Frederic Leighton: Tributes

Lord Frederic Leighton's Memorial in St. Paul's Cathedral

"They carried Frederic Leighton to his burial. The dense crowd that lined the streets all through that mournful route testified to the universal respect and admiration and to the general regret and sorrow. All that was great and noble in the land gathered in the gloom of that winter's day when they laid him to rest in the deep crypt of St. Paul's Cathedral. 

Among the bast collection of lovely wreaths and other floral offerings which were borne with Leighton to his burial, and attached to his coffin, was one from the Princess of Wales, afterwards Queen Alexandra. In her own writing she had penning the following lines upon a card, which was tied with purple and white ribbon: 

'Life's race well run,
Life's work well done,
Life's crown well won;
Now comes rest."

A splendid monument to Lord Leighton was erected in St. Paul's Cathedral. Above is raised a bronze sarcophagus shaped like a decorated casket, bearing upon its lid the reclining figure in bronze of the President, habited in his robes and wearing the badge of his office. At each end are female figures emblematical of 'Painting' with her palette and brushes, and of 'Sculpture' with her spatula and a miniature replica of Leighton's 'The Sluggard' in her hand.

Sir C. Villiers Stanford, the talented Director of the Royal College of Music, and one of Leighton's dearest friends, composed not only a very sweet anthem which was sung at Leighton's obsequies, but also a fine 'Requiem' from which you may listen to an excerpt here: https://www.youtube.com/watch?v=93vRZiZWuOQ

Preaching in Canterbury Cathedral eight days after Leighton's death, the Archdeacon of London, said: 'His life was inspired by the Christian spirit; and whatsoever things are nobly serious, just, pure, lovely, and of good report, things of virtue and of praise - to those things he devoted his Art and the power of a brilliant and gifted mind.'

On opening Leighton's will a bequest was discovered of 10,000 pounds to the Royal Academy, absolutely without conditions of any kind. The Academy's exhibition of 1896 was thronged by an unusual number of visitors. Many came to pay their sorrowful respects before the late President's last works and to lament for a vanished hand. 'Clytie' along hung on the walls which had been adorned and beautiful for years by his canvases - some of the loveliest ever painted in Great Britain."

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Death

 

"Lachrymae" by
Frederic Leighton

"From Algiers Frederic Leighton travelled slowly along the shores of the Mediterranean. The warm sun, the good air, the freedom from work, all did wonders, and the distressing heart attacks became less frequent and less severe; but he did not conceal from himself, nor from his friends, his apprehensions. Strong as was his physical development and vigorous as was his will and mental calibre, the excessive strain exacted by the ceaseless toil and insufficient rest of years, together with what he took out of himself by his mental and nervous tension in doing that 'significant thing,' told the inevitable tale.

Leighton's last study from nature was painted in Rome in October 1895, for his unfinished picture 'Clytie,' exhibited at the Royal Academy in 1896. 'It was,' says Giovanni Costa, who was his companion as usual, 'a study of fruit, and he enjoyed working at it for several hours every day, although he was really ill. After this we went to the Vatican, to Siena, and to Florence, where he saw for the last time the great masterpieces.'

After he was welcomed home with affectionate solicitude by his sisters and friends, his name came before Queen Victoria in connection with the New Year honours. She conferred upon him a Barony. This honour, however gave Leighton some misgiving as to the title by which he should now call himself. When his peerage was at last gazetted, he was styled 'Baron Leighton of Stretton, in the County of Shropshire.' He had already adopted the Leighton motto, 'Dread Shame.' The Gazette notice only appeared the day before his death, and consequently Leighton never took his seat in the House of Peers. 

His last working day on earth was January 22nd, 1896. He was taken ill during the night. His doctors saw that there was no hope, and he breathed his last on Saturday afternoon, January 25th, 1896. His last words were, 'Give my love to the Academy.'

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Final Year

"Flaming June" by Frederic Leighton

"In 1896 Frederic Leighton quite certainly had premonitions of his end. His health, which had been for long less and less satisfactory, gave way to frequent attacks of illness, increasing in anguish and distress as they recurred.  Nevertheless all through the winter of 1894-95, and the spring, too, he worked away zealously, and the last year of his life showed a larger tale of labour than any of its predecessors.

Probably this immense amount of toil had a fatal effect upon his weakened, suffering body. Anyhow, when the spring exhibition came round it found Leighton very ill and quite unable to take his accustomed part in the duties of his Presidential office. Indeed, he was ordered by his doctor, not only to desist from work, but to go to Algiers at once.

''Show Sunday' at the end of March was to be his last day in England, and I went,' wrote John Millais, 'with my father to his house where we found him along with a crowd of picture-lovers and the usual array of so-called 'smart' people. With his characteristic urbanity he was showing them his last beautiful works, 'Flaming June' and 'Lachrymae,' but what a change suffering had wrought in him. He seemed nervous, and looked for the first time really ill, but he was interested to all appearance in the things around him, and even more attentive than usual to his guests. To my father he was cordiality itself, and on our leave-taking, he said to him in a half-whisper, 'Come and see me quietly tomorrow, old boy. I go the day after.'

