Its left to the outlying Pre-Raphaelite, Simeon Solomon, to skewer the amusing obsessions of his colleagues with his Sir Galipot Bearing the Holy Gruel. Similarly a photograph by pioneering 19th-century photographer Julia Margaret Cameron, Lancelot and Elaine (1875), reveals the Victorian artist-craze for Medieval ‘re-enactment’ with its cloaked man (Charles Hay Cameron, Cameron’s husband) rowing a boat bearing the body of Elaine (unknown sitter) down the river to King Arthur’s castle, Camelot. Attainment of the Holy Grail Tapestry, Morris & Co., (1891-4) © Creative Commons Images (Birmingham Museum Trust)īut apart from the back stories of the artists, the exhibition explore each strand of the Arthurian legends, beginning with Merlin as depicted through Arthur Hughes’ painting, The Rift with the Lute (1861-2) and Herbert Alfred Bone’s drawing The Head of King Arthur (1879).ĭe Morgan’s Study of Armour (1919) offers an insight into the work the artists put into their pursuit of authenticity in their depiction of the medieval world and Siddal’s drawing of The Lady of Shalott (1853) shows how deeply Tennyson’s evocation of Arthurian Medieval construct permeated the Pre-Raphaelite scene.
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