Re-Presenting the Ambiguity in Christina Rossetti’s ‘Goblin Market’ in Illustration and Music — Our September online lecture.
The ambiguity of Christina Rossetti’s ‘Goblin Market’ has haunted the imagination of numerous artists from the very moment of its publication, a fascination which continues up to now, when new illustrated editions are being published and new musical productions are being staged. This talk will explore how illustrators and composers have transferred the poem into visual arts and music and will examine to what extent these creative transpositions have influenced the afterlife of Rossetti’s memorable lines. We will delve into Rossetti’s poetical language, with its sensuousness, rich imagery and musicality, and its adaptation into other sister arts, which will allow us to observe the manner in which illustration and music represent the source text.
Ester Diaz is a PhD Fellow in English Literary Studies at the Universidad Nacional de Educacion a Distancia (UNED), Spain, where she holds a FPI grant. She completed a Master’s Degree in English Literature and Culture with a dissertation about the interrelationship between poetry and art, studying how John Keats became one of the strongest poetical influences on the Pre-Raphaelite Brotherhood. Her doctoral research now focuses on the study of poetic language and how it can be translated, adapted or transferred into other languages or media such as painting and music.
Edited by Margaretta Frederick
Contributions by Judy Oberhausen, Nic Peeters, Jan Marsh, Diana Maltz, William Waters, Alastair Carew-Cox, Sarah Hardy, Oliver Watson, Sally Woodcock, Christopher Jordan, Emma Merkling, Richenda Roberts and Lucy Ella Rose
Imprint: Yale University Press
The fully illustrated publication features numerous contributions which explore the reach of the De Morgans’ partnership, their political and spiritual interests, and their immersion within several influential cultural circles of the day, including Pre-Raphaelite, Arts and Crafts, and Aesthetic Movement groups. The book presents a lively and multifaceted account of the De Morgans and their creative partnership.
The William Morris Gallery is pleased to announce our next special exhibition 'The Legend of King Arthur: A Pre-Raphaelite Love Story' opening at the William Morris Gallery on Friday 14 October and running until Sunday 22 January 2023.
It will explore the legend of King Arthur within the Victorian imagination, presenting the story through the eyes of Pre-Raphaelite artists including Dante Gabriel Rossetti, Arthur Hughes, John William Waterhouse and William Morris alongside lesser known female Pre-Raphaelite artists Eleanor Fortescue-Brickdale and Emma Sandys. Curated by Natalie Rigby, Collections Manager at Falmouth Art Gallery, this is the exhibition’s first stop on a nationwide tour of locations associated with King Arthur.
Following its debut at the William Morris Gallery, the exhibition will tour to Tullie House, Carlisle in February 2023 before before finishing its run at Falmouth Art Gallery in Cornwall in June 2023.
The Princeton University Art Museum has acquired a significant work by the Pre-Raphaelite painter Rebecca Solomon. The work, A Young Teacher (1861), shows a domestic scene in which a young girl is teaching her family’s servant how to read. It was most recently seen publicly in the exhibition Pre-Raphaelite Sisters at the National Portrait Gallery in 2019. The model who sat for the servant figure was Fanny Eaton, a young Jamaican-born woman who modeled for a number of significant painters of the period. The painting was bought by the museum in March at Sotheby’s, where it sold for £302,400 (with fees) - or ten times its high estimate.
The William Morris Society in the United States (WMS-US) invites session proposals for the CAA 2023 conference, which is scheduled for February 15–18 in New York.
We welcome proposals for sessions that are open to a range of time periods, geographic regions, and media. We invite submissions on topics that are related in any way to the ideas and art forms associated with William Morris, including but not limited to: the history of craft, design, and ornament; interiors; architectural history; heritage preservation; medievalism; nineteenth-century art; the Pre-Raphaelites, the Aesthetic movement, and the Arts and Crafts movement; book history; word and image; labor; and social justice.
Proposals focused on historiographic and theoretical questions are encouraged.
To propose a session, please submit a title, a 250-word abstract, and a shortened CV for the chair(s) to email@example.com by April 15, 2022.
Submissions will be reviewed by a committee of WMS-US board members. The selected proposal will be announced by April 22. The WMS-US will work with the session chair(s) to submit the final proposal to CAA by the deadline of April 26. Once approved by CAA, the session will be included in CAA’s open call for papers.
Please be aware that if the proposal is selected, the chair(s) will be required to be members in good standing of CAA. The chair(s) will have the responsibility of selecting session contributors and coordinating the presentations for the conference. As a sponsor of the session, the WMS-US will work with the chair(s) to advertise the event.
In 1894 Edward Burne-Jones designed the seal of the University of Wales.
Returning from Hampshire at the latter part of 1943, British painter Francis Bacon (1909 - 1992) took the ground floor of 7 Cromwell Place, South Kensington, John Everett Millais’ old house and studio.
In 1978, when Cornell University planned to add a Learning Center to the Rose Memorial Library, a dismantled window designed by Henry Holiday was unexpectedly rediscovered in a crate in the attic of the Hall of Sciences.
Up to and during the nineteenth century there was a pigment called “mummy,”which made a lovely clear glowing brown. Now, as the story goes, it was really made out of, well, mummies. Ground up mummies. One day in 1881, Lawrence Alma-Tadema came upon his colorman at work, cheerfully grinding up Egyptian mummies for paint. Horrified and appalled, he rushed to tell his friend Edward Burne-Jones. Burne-Jones, too, was stunned. After a moment’s thought, he hurried off to his studio and returned with a tube of mummy in hand. He wanted to give it a decent burial. “So a hole was bored into the grass at our feet,” noted Georgiana Burne-Jones later, “and we all watched it put safely in, and the spot was marked by one of the girls planting a daisy root above it.”
Pop star Kylie Minogue’s music video for “Where the Wild Roses Grow” (1995) was inspired by John Everett Millais’ Ophelia.
Back in 2019, during the Victorian Radicals tour from Birmingham, Seattle Art Museum summoned bakeries from around Seattle to create show-stopping desserts inspired by the exhibition. Participating pastry pros had one week to develop, create, and deliver their entries, which were judged on taste as well as adherence to the theme. This interpretation of Ford Madox Brown’s "The Pretty Baa Lambs” was the winning entry.
It is with deep sadness that the Pre-Raphaelite Society notes the passing of David Elliott, grandson of a Pre‑Raphaelite artist and a very special friend of the Society.
David was educated at Marlborough. He spent his National Service in Vienna. He then had a career in advertising, working in the US, Canada and the UK, and worked at a consultancy he set up until his retirement.
Many members of the Pre-Raphaelite Society will have met him through the Society events. He was the author of two important books, Charles Fairfax Murray and A Pre-Raphaelite Marriage: The Lives and Works of Marie Spartali Stillman and William James Stillman.
David was the grandson of art connoisseur, dealer, collector, benefactor, studio assistant and painter Charles Fairfax Murray, whose expertise and gifts strengthened the collections of the Birmingham City Art Gallery, Dulwich Picture Gallery, the Fitzwilliam Museum and the National Gallery. There was no one better-suited to write his biography than David. There is no memorial to David; his memorial is the mirror which Dante Gabriel Rossetti had in his home in Chelsea. His family have donated this precious historic artefact with its Pre-Raphaelite connections to the Fitzwilliam Museum, Cambridge. It will eventually be displayed alongside the Rossetti Sofa that his grandfather donated to the museum a century earlier. It is fitting that an item which reflects life will reflect the life of our special friend, and he will be missed.
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