Leighton went off to Algiers and Millais acted as his deputy at the Academy Banquet. Before leaving he had placed his resignation of the Presidential chair in the hands of his fellow Academicians, but they declined to accept it. Everyone hoped he would return refreshed and fit for many years to come.

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley

Frederic Leighton: The Daphnephoria

"The Daphnephoria" by Frederic Leighton . Oil on canvas, 7.57 ft. x 17.22 ft.

"Nearly every year Frederic Leighton used to spend some time in Italy, in order to make studies of heads and of landscape backgrounds, which he might make use of in his pictures. For example, the heads in the 'Daphnephoria' he painted in Rome, Capri, Lerici, and Venice; whilst the background he studied in the pine forest of Pisa. So dearly did he love that beauteous land that even after enjoying the delights of travel in Spain, Egypt, Greece, or the Holy Land, he always on his way home passed through Italy, that he might take back new draughts of inspiration from the Great Masters and from the Nature which environed them.

The 'Daphnephoria' is considered by some to be his greatest masterpiece. It is a representation of the triumphal procession held every ninth year at Thebes in honour of Apollo, to whom the laurel was sacred, and to commemorate also a victory of the Thebans over the AEolians of Arne.

At the head of the procession is a youth bearing the standard with the symbols of the sun and other heavenly bodies. Behind him marches the majestic figure of the Daphnephoros or Laurel-bearer, towering above his fellow processionists. Just behind him a boy carries on a pole the brass armor of a warrior with the others holding a shield and helmet commemorating the Theban victory. One's attention then is diverted to the imposing Choragos, who is depicted full-back to the spectator. He is the typical strong man of the Olympian Games, the champion of the Lists, no less than the Leader of the Chorus. In his left hand he holds his golden lyre, and with his right he is beating time to the singing girls who follow him. All of these figures are keeping strict time as they march on the level marble pavement, and each girl carries a branch of laurel. 

The composition of the picture is quite remarkable for its simplicity in depicting a scene of fervid activity. There is no confusion: every figure is distinct and yet united in a completely satisfactory whole. There is dignity and balance, so that no one part outshines another. In it religion and poetry, beauty and pathos are all combined. Everything exactly reflects the character as well as the art of the painter in one word - thorough!

The 'Art Journal' commenting on this piece noted that 'No painter of our time maintains a firmer or more consistent adherence to those severe principles of design which have received the sanction of great examples in the past. Frederic Leighton has never lowered the standard of his work in deference to popular demand, and for this persistent devotion to his own best ideals he deserves well of all who share his faith in the power of beauty.'" 

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: President of the Royal Academy

"Giovanni Costa" by Frederic Leighton

"In 1878 Frederic Leighton became President of the Royal Academy, a position he held until 1896 and which carried the customary knighthood. Alike by the qualities of his work, his unique social position, and mental endowments, he was a fitting head to the official Art institution of his country. Among the honours which were bestowed upon him in consequence of his election were the Honorary Membership of the Royal Academies of Scotland and Ireland, and the Honorary Associateship of the Institut de France. He was also name Officier de la Legion d'Honneur, and received a medal of the first class for sculpture at the Salon.

He received many letters of congratulations including one from his old teacher Steinle: 

"Dear and honoured Friend, Today I have read in the paper that the choice of President of the Royal Academy has fallen upon you, and since I am convinced that this distinguished position is both appropriate to your services to art, and also certainly well merited, you must permit an old friend, who remains bound to you in love only, to offer you his dearest and warmest good wishes upon this honour. I pray God, that your position may provide you with great power in your country for good so as to enable you to encourage the noblest things in art. I am convinced that you, dear friend, will make a right and fruitful use of it."

As if to demonstrate that his enthusiasm and labour were in no danger of being limited by reason of his having accepted the highest distinction possible for an artist in Great Britain, the President's brush was very prolific in 1879. To the Grosvenor Gallery he sent no fewer than eleven contributions - delightful souvenirs of his travels in Italy, Spain, Algiers, Egypt, and Syria. To the Gallery in Suffolk Street he sent three pictures - all Italian. Twenty-one examples in one year! Verily the saying, must have originated in this display of vigour and beauty combined - 'No one can do like Leighton!'

In 1879 Cambridge University bestowed upon him her LL.D., while Oxford made him D.C.L. Three years earlier he had become Fellow of Trinity College, London."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Sculpture

"An Athlete Wrestling with a Python"
by Frederic Leighton

"More remarkable than any of his 1877 pictures was Frederic Leighton's bronze sculpture of 'An Athlete Struggling with a Python.' As he produced a series of small plaster models to use as he worked on one of his paintings, he was also inspired to model figures not in the painting, and this particular subject was the result.

The model for the athlete was Angelo Colorosi, Leighton's favourite Italian model, a man of splendid physique, entirely devoted to his employer. The strong man is represented grappling with a serpent, which has coiled itself around his left leg. With his left hand the man tries to free himself from the reptile, which, with his right, he holds at arm's length by the head, endeavouring to squeeze the life out of it. 

Trial efforts in his studio had been warmly approved by Legros, but Leighton's inexperience with the medium was obvious when he tried to enlarge his maquette. He miscalculated its proportions and had to destroy his first plaster. So he sought considerable technical expertise from sculptor Thomas Brock, who occupied a nearby studio.

