I forgot. There will be no new “real” post this 5th Sunday of the month, a non-event for which I take entire credit. But in the interests of holding our place, I googled “Art” and here’s the first “art” image that appeared.
Painters of France, a sculpture on the Albert Memorial by Henry Hugh Armstead.
“Here commences the French School, with a fine seated figure of Poussin in a suggestively antique chair, and turning away from his countrymen towards Raffaelle. Claude has a hand on Poussin’s arm, and looks also to Italy. Neither of these can be said to group with the French School, which virtually begins with the bold self-possessed figure of David, whose deformity of mouth has not been shirked: he seems to be discussing with Gericault, who looks nothing lacking in self-assertion. Gerard, more calm, shows between them. Delacroix is the angle-figure of this wing. He is much wrapt up, suggestive of his consumptive habit. On the salient face of this wing stands Vernet, with folded arms, and looking very military. Delaroche sits in the centre perusing a design, while Decamps leans on the bacle of his chair and looks over him. The fine head of Ingres fills the space above.”
from John Lucas Tupper, a minor Pre-Raphaelite sculptor, poet, theorist of art education, and Rugby drawing master, who wrote this contemporary appreciation of Armstead’s career, which contains a detailed discussion of the Albert Memorial sculptures. The essay first appeared in The Portfolio and was scanned from the reprinted book version: English Artists of the Present Day. Essays by J. Beavington Atkinson, Sidney Colvin, F. G. Stephens, Tom Taylor, and John L. Tupper. London: Seeley, Jackson, and Halliday, 1872, 61-66. from The Victorian Web, Literature, History, and Culture in the Age of Victoria
The Tupper article begins with a bit of art criticism, which is worth reading, if only to educate you on how benign we are here on Ragged Cloth. To be fair, it was contemporary with the Albert Memorial which was designed and executed in the 10 years following Albert’s death in 1861.
I do wonder who is responsible for the fine masks that some of the painters wear — pigeons or contemporary commentators? I find the blackened bits entirely fetching. And I also find that I can’t sort out who is who in the description given — maybe I’ve copied info on the wrong set of sculptures. But this will do for the nonce — those of you expert on the Albert Memorial can perhaps fill us in…..