painted in Realist, Naturalist and Impressionist styles, from about 1893 she settled with the Pre-Raphaelite, even making egg tempera her main medium.
Very much a Modern Woman, she was in London during the height of the Pre-Raphaelite movement, when she painted her masterpiece of Elaine of Astolat.
Introduction to a series of articles looking at the work of some of the brilliant women artists who were associated with the movement.
How one critic established the success of the Pre-Raphaelite movement, but set its landscape painters an impossible challenge.
His four best paintings viewed in their historical context, and consideration of the constraints that he painted under. What if?
In memory of Richard Dadd: ten of his best, and thoughts about his life and work. Would we have been any better towards him even now?
In 1864, he was transferred to the newly-built Broadmoor Asylum. Despite that disruption, he continued to paint.
In which Dadd becomes a nineteenth-century Bosch on some seriously psychotropic drugs. It is a masterpiece like no other.
A couple of watercolours give some insight into those around him, and pose a perplexing puzzle. He ended the 1850s with another masterpiece based on A Midsummer Night’s Dream.
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