Leighton presented 'An Athlete Wrestling with a Python" at the Royal Academy in 1877, cast expensively in bronze so that every detail was rendered with permanence. It was placed in the centre of the Lecture Room, facing the central hall which singled it out for special attention. It was immediately recognized as a major work of sculpture and the start of something quite new. Leighton's triumph was cemented by the decision by the Chantrey Trustee's to purchase the work for the nation at a fee of £2,000. It was one of the first purchases, and the first sculpture, bought by the Chantrey Bequest. After such a hiatus, British sculpture gloried in international acclaim the following year when 'An Athlete' won a gold medal at the Exposition Universelle in Paris. 

Queen Victoria's Sculptor-in-Ordinary, Joseph Boehm, wrote to Leighton in praise: 'The Athlete' is superb. I think it the best statue of modern days. I was riveted with admiration and astonishment.' 

The original bronze cast is displayed alternatively between the Tate Britain and the Victoria & Albert Museum, London. The Royal Academy owns the original plaster. Three 3 ft. bronze reductions were created and smaller versions just 20 inches high were also sold. A duplicate in marble, the only thing in marble Leighton ever did, was was commissioned by Carl Jacobsen for the Ny Carlsberg Glyptotek, a museum he had founded, then gifted, to the city of Copenhagen in 1888."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley and a lot essay written for Christies at https://www.christies.com/en/lot/lot-5701814 )

Frederic Leighton: Sir Richard F. Burton

"Portrait of Sir Richard F. Burton, K.C.M.G."
by Frederic Leighton

"In the Royal Academy in 1876 was Frederic Leighton's remarkable 'Portrait of Sir Richard F. Burton, K.C.M.G.' This is the finest portrait Leighton ever painted. It is merely the head and shoulders of the famous traveller, but marked by a vigour and a spontaneity quite unusual in his portraiture. 

There was nothing of the ideal about Richard Burton - he was a forceful personality, with no beauty of feature. Leighton has attempted no pose, but an easy, natural, wide-awake expression glances upwards in profile. The skin is tanned, the hair, rather unkempt, is brown. The black coat and dark brown red-spotted tie further project the head and features by sharp contrast. The greys and browns are played upon by a sunny light, and the effect is rich and animated. The correct technique and absence of hyper-finish evidence gifts and talents in the painter which one does not immediately recognize as characteristic, but they are satisfying proofs of his wealth of resource and the splendour of his versatility.

This portrait is memorable from the amusing episodes of the sittings. Leighton made up his mind - firmly as was his wont - how he meant to paint his subject. Burton's will was no less inflexible. So, to put Leighton on his mettle, he kept on looking up from the position in which he had been placed, and by violent contortions of the face jeopardized the idea Leighton had formulated. Now and then he interrupted the solemnity of the sitting by remarking with mock gravity, 'Mind you, make me nice!' Leighton responded by hearty laughter. That laughter was, as Watts calls it, 'the champagne mixture which Leighton used so sparingly in his work.'

The year's triumph cost Leighton much in worry and notoriety. Requests of all kinds were poured upon him to paint all manner of things. His ire was at last stirred by a great lady asking him to paint a firescreen! But he made the attempt, and, quite contrary to his usual manner, he failed. He ended up writing a courteous note begging her to accept a small picture instead."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Damascus

"Wedded" by Frederic Leighton

The winter of 1872-73 saw Frederic Leighton in Syria, a country which had vast charms for him. The dream of a lifetime was realized when he gazed for the first time on the almost fabled city of Damascus. Three things struck him especially - the old-world associations of the place itself, the silent, majestic manners of the people, and the remarkable effects of sky and atmosphere.

One afternoon a resident of the city, Dr. William Wright, was paid a visit by Leighton while sitting upon his rooftop. After a courteous greeting, Leighton sat down and became silent, absolutely wrapped up in the pageantry of the sky. After some time he turned to Wright and said, 

'No artist ever wasted time in accurately observing natural phenomena. That sunset will mix with my paint, and will tint your ink as long as either of us lives. It will never be over; it has dyed our spirits in colours which can never be washed out.'

The city's bazaars had an immense fascination for Leighton. He made Wright go with him to assist in the purchase of valuable antique draperies. Wright's archaeological discoveries greatly interested Leighton, especially the site of the ancient pottery kilns where fine Kishani ware was originally baked. Here he bought quantities of tiles and plates and long-necked jars with white floral designs on blue grounds. Leighton made studies of architecture and of female beauties, and pencil drawings of heads and of plant life. 

A certain Greek living in Damascus had many exquisite enamels which Leighton much admired. He also had a lovely daughter which Leighton drew many times. She is reproduced in that charming canvas 'Wedded,' exhibited in 1882. The spell which Old and New Damascus cast over Leighton continued to work its sway for many a year."

To be continued

(Excerpts from 'Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Peace and War Murals

Sketch for "The Arts of Industry as Applied to War"
by Frederic Leighton

"Two great works by Frederic Leighton of this and following years was seen in the Italian Court of the Victoria and Albert Museum at South Kensington. On the opposing ends of this room he painted two lunettes: 'The Industrial Arts as Applied to War,' and 'The Industrial Arts as Applied to Peace.' 

