11 Replies to “Contact”

  1. Hello. I’ve just read this on your webpage: “In 1857, Rossetti and a small group of artists that included William Morris and Edward Burne-Jones were working in Oxford, painting the Union Murals. One night, they attended a show at the Theatre Royal Drury Lane.” But the Theatre Royal, Drury Lane is in London, not Oxford. It was the Theatre Royal’s company that was touring the country and in Oxford. In any case, Jane Burden would not have had the money to travel to London to go to the theatre.

    1. You are absolutely right. I just checked Jan Marsh’s book, Pre-Raphaelite Sisterhood, and she says “One evening in the last week of September or the first week of October, Jane and her sister Bessie, aged eighteen and fifteen respectively, went to see a show presented by the touring company of the Theatre Royal Drury Lane, then playing a summer season in a converted gymnasium in Oxford.” Thanks for bringing this to my attention as I certainly might not have caught my mistake! Do you happen to know which post on my site you saw it on so that I can correct it?

  2. In Dora Yates’ book ‘My Gypsy Days’ she writes on p 105 of Esmeralda Groome, a Romani (Gypsy) woman, that
    “ … Dante Gabriel [Rossetti] left an immortal record of her charm as the dancing girl or the ‘Romany Chy’ in more than one of his pictures.” Esmeralda could not have met any of the PRB until 1876, the date of her marriage to Francis Hindes Groome. As I understand it, Rossetti only painted a dozen or so paintings after 1876. Would you happen to know which of these featured Esmeralda, or if indeed any of them did. Any help would be appreciated.

    1. It is just possible that DGR contacted Hubert Smith about Esmeralda who was the heroine of his travel book ‘Tent Life…’ published in 1873. But Izzie told other fibs which are unverifiable about her career such as performing on the same bill as Vesta Tilley at London Music Halls. NB – she was a fortune teller, a professional fibber!

  3. I just came across your website and enjoyed it very much. Thank you for doing this. A friend told me of the concept of katabasis, which led me here. I Had forgotten how significant the Pre-Raphaelites were in my art education. You may see their influence in the People section of my website scottpriorart.com

  4. Thank you for starting this website, it’s a great idea! And I’ve enjoyed everything I’ve read so far. I’m just sad that not many actual women Victorian painters following the pre-raphaelite four principles are highlighted. I came across the site because like you did with Lizzie Siddal, I’m doing an independent research project on a female painter who I suspect brushed shoulders with the Pre-Raphelites and herself admitted to being influenced by the work of Rossetti and Burne-Jones. For a time she was neighbors with Strudwick and at least 3 of her works to me seem VERY reminiscent of Pre-raphaelite themes and styles. But I’m still in the process of establishing whether one could think of her paintings and style as pre-raphaelite-ish enough… what if part of your site were to open up discussion on such wonderings? I have been collecting examples of her work which are out of copyright so could upload them one at a time and ask for input on whether people think they follow the pre-raphaelite principles or not. And do you have any openings for writers to contribute as for example I carry out my research I could publish through my own means on a site dedicated to the woman I’m focusing on, like you did with Lizzie Siddal, and indeed I intend to, but also thought how nice it would be for her work or life and struggles as a Victorian woman painter, to be mentioned on such a site as this. I’d love to hear your thoughts!

  5. Hi. I recently came across some paintings by the brilliant Emma Sandys, an artist I was previously unaware of. Looking on Wikipedia I was surprised to find how little is known about her, and decided to do some sleuthing myself. Census returns show she lived with her parents near Norwich all her life, but oddly there is no official record of her birth; she first pops up aged 9 in the 1851 census. My maths isn’t brilliant, but if she was born in 1843 as most biographies would have it, then she would have been 7 or 8 at the time of the 1851 census, not 9. I’m also wondering how, tucked away in Norfolk, she achieved such a high level of sophistication in her work, and so closely allied in style to that of her brother Frederick, who was away in London pursuing the bohemian lifestyle. A real mystery!

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