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Aestheticism was an art movement in the late 19th century which valued the appearance of literature, music and the arts over their functions. According to Aestheticism, art should be produced to be beautiful, rather than to teach a lesson, create a parallel, or perform another didactic purpose, a sentiment best illustrated by the slogan "art for art's sake." Aestheticism originated in 1860s England with a radical group of artists and designers, including William Morris and Dante Gabriel Rossetti. It flourished in the 1870s and 1880s, gaining prominence and the support of notable writers such as Walter Pater and Oscar Wilde.
Fairleigh Dickinson University is a private university with its main campuses in Madison, New Jersey. Founded in 1942, Fairleigh Dickinson University offers more than 100 degree programs. In addition to two campuses in New Jersey, the university has a campus in Vancouver, British Columbia, one in Wroxton, Oxfordshire, United Kingdom, and an online platform. Fairleigh Dickinson University is New Jersey's largest private institution of higher education, with over 12,000 students.
Norman Garstin was an Irish artist, teacher, art critic and journalist associated with the Newlyn School of painters. After completing his studies in Antwerp and Paris, Garstin travelled around Europe and painted some of his first professional paintings while on the journey. He later took students to Europe to some of his favourite places.
Evelyn De Morgan was an English painter associated early in her career with the later phase of the Pre-Raphaelite Movement, and working in a range of styles including Aestheticism and Symbolism. Her paintings are figural, foregrounding the female body through the use of spiritual, mythological, and allegorical themes. They rely on a range of metaphors to express what several scholars have identified as spiritualist and feminist content. Her later works also dealt with the themes of war from a pacifist perspective, engaging with conflicts such as the Second Boer War and World War I.
Sophie Gengembre Anderson was a French-born British Victorian painter who was also active in America for extended periods. She specialised in genre paintings of children and women, typically in rural settings. She began her career as a lithographer and painter of portraits, collaborating with Walter Anderson on portraits of American Episcopal bishops. Her work, Elaine, was the first public collection purchase of a woman artist. Her painting No Walk Today was purchased for more than £1 million.
The Grosvenor Gallery was an art gallery in London founded in 1877 by Sir Coutts Lindsay and his wife Blanche. Its first directors were J. Comyns Carr and Charles Hallé. The gallery proved crucial to the Aesthetic Movement because it provided a home for those artists whose approaches the more classical and conservative Royal Academy did not welcome, such as Edward Burne-Jones and Walter Crane.
John Roddam Spencer Stanhope was an English artist associated with Edward Burne-Jones and George Frederic Watts and often regarded as a second-wave pre-Raphaelite. His work is also studied within the context of Aestheticism and British Symbolism. As a painter, Stanhope worked in oil, watercolor, fresco, tempera, and mixed media. His subject matter was mythological, allegorical, biblical, and contemporary. Stanhope was born in Cawthorne, near Barnsley, Yorkshire, England, and died in Florence, Italy. He was the uncle and teacher of the painter Evelyn De Morgan and encouraged then unknown local artist Abel Hold to exhibit at the Royal Academy, which he did 16 times.
The Colonel is a farce in three acts by F. C. Burnand based on Jean François Bayard's Le mari à la campagne, first produced in 1844 and produced in London in 1849 by Morris Barnett, adapted as The Serious Family. The story concerns the efforts of two aesthetic impostors to gain control of a family fortune by converting a man's wife and mother-in-law to follow aestheticism. He is so unhappy that he seeks the company of a widow in town. His friend, an American colonel, intervenes to persuade the wife to return to conventional behavior and obey her husband to restore domestic harmony, and the colonel marries the widow himself.
Annie Louisa Swynnerton, ARA was a British painter best known for her portrait and symbolist works. She studied at Manchester School of Art and at the Académie Julian, before basing herself in the artistic community in Rome with her husband, the monumental sculptor Joseph Swynnerton. Swynnerton was influenced by George Frederic Watts and Sir Edward Burne-Jones. John Singer Sargent appreciated her work and helped her to become the first elected woman member at the Royal Academy of Arts in 1922. Swynnerton painted portraits of Henry James and Millicent Fawcett. Her main public collection of works are in Manchester Art Gallery, but individual works are also held in a few other English cities, as well as can also be seen in Glasgow, Dublin, Paris, and two in Melbourne, Australia. Annie was a close friend of leading suffragists of the day, notably the Pankhurst family.
Joseph William Comyns Carr, often referred to as J. Comyns Carr, was an English drama and art critic, gallery director, author, poet, playwright and theatre manager.
Catherine Elizabeth Macready Perugini was an English painter of the Victorian era and the daughter of Catherine Dickens and Charles Dickens.
Louise Jane Jopling was an English painter of the Victorian era, and one of the most prominent female artists of her generation.
Sir Coutts Lindsay, 2nd Baronet, was a British artist and watercolourist.
Clara Federica Montalba was a British artist, chiefly known for her watercolour paintings of Venice. She was the eldest of four daughters of the Swedish-born artist Anthony Rubens Montalba, all of whom achieved considerable artistic success, though Clara was arguably the most successful and best-known of the four. Between 1879 and 1889 she exhibited her work at the Grosvenor Gallery, London. An early feminist, in 1886 she was named by Millicent Garrett Fawcett as one of twenty successful and accomplished women who had given "warm help and support" to the movement. In 1892, in recognition of her artistic talent, she was admitted into the Royal Watercolour Society. She died in Venice in 1929.
Hilda Montalba was a British painter and sculptor.
Love's Messenger is an 1885 watercolor by Marie Spartali Stillman in which a dove has just carried a love letter to a woman standing in front of an open window. She wears a red rose, and has just put down her embroidery of a blind-folded Cupid.
Henry Van der Weyde (1838–1924) was a Dutch-born English painter and photographer, best known for his photographic portraits of the late 19th century. His is considered a photographic pioneer in the use of electric light in photography. Amongst his portraits are architect William Burges (c.1880), Alexandra, Princess of Wales, A. E. Housman, actresses Mary Anderson (1887) and Dorothy Dene (1880s), Sir Edwin Arnold, bodybuilder Eugen Sandow (1889) and explorer Fridtjof Nansen (1897).
Susan Paulette Casteras is an American art historian, educator, and curator. Casteras is Professor of Art History Emeritus from the University of Washington. She is a specialist on British art, particularly Victorian art and Pre-Raphaelitism.
Carol Armstrong is an American professor, art historian, art critic, and photographer. Armstrong teaches and writes about 19th-century French art, the history of photography, the history and practice of art criticism, feminist theory and women and gender representation in visual culture.
Edward Stott was an English painter of the late Victorian to early twentieth century period. He trained in Paris under Carolus Duran and was strongly influenced by the Rustic Naturalism of Bastien-Lepage and the work of the Impressionists, which he married with the English landscape tradition of John Linnell and Samuel Palmer. In the mid-1880s he settled in rural Sussex where he was the central figure in an artistic colony. His forté was painting scenes of domestic and working rural life and the surrounding landscapes often depicted in fading light. Stott's work achieved critical and commercial success at home and in Europe in his lifetime but his style of painting became unfashionable in the aftermath of the Great War and much of his work is now neglected and unconsidered.