The notion of thus decorating the hall originated with Albert, the Prince Consort, anxious to signalize the national gratitude on the close of the Crimean War, and the universal appreciation of the efforts to bring all peoples together which formed the main motive of the Great Exhibition of 1851. As early as 1860 the Prince had broached the subject with Leighton, but it took a long period to remove official obstruction, and not till 1871 - ten years after the death of the Prince Consort - was Leighton able to begin his designs.

In the following year the studies were completed. The 'Arts of War' occupied the years 1873-79, and the 'Arts of Peace' the years 1883-85. The designs for both frescoes were done by Leighton and afterwards elaborated, under his direct and constant supervision, by students of the Royal School of Art. 

Whilst engaged upon these grand compositions, Leighton met with an accident which might easily have proved fatal, but luckily did not. One of the heads in the 'Arts of War' gave great trouble, and Leighton, forgetting for the time that he stood on a ladder, moved backwards, and was thrown onto the floor twelve feet below. Bruised and shaken, he laughed the accident off. 'South Kensington,' he said, 'is doing its best to kill me. It may as well bury me, too!'

For these two magnificent frescoes Leighton received the unworthy fee of 3,000 pounds. Together they constitute a complete expression of all that Leighton loved and lived for. In them the painter displayed all the sweet colours of his Italian palette, and all the perfect forms of his Grecian models."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley. More detailed info here: https://www.vam.ac.uk/articles/the-south-court-and-leighton-frescos )

Frederic Leighton: Franco-Prussian War

"A Condottiere" by Frederic Leighton

"The terrible events of 1870-71, which laid France waste, were watched with keen sympathy by Frederic Leighton. For him the Franco-German War was like a civil combat, for his ties with Germany and her artists were as strong as were those with France and her artists - brothers were arrayed against brothers.

Very many of his Parisian friends and other French painters and sculptors found a refuge in England, chiefly in London, where no one received them more delightedly or more hospitably than Leighton. Among the rest were Le Gros, Dalou, Gerome, and Lanteri, all of whom in turn benefited by his friendship and obtained, through him principally, employment and honours. For example, Le Gros became Slade Professor of Painting at Oxford, Dalou was appointed Master of Modelling at South Kensington, and Lanteri was name his successor after Dalou's return to Paris in 1874. Leighton was accustomed to give breakfast parties to his French confreres, and generally kept open house and studio for them all.

Leighton managed to contribute three pictures to the Royal Academy in 1872, and a portrait of the Right Hon. Sir Edward Ryan, one of his best examples of portraiture. 'One of the loveliest things ever seen at Burlington House' was a common remark of artists and people about his 'Summer Moon.' The 'Condottiere' was a very noble conception of a noble character - soldier, courtier, scholar - much like the painter himself. 'After Vespers' was a three-quarter length of a young girl in green drapery, standing by a bench and holding in her hands a string of beads. This composition, which offers a striking contrast to 'A Condottiers' together with 'Summer Moon,' displays quite remarkably Leighton's versatility."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

        

Frederic Leighton: Egypt

"A Nile Woman"
by Frederic Leighton

"Only one very small contribution found its way from Frederic Leighton to the Royal Academy in 1870 This may be accounted for by the fact that in 1869 he had rearranged his studio, adding considerably to its length to admit large canvases.

'A Nile Woman' is the figure of a girl balancing an empty pitcher upon her head. The moon is rising and the figure is silhouetted with fine effect. It is a simple, truthful study, and happily it passed into the possession of the gracious lady who afterwards became Queen Alexandra - a warm admirer of Leighton.

And it was in 1869 that Leighton had traveled both to Greece and Egypt. Queen Victoria had notified the ruler of that country [the Khedive], who received him with almost royal honours, and placed his own Nile yacht at his disposal and mounted a guard of honour at his hotel. When asked what his wishes were, he replied, 'Yes! I desire to go up the river, but I want certainly one whole day in Cairo to go about where I like.' I shall be ready,' he added, 'to start at two o'clock the day after tomorrow, if it is not too hot.' 

Leighton was prompt and punctual. The captain conducted him over the vessel, explaining every detail. Leighton was manifestly uneasy at this waste of time, but when he was invited to a 'Punch,' and everything appeared to be given over to the relaxation of the hour, he inquired why they had not started.

'I said two o'clock, didn't I? Do you keep all the Khedive's guests waiting in this way?' The captain's replay touched Leighton' sense of humour. 'No, sir, they usually keep us waiting. We had not expected you quite so soon. Someimtes we have to wait four or five weeks!'

This Nile trip greatly rejoiced Leighton, and many 'bits' culled on the way may be detected in his subsequent compositions. He also made many purchases of curios, draperies, and other things."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Royal Academician

"Electra at the Tomb of Agememnon"
by Frederic Leighton

"In 1869 Frederic Leighton was approaching, gradually but convincingly, the summit of his fame. His election as Royal Academician had cheered and gratified him. He felt that now he was free to throw his wholehearted, enthusiastic nature into the grand object of his life - the raising of the artistic taste and skill of his fellow countrymen.

