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.)