Anthony Frederick Augustus Sandys ( 1829 - 1904) | A 18th Century Pre-raPhaelite English Painter | ArtLiveAndBeauty

 

Anthony Frederick Augustus Sandys's Paintings

Anthony Frederick Augustus Sandys, or just Frederick Sandys (May 1, 1829 - June 25, 1904) -On May 1, 1829, in Norija, Norfolk, England, an English painter Pre-Raphaelite, an illustrator and a drawingman who authored mostly portraits, as well as works in the area of mythical painting, was born. His father, who was also an artist, gave him his first drawing lessons. Frederick Sandys, who shown exceptional talent, attended the Noridge designer school (English Norwich School of Design) in 1846 on the recommendation of his father, and rose to prominence owing to his caricature of the Nightnaya Nightmare for John Evetta Mille Sir Izuyumbra in 1857. 

Artist Philip Hermogenes Calderon | ArtLiveAndBeauty

 

Philip Hermogenes Calderon's Paintings

Philippe Hermogenes Calderon, an English genre painter and graphic artist of the Pre-Raphaelite movement, was born on May 3, 1833 in France. A Royal Academy of Arts member. The master was particularly drawn to historical and genre topics.
A Catholic priest who immigrated to England as the son of a Frenchwoman and a Spaniard, where his father became a professor of Spanish literature at King's College London.
Philip trained with James Lee in London and improved under Pico's tutelage in Paris. He was not permitted to draw freely and daydream here, but was compelled to sketch the models meticulously so that the product was entirely correct from head to toe. These principles of practical sketching benefited him well throughout his career.
Calderon's painting "Waters of Babylon" was a hit when it was shown at the Academy in 1852. He painted largely portraits over the following five years.
He was the leader of the St John's Wood Clique, a group of painters who generally resided in the countryside and painted historical subjects.
He received a gold medal at the International Exhibition in Paris in 1867. His writing was viewed by London reviewers as an intelligent combination of English feeling with French flair. In the same year, he was promoted to full academician. 
Calderon had been primarily a portrait painter since 1870, and he became curator of the Royal Academy in 1887. The Guardian lived nearby the Academy and was the formal leader of the Academy's School. These responsibilities did not leave much time for the artist to paint. On April 30, 1898, Philip Hermogenes Calderon died.

" The Crown of Love " , 1875 By Artist John Everett Millais ( 1829 - 1896 ) | ArtLiveAndBeauty

" The Crown of Love " , By Artist John Everett Millais, 1875 

John Everett Millais (1829 - 1896) was a British artist who was a founding member of the revolutionary Pre-Raphaelite Brotherhood. The Peak of Love was highly criticized when it was initially displayed to the public in 1875 at a Royal Academy exhibition. The artist's errors were pointed out to him. He was specifically criticized of making the feminine physique appear more like a mannequin.

This Painting depicts the poetry (ballad) "The Pinnacle of Love" by George Meredith, which was published in the British journal "Once a Week" in 1908. In turn, Meredith's ballad is a poetic version of Marie de France's narrative "The Lay of the Two Lovers".

Both works' plots revolve around the king of Normandy (a widower, haughty, and tyrannical) insisting on an unavoidable condition for his daughter's marriage. He asks that the pretender to her heart and hand carry the girl to the summit of a very tall mountain. At the same time, he can never let her go or take a vacation from her. Numerous knights from the kingdom attempt, but none succeed.
As the time comes, the king gathers his entire court in the valley to see the spectacle: cold-blooded knights place bets, sensitive women pray to heaven.

Simultaneously, one gorgeous courageous young guy has long been in love with the princess, and she returns his feelings. At the same time, he lacks physical power, thus the pair has no possibility of passing the proclaimed exam without resorting to deception. They do not, however, dare to flee the kingdom together for fear of upsetting the girl's father. As a result, the young man seeks a magical elixir that provides heroic power (similar to doping in current sports), while the girl fasts to lessen the weight of her beloved on the designated day.

Despite the fact that the young guy has the option to use cunning by swallowing the elixir he obtained, he refuses to do so in order to demonstrate the intensity of his affections to his sweetheart. As a result, he climbs the mountain with her in his arms, but he dies instantly - his heart could not endure the strain and burst. The girl dies of sadness after mourning the death of her beloved. Soon after, their bodies are discovered and buried together - as martyrs of love on the same mountain.

" The Crown of Love " , By Artist John Everett Millais, 1875 Canvas, oil. Size: 127.6 x 86.7 cm. Pérez Simon Collection, Mexico

" The Black Brunswicker " - 1860 By John Everett Millais ( 1829 - 1896 ) | ArtLiveAndBeauty

" The Black Brunswicker " - 1860 By John Everett Millais

The Black Brunswick Hussar is one of the most renowned works by John Everett Millais, an English Pre-Raphaelite painter. It shows a scene from the Napoleonic Wars, with a hussar officer from the Brunswick Corps bidding farewell to his sweetheart at the Duchess of Richmond dance before heading to likely death in the Battle of Quatre Bras. This brutal combat elevated the Brunswick Black Corps, but nearly all of the troops and officers died in it.

John Everett Millais's painting depicts just the scenario of an officer of the Black Corps bidding farewell to his young girlfriend, who is dressed in a ball gown. He is already dressed for war and has a headpiece with a silver stripe in the shape of a dead head in his hand (the uniform headdress of the Brunswickers). Yet the girl is not ready to let go of her beloved; she appears to believe that this is their final meeting; it is known that few Brunswickers survived the fight. A crimson ribbon on her sleeve turns red as a sign of the blood that will be spilt in the near future. As the officer is already opening the door, and the girl clings to her sweetheart, displaying her affection and devotion in one final attempt to keep him. There is another character in the painting who is also near the leaving Person - this is a tiny dog standing on her hind legs - she also pleads him not to leave, and she is tied with a red bow, exactly like the girl. In general, the color red was a sign of resistance against the invader in many military formations, but here it is a symbol of impending loss, a symbol of eternal separation.

Despite the simplicity of the arrangement, there is one place in John Everett Millais's painting that has sparked much debate among art historians. He brushes up to David's Napoleon painting on the wall. Was this image a hint that the girl had a secret crush on the invader, whom her beloved was about to fight? How intense her anguish is right now! Is the image shown here as a sign of hatred for the opponent and a burning desire to beat him? Yet the adversary is still powerful and will not give up - after all, John Everett Millais picked this specific image of Napoleon confidently riding a horse on the St. Bernard Pass by coincidence. One thing is certain: the portrait on the wall is not an accident, because the Pre-Raphaelites never put anything on their paintings by chance.

John Everett Millais sat for a highly renowned girl for the painting "Black Brunswick" - Kate Perugini, an artist and the daughter of the famous English novelist Charles Dickens. The young man's identity has not been preserved, but there is evidence that he is a real hussar whose life was cut short shortly after the Painting was finished. Then an involuntary notion about a person's fate arises: after all, the hero for whom this young guy posed, an officer of the Brunswick Corps, most likely perished shortly after the artist caught the painting.

" The Black Brunswicker " - 1860 By John Everett Millais  ( 1829 - 1896 )