From one point of view the place of honour in his year's work should be accorded to an ecclesiastical subject, because Leighton destined it as his Diploma picture to the Academy. 'Saint Jerome' was a remarkable impassioned composition which gives the lie direct to the upholders of the pretty-story school, who deny to Leighton animation and vigour. Very likely he painted 'Saint Jerome' to shame such ill-conditioned critics, and intended it for the place it now occupies as a proof of his force, both in form and colour. For all the world St. Jerome is Leighton himself, pleading with the whole energy of his ardent nature for a truer appreciation of Art on the part of the British public. 

Three superb pictures, with that of 'The Syracusan Bride,' made Leighton's election as Royal Academician a certainty: 'Electra at the Tomb of Agamemnon,' 'Helios and Rhodes,' and 'Daedalus and Icarus.'  No Associate had ever, in the whole history of the institution, achieved such a magnificent output. Leighton created a record which has not been touched since his time, and probably will never be beaten."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton's House and Studio

Frederic Leighton had to find new quarters to accommodate his growing business and circle of friends. "Searching here, there, and everywhere, no house which he came across was exactly what he wanted, so he determined to build one. He chanced upon a plot of vacant ground in Kensington which offered possibilities but was not then a very desirable neighbourhood. However, the purchase was completed, and the ground cleared. By 1865 building operations were in full swing.

Leighton himself was adept in the art of architecture. 'Every stone, every brick - even the mortar and the cement - no less than all the wood and metalwork passed directly under his personal observation,' noted architect George Aitchison. Often of a morning he used to lean out of a window or from a portion of the scaffold and thereon criticize each course and ornament. His eagle eye at once detected any scamped work and woe betide the idler!

When the time came for him to start for his winter's quarters (in Spain that year), he handed over the responsibility for the building and fitting of the house and studio - down to the shape, size and decoration of the furniture - to Aitchison and others.

On his return he moved into his new house and studio. He was delighted overall, and was soon busy arranging his belongings - treasures of all sorts and kinds. The suites of tables, cabinets, bookcases, etc., had been stained black with arabesques in white holly, varnished over until they produced the effect of ebony inlaid with ivory. These admirably set off the collections of artistic items. To this very day photographs and engravings after Michael Angelo in the Sistine Chapel and after paintings by Titian and Tintoretto, and from remains of Grecian sculptures, still adorn the walls almost exactly as in Lord Leighton's time.

Leighton was greatly delighted, as year after year brother artists gathered around him in his new home. After converting the stables and oddly-shaped buildings into studios, they settled down in order to be near their brilliant comrade. Thus was formed a Leighton Settlement of such artists as George Watts, Valentine Prinsep, Luke Fildes, Hamo Thornycroft, Marcus Stone, and J.J. Shannon."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Associate of the Royal Academy

"Golden Hours" by Frederic Leighton

"Frederic Leighton's election as Associate of the Royal Academy took place in 1864. That this had been so long delayed was a matter of remark by men of all shades of artistic temperament. The work he hung at the annual exhibition in 1864 was so considerable in talent that his election could not possibly be deferred longer. 

Deeply imbued with the true spirit of Greek story, Leighton had been gradually working out of his earlier manner. He was distinctly reaching forward to greater simplicity - first, in conception, and next, in treatment. We note from this year how more and more classical motives suggest themselves. Leighton found in classical poetry a wide domain wherein he reigned supreme. Here he could express the loftiest feelings of a noble nature. 

His three exhibited paintings that year were of first-class excellence: 'Dante in Exile,' 'Orpheus and Eurydice,' and 'Golden Hours.' The latter is one of Leighton's richest compositions - a perfect dream of poetry and beauty. A musician, seated at a spinet, is seeking to bring forth strains which shall captivate his girl companion and at the same time soothe himself. Both pose of both figures are easy, and the effect of the dead gold wall-decoration behind the young man is superb.

In spite of the negative comments which many critics had made previously against Leighton's art, the good sense of the public and of people of taste now began to recognize that his work was more beautiful than that of any of his contemporaries. His culture and his courtly manners attracted admirers, and he possessed troops of friends. It was now necessary to move from his studio at Bayswater to something better suited to his improved circumstances."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.) 

Frederic Leighton: Life in London

"The Star of Bethlehem"
by Frederic Leighton

"In 1860 Frederic Leighton settled in London. 'Having passed much of his life,' writes Costa, 'among other nations, he felt the want of becoming really English, nor did the great and unexpected success achieved by his work abroad suffice him. For though in England he had friends in the higher ranks of Society, he desired to make for himself associates among his own colleagues - those fellow artists who had not attempted to disguise some slight envy of the fame gained from his work abroad by one whom they scarcely knew and many only by sight.'

He acquired a comfortable house with possibilities for a studio at No. 2 Orme Square, Bayswater. This residence speedily became the centre of a circle of admirers and friends. At this period Leighton was busy with portraiture, a branch of art which he cared very little about, but which was ever prominent, because to many people craved for his brush to delineate their feature. The two finished in 1861 were of his sister and of Mr. John Hanson Walker, the artist. These were exhibited at the Royal Academy and produced this reaction from some of the critics: 'His pictures are suited only for mural decorations, and are wholly out of place at the Royal Academy and should be consigned to the Architectural exhibition!'

