Charles Edward Perugini

A Sideways Glance

Exhibited: Birmingham Royal Society of Artists, 1879 “Autumn Exhibition of the Birmingham Royal Society of Artists.” The London Times, 25 August 1879. T...

An Orientalist figurative or genre painting by Conrad Kiesel.

Signed and dated '1884' lower right

Signed and dated '1873' lower left

Portrait Of A Redhead Girl, Emily Bland, 19th Century by Philip Hermogenes CALDERON (1833-1898) Exhibition: London, Royal Academy, 1870, no. 103. Large 19th Century Pre-Raphaelite...

George Dunlop Leslie (1835 - 1921) Antique English realist oil painting. Oil on canvas. Signed. Framed. Measuring 17 by 20 overall and 12 by 15 paining alone. Artist Bio: George Dunlop Leslie RA (London 2 July 1835 – 21 February 1921 Lindfield, Sussex) was a British genre painter, author and illustrator. He was born into an artistic family; his father was the notable genre painter Charles Robert Leslie RA, and his uncle Robert Leslie was a marine artist. He studied art first at Cary's Art Academy, then from 1854 at the Royal Academy. His first exhibition at the Academy was in 1859, and he showed his work every year thereafter. He became an Associate (ARA) in 1868 and a full Royal Academician (RA) in 1876.George Dunlop Leslie lived early on in St John's Wood (London), and was part of the St John's Wood Clique, a group of artists who favoured light-hearted genre subjects. From 1884–1901 he was resident at "Riverside", St. Leonard's Lane, Wallingford, Oxfordshire. His sister Mary Leslie (1833–1907), also an artist, lived at "Cromwell Lodge" next door. Fellow artist, James Hayllar, was also a resident of the village and they painted a portrait of Queen Victoria together for her Golden Jubilee in 1887. From 1906 he lived at "Compton House" in Lindfield, SussexHis early works, such as Matilda (1860) showed the strong influence of the Pre-Raphaelites, but he settled into a more academic, aesthetic, style of painting with the aim of showing "pictures from the sunny side of English domestic life". He often used children as subjects and his work was praised by John Ruskin for its portrayal of the "sweet quality of English girlhood". One of his pictures, This is the Way we Wash our Clothes, was used as a poster in an advertising campaign for soap. Despite its apparently trivial subject matter, however, Leslie's work was highly regarded by critics of the time.In 1889 during his time at Riverside house in Wallingford Leslie is credited with painting four angel murals in St Leonards Church.Leslie was also an author and had several books published. Our river (1888), Letters to Marco (1893) and Riverside letters (1896) were all illustrated by him in black and white, and based on personal observations of life and nature in his local area. He also wrote a history of the early years of the Royal Academy - The inner life of the Royal Academy.Leslie was married to Lydia. They had a daughter Alice (depicted in his painting Alice in Wonderland) and a son Peter Leslie...

William Clarke Wontner 1857-1930 British Portrait of a Beauty Signed and dated "W. Wontner 1918" (lower left) Oil on canvas Classical beauty a...

Literary Origins of Angelica The subject of this painting is Angelica, a princess from the epic chivalric romances of the Italian Renaissance. She first appears in Matteo Maria Boiardo’s Orlando Innamorato (1483) and reappears famously in Ludovico Ariosto’s Orlando Furioso (1532). In these poems – part of the Matter of France cycle of Charlemagne and his paladins – Angelica’s extraordinary beauty ensnares many knights, including Orlando (Roland) and his cousin Rinaldo, sparking rivalries and adventures. Ariosto’s narrative particularly highlights Angelica’s tumultuous journey: at one point she is stripped and chained to a rock as a sacrifice to a sea monster (a scene mirroring the myth of Andromeda) before being dramatically rescued by the valiant knight Ruggiero on his winged horse. Ultimately, however, Angelica chooses her own destiny. She falls in love with a humble Saracen soldier, Medoro, whom she nurses back to health, and she returns with him to her far-off Asian kingdom – an affair that drives the heartbroken Orlando to madness. This independent resolution (marrying outside the circle of Christian knights) made Angelica an emblem of feminine agency and romantic idealism in Renaissance literature. Her story remained popular in art and literature through the centuries, symbolizing the allure and elusiveness of love. Kronberg’s Portrayal and Composition In Julius Kronberg...