The exquisite and lucrative floral still lifes of Fantin-Latour, and those painted by artists on the periphery of Impressionism. Plus a surprise from Monet.
Vedder
Seashells appear in Turner’s myths, Dyce’s fresco for Queen Victoria, twice in Elihu Vedder’s work, and in Odilon Redon’s. And a story from Rubens about seashells and colour.
One of the foremost portrait and figurative painters in the US at the end of the nineteenth century, his dominant theme is the ideal woman, with or without wings.
Wisdom, crafts including weaving, and warfare, she’s a popular figure in paintings from Mantegna to Klimt, and a contestant in the Judgement of Paris.
In the more southern parts of Europe, the tree most strongly associated with churchyards and graveyards, representing grief.
Daughter of Uranus and Gaia, and mother of the nine Muses, she has seldom been painted on her own, except by Rossetti.
Early in 1896, several artists who exhibited at the Salons set up a rival exhibition. The following year was the last of Péladan’s and his movements petered out by the twentieth century.
His late paintings were a mixture of symbolism and classical myth. Prominent are murals and a mosaic in the Library of Congress.
Mainly paintings of classical mythology, including Marsyas Enchanting the Hares, and several developed from his illustrations for The Rubáiyát of Omar Khayyám.
Dividing his life between New York and Rome, by 1870 he was painting Symbolist masterpieces and superb landscapes in Italy.
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