These remarks aroused him to renewed efforts. In 1862 he showed seven pictures at the Royal Academy, among which is 'The Star of Bethlehem.' In this one king only is depicted standing on the balcony of his house, gazing at the effulgent Star. His figure is heroic and full of the spirit of poetry. Below the balcony a revel is in progress. With crown in hand, the king appears to have left behind the worldly pleasures of his palace as the starlight beckons him onto a spiritual journey. This Leighton painted brilliantly."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Work in Paris and Rome

"Pavonia" by Frederic Leighton

"'Nothing succeeds like success' might indeed have been Frederic Leighton's maxim, but he thoroughly understood that success also spells work and that work meant self-denial. So off to Paris he went and fixed himself in a studio in the Rue Pigalle. With the sum he received for his 'Cimbue' Leighton gave commissions to several struggling young artists and thus early began that course of magnificent benevolence which was a marked characteristic of his life.

The greater part of 1856 found him working away in and about Paris. Fontainebleu quite naturally attracted him, and at Barbizon he made an attentive study of Jean Francois Millet, whose truthfulness, sincerity and nobility delighted him. Here it was, doubtless, that Leighton came across the work of Corot, whose treatment he admired and classed it alongside that of Constable and Turner.

Very many beautiful landscapes were done in watercolour, and many studies in pencil, some of which Leighton finished on his return to Paris and used them as backgrounds for his more ambitious compositions.

The winter of 1858-59 he spent in Rome working busily at 'A Roman Lady - La Nanna,' 'Pavonia,' 'Sunny Hours,' and 'Samson and Delilah.'  His aim and style were quite ahead of the Pre-Raphaelite movement. He sought his subjects in the mazes of mythology, amid the scenes of Scripture, and in the pages of Vasari. His talent was cordially recognized by the leaders of that grop and when he returned to London for a visit in 1858, he was welcomed fraternally by D.G. Rossetti, Holman Hunt, Ford Madox Brown, William Morris, and J.E. Millais."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

 

Frederic Leighton: The Presentation of "Cimabue"

A detail from "Cimabue's Celebrated Madonna"
by Frederic Leighton

"The year 1855 was marked by a very important event in the career of Frederick Leighton - his first appearance at the Royal Academy of Arts in London. His teacher Steinle had wished Leighton not to exhibit too soon. 'Don't,' he said, 'come before the public until you can do something really well.' And so Leighton regarded the first exhibition of his picture upon those classic walls with keen interest.

The twenty-year-old's first picture to exhibit was a 17-foot-long canvas depicting the story of Cimabue, as described in a book by Vasari. 'In his imaginative reconstruction Cimabue, wearing white and crowned with a laurel wreath, leads his pupil Giotto by the hand. On the far right Dante, leaning against a wall with his back to the viewer, watches the procession. The mounted figure bringing up the rear is probably King Charles of Anjou. Various other artists make up the rest of the crowd carrying the trestle upon which the altarpiece sits.'

Seen by many during its creation in Rome, its fame had preceded it. By unanimous consent the painting was hung in a place of honour. This action of the Committee was approved by critics and by the public at large. Probably never before had a hitherto unnamed man leaped at one bound into the very front rank of exhibitors. The picture created an immense sensation. Nothing at all like it had ever decorated the walls of the Academy.

One of the first who went to view it was Queen Victoria and Prince Consort Albert. She penned in her journal: ‘There was a very big picture, by a young man, called Leighton, his 1st attempt, at the age of 20…It is a beautiful painting quite reminding one of a Paul Veronese, so bright & full of lights. Albert was enchanted with it - so much so that he made me buy it. The young man’s father, said that his future career in life would depend on the success of this picture.’

This recognition of his ability by Royalty was the key which opened every door to Leighton. Compliments and honours were showered upon him, and he was the recipient of much hearty hospitality. He entered fully into all these enthusiasms, delighting in the fame of his work, and contemplating his future with confidence and determination."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley and the website of the Royal Collection Trust: https://www.rct.uk/collection/401478/cimabues-madonna-carried-in-procession-0 )

 

Frederic Leighton: Preparing for "Cimabue"

"Cimabue's Madonna Carried in Procession" by Frederic Leighton

"Frederic Leighton had a supreme object in view when he decided to go to Rome, and one which he felt he could only achieve there.  He had but one idea - to paint his great 'Cimabue' picture. Great he meant it to be, though how great he did not quite know, nor had his master Steinle the faintest idea that it would come out in the heroic proportions which it ultimately assumed.

Leighton took a studio in the Via della Purificazione, and after fitting it up comfortably, he set to work to sort out and arrange the bundles of studies and piles of sketchbooks which contained the products of his two years' residence in Frankfort. The most conspicuous object in the studio was the complete design for his great picture. Models had to be found; fine figures, striking faces, and beautiful features, were sought which should enable him to mark his composition with distinction.

His great work made rapid progress. He pencilled and monochromed endless studies from the nude, and elaborated his treatment of draperies. Organized visits of fashionable English dilettanti were made from time to time to view the picture, and afterwards the visitors were accustomed to adjourn to some neighbouring studio to discuss its merits. 'Among the rest,' says a friend, 'was a young and merry English girl, who was asked her opinion. 'I'm no judge,' she replied, 'of artistic composition; but I know Leighton is the best waltzer in Rome!'

After a critique from a respected artist, and after much thought, Leighton made up his mind to alter the 'Cimabue.' 'No sooner said than done,' added an admirer, 'and with a swift sweep of his brush he destroyed all the work he had put into the leading part of the composition.' A horse and his rider, the dogs and the gathering of spectators beyond disappeared, and after a little time the group of ecclesiastics and the children scattering flowers were roughly brushed in.'

Early in January, 1854, the full-sized canvas [231.8 cm x 521.4 cm / 7.6 ft. x 17.1 ft.] for the great picture was squared up and the painting began."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Leighton: Study in Munich

"Study of a Head for Cimabue's Madonna"
by Frederic Leighton

"Frederic Leighton was now in earnest about his profession. He had seen and studied in all the leading galleries of Europe. He had gathered impressions from the greatest of the Old Masters and had felt the influence of many of the moderns, but to no school was he more convincingly drawn that to that of Munich and Frankfort and to no teachers more than to those at the Stadel Institute. 

Edward Johann Steinle was appointed the same year Director of the Stadel Institute. To him the young student went and offered himself unreservedly for instruction. Here Leighton carried on his study of anatomy regularly and with profit. He used to visit the hospitals, where he had the opportunities he required for carrying still farther his mastery of the science with absolute truth. He acquired the rare ability of drawing from recollection with remarkable fidelity every detail of flesh and bone. Under his master he attended the Life School of the Institute, and also was permitted to take copies from Steinle's own models.

The latter part of his stay at Frankfort was entirely occupied in study for what was to be his leap to fame and success - 'Cimabue's Madonna carried in Procession through the Streets of Florence.' Steinle noted sympathetically Leighton's passion as he not infrequently discovered him enlarging heads and other bits of the Florentine story. There was so much spontaneity and talent in these efforts that Steinle wisely determined to let the young man have his bent; but he cautioned him and made corrections and discussed his ideas, suggesting here and there what was likely to produce good effect. By degrees figure was added to figure, group to group, and the invention, if not the composition, of the picture became an accomplished fact. 

At Leighton House is the original design as at first arranged and approved by Steinle. It is in black pencil and Chinese white on brown paper, very carefully and delicately done, with the squaring of the paper and with certain marks said to be Steinle's. Steinle had done wonders for Leighton's style, and no one rejoiced more than the worthy master in the genius of his brilliant pupil."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Lord Leighton: At the Accademia delle Belle Arti

"Nicandra" by Frederic Leighton

"Frederic Leighton became a pupil under the leading professors of drawing and painting in Florence, Bezzuoli and Servolini at the Accademia delle Belle Arti in the spring of 1845 when he was little more than fourteen years old.  At this time Signor Zanetti was lecturing upon anatomy, and nothing would do but that the lad must enroll himself as a member of his class. 

Frederic's father used to make him draw the bones, muscles, and articulations from prints, and when he had finished his copies he tore them up and told the boy to draw them all over again from memory. In this way, Frederic, who entered heartily into the course, learned not only the value of every particle of the human figure, but also gained the power of drawing them with absolute fidelity.

Early in 1846 young Leighton began to paint in oil colours systematically under the instruction of his masters. In this he made rapid progress. Much early work is in existence in oil and other media -the spontaneous effort of his own unassisted ideas - and some of it is excellent.

With his fellow students, he made regular visits in and about Florence for the purpose of working in crayon and pencil in the open air. These excursions were regarded as serious stages in the pursuit of art studies, but they were also occasions of merriment and youthful exuberance. On the day his family left Florence in 1846 on their return to England, their coach was followed by a crowd of his friends running behind it and crying out, 'Come back, Inglesino! Come back!'"

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Lord Leighton: His Future Course Settled

"Study at a Reading Desk" by Frederic Leighton

"Frederick Leighton's family spent the winter of 1842-43 in Berlin, where his father had the finishing touches put to his son's fluency in German. Another great step was taken in the Prussian capital, where Dr. Leighton allowed his son to attend the drawing classes of the Royal Academy. Whilst he loyally devoted his school time to his more solid studies, the boy spent his leisure in following his own bent. Very many drawings and sketches of his are preserved in book form and in loose sheets. 

Some of these early efforts were lying about on a table in Dr. Leighton's salon one day, when Professor Dahlinger, of the Academy of Fine Arts, chanced to call. He was much struck by them, and placing his hand upon the young boy's shoulder, he said, 'You, my lad, have the making of a distinguished artist!"

In Florence the following year, Dr. Leighton also spoke with American sculptor Hiram Powers and gave the artist some of his son's drawings so that he might give him an unbiased and candid opinion of their merits. A week passed with no reply and somewhat impatient, Dr. Leighton called upon the sculptor, who said to him, 'Sir, your son may be as eminent as he pleases. As a rule, you know, I discourage young lads from becoming artists, but in this case I cannot.' 

'It was a serious time for me,' said Frederick Leighton, many years afterwards. 'I remember so well that afternoon on which my father went to get Hiram Powers' decision. I sat down to my anatomical study to while away my time. Presently I heard the sound of wheels on the gravel outside. I threw down my work and ran to meet my father. He stepped lightly and smiling out of the carriage. I felt he had good news!' This interview settled the question of Frederick Leighton's future. Dr. Leighton consented to his son's following Art, on condition that his general education should not suffer.

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Frederic Lord Leighton: Childhood

"The Painter's Honeymoon" by Frederic Lord Leighton

"Frederick Leighton was born at Scarborough in Yorkshire, on December 3rd, 1830. His father was a physician with an excellent practice at Bath. His mother was Augusta Susan Nash, the daughter of artist Mr. George A. Nash. She was herself an excellent draughtswoman. In music she greatly distinguished herself. Unhappily, delicacy of health very early affected her and necessitated frequent sojourns in health resorts, both in England and abroad.

Frederick's artistic instinct had been revealed at a very tender age. When only five years old, recovering from a serious illness, he used to amuse himself by drawing the familiar objects in the room and dogs and cats. To these added colour. Again, when just nine years old, little Frederick had another attack of illness, and this time drew two very excellent compositions - a 'Crucifixion' and a 'Holy Family' which were doubtless copies of two of his father's pictures. A third and still more ambitious drawing set his parents thinking somewhat seriously about the boy's future. It was a really capital version of an old story - 'A village school, with the scholars playing pranks behind the pedagogue's back!'

The year 1840 saw the family in Rome. Among other professors and masters whose services he secured for his children was Signor Francesco Meli, a teacher of drawing. From him Frederick received his first serious lessons in draughtsmanship. This early visit to Rome had opened Frederick's eyes. He had visited the galleries, the churches, the ruins of the Eternal City. The family also traveled to Naples, Sicily and northwards to Florence, Bologna, Venice, Milan and other art cities. In all of these towns, while Mrs. Leighton rested, Dr. Leighton took his children to see these sights. All of this fed the passion for art which burned in the boy's breast."

To be continued

(Excerpts from "Lord Leighton of Stretton, P.R.A." by Edgcumbe Staley.)

Hermann Dudley Murphy: Florals

"Flower Still Life with Satyr at the Window"
by Hermann Dudley Murphy

"Hermann Dudley Murphy returned to floral painting in the twenties. This third and last phase of his career, which continues to his death, brought him his greatest fame and fullest admiration, both from the public and from his fellow painters. For a colorist of Murphy's quality the attraction of flowers as subjects must always have been considerable. They also allowed him to exercise his capacities for arrangement and design to the full.

It is in these pictures, later in his career, that Murphy comes closest to the Boston school ideals and practices, incorporating impressionist perception in his portrayals. It should also be noted that in this vein he was entering a genre very well practiced in Boston by such superlative floral and still-life painters as Laura Coombe Hills, Elizabeth Okie Paxton (the wife of William Paxton), Frederick G. Hall, Leslie Thompson, and Lilian Westcott Hale. Indeed, early twentieth-century Boston  shared with seventeenth-century Holland a taste and an aptitude for the depiction of the poetry of objects, whether in still lifes or full interiors. Murphy brought to its finest realization this thoroughly Bostonian taste. His achievement in this vein has been aptly described by R.H. Ives Gammell in his study of the Boston painters:

'[Murphy[ was every inch an artist and he discovered his true vocation in middle life to be painting flower pieces of a truly ravishing beauty. While these superlative floral portrayals benefit from Murphy's understanding of impressionist representation, they are in essence decorative. He would arrange his blossoms with consummate taste in handsome containers set off by a sumptuous screen or a bit of fine brocade, whose intrinsic splendor he brought out by ingeniously contrived play of lights and shadows. The impression created by these arrangements, well observed and skillfully painted, is enhanced by the beautifully built up surfaces of Murphy's pigment and crowned by appropriate frames of his own designing. The resulting objects d'art provide feasts for the eye which are little known solely because they were immediately purchased and have seldom reappeared on the market.'"

To be continued

(Excerpts from "Hermann Dudley Murphy" by William Coles.)

Hermann Dudley Murphy: Onward and Upward

"Morro Castle, San Juan," 1913.
Picture and frame by Hermann Dudley Murphy.

"Just before the First World War Hermann Dudley Murphy begins to go further afield for landscape motifs, traveling to tropical countries - first to the Azores, in company with Charles Woodbury, then to Puerto Rico with Henry Ward Ranger. To the latter island he returned continually in the winter, though also later venturing to California and finally to Mexico in the thirties.

There is no doubt that the great expanses of tropic sky and sea and the sun-drenched landscapes and flowers and architecture which he now painted opened up a new vibrancy, intensity and power in Murphy's color range and also in his brush work. 

But there also seems to be a fresh clarity and strength in his work which no doubt derives at least in part from his happy second marriage to Nellie Littlehale. A curtain seems to lift from his work and more light enters in. Nellie now becomes a companion in work, making a career as a watercolorist of flowers.

Following a period of constant exhibitions before the war, Murphy's career is now fully established and highly successful and his work projects a new aura of freshness and mastery. Moreover, while Murphy throughout his career painted with great success in watercolor, in this phase of his career his production was especially brilliant and lovely.This last phase of his career, which continues to his death, brought him his greatest fame and fullest admiration, both from the public and from his fellow painters."

To be continued

(Excerpts from "Hermann Dudley Murphy" by William A. Coles.)