唯美主义大师阿瑟 · 修治作品集（大全）

Arthur Hughes .1859

阿瑟·修治( Arthur Hughes1832-1915年) 出生在伦敦。在皇家美术学院学习的时候，结识了罗塞蒂、米雷斯和亨特。米雷斯非常欣赏他的《奥菲利亚》。他和这些朋友一同进行了牛津联合大厅的壁画工程。他的绘画风格自始至终受到拉斐尔前派风格的影响，许多主题都来自其他成员的创作，比如奥菲利亚，阿瑟王故事，但丁故事等。

自画像

他忠实于文艺复兴前的艺术家的真实质朴，甚至带着中世纪的一丝刻板僵硬，人物也都像中世纪绘画中那样身形纤细，下颌尖瘦，没有太强的肉体感，但在其中强调了他特有的轻灵迷蒙。所以他的女主人公永远是精灵或小树般的少女，画中的背景永远是在如梦般飘着隐隐雾气的自然中。他描绘了一系列有关情人的作品，倾斜的常春藤缠在老树上，是他创造的典型形象。他最有名的作品《海外归来》（1863》表现了一个水手在父母坟前哭泣，他的妹妹陪伴在一旁。

《永久的婚约》105.4cm×52.1cm 布油彩伯明翰美术博物馆藏

上面这幅画又名《山盟》，是修治比较知名的作品。23岁的修治开始画这幅画，原名叫《奥兰多在亚顿森林里》。画家自己曾说过：“把野玫瑰画进奥兰多，对我犹如一种争分夺秒的竞赛，它们如此快地消失了美丽的效果，像一切美丽的东西沐浴在太阳下那样，显得分外美丽。显得分外美丽。微微细雨正被一片阴暗的云布满，也许很快就会把头上的剩余部分覆盖。整整一天，我都在对景写生，一只很大的野蜂激得我好不恼怒，它不停地攻击我，汗水在我的脸上流成三道溪流。此外，在剩余的三个小时里，我就在一棵巨大的根部覆盖了多年落叶的毛榉树下的阴影降落声。”由此可见拉斐尔前派画家多么注重对景写生从事创作。这幅画完成后，皇家美术学院拒绝展出，画家不得不重新修改成现在的样子，把人物画成一对赴约的恋爱者形象。从画中形象看这两人的爱情是不幸的，但他们的身边盛开着野花。常春藤隐遮着的姑娘叫阿米，她的名字被刻在树干上，这是他们初次约会的地方。这幅画的环境被描绘得细致逼真，看得出是直接取自自然，人物被自然景物所包围，在绿色调的衬托下显得突出。1859年学院展出了这幅历经坎坷的作品，在画的下边标示了乔叟的一行诗：“用尽世间所能知的甜美赞词，决非甜美的心酸。”

Ophelia 　奥菲利娅（莎士比亚笔下最悲情的女主角）画这幅画时候修治只有19岁
休斯笔下的奥菲利娅纤弱优美,宛若林泽女神.

这幅画展出时被放在角落里，但米雷斯注意到了它，修治和米雷斯第一次相遇就是在这幅画前。修治后来回忆说，米雷斯看过画以后爬下梯子，说他在所有的画中最欣赏这一幅，但是同时批评修治没有正确地画溪流。其实画中的溪流和花朵是被风格化的拉斐尔前派的画法：紧凑，清楚。其他部分则有着修治式的迷蒙：暗绿和红暗示着，而不是显示出奥菲利亚的疯狂和迷失。

Queen Guinevre's Maying 1900

不论从任何题材来看，修治都是拉斐尔前派中最喜爱室外背景的。他还是拉斐尔前派中最成功的插图作者，从1860年以来，为多种杂志、书籍工作过。在他之后的几个英国插图作者，都模仿他的风格来为幼儿故事和神话做插图。

Lady Godiva 1897

The Eve of Saint Agnes: 1856

这组画的灵感来自约翰·济慈的诗歌前夕

The Property Room 1879

Horace and Lydia 1890

The Child Bride 1883

The Beautiful Lady Without Pity 1863

The Pained Heart', or 'Sigh No More, Ladies' 1868

The Nativity

The Grand Lady 1920

Sleeping Beauty 1929

April Love: 1855-56

一个年轻的女子低头看着倒下的玫瑰花瓣,她的追求者弯曲吻她的手。年轻的爱的花瓣象征着脆弱,这求爱场景的主题。

Portrait of Mrs. Louisa Jenner

Lilith with a Snake 1886

Endymion

Fair Rosamund: 1854

Rosamund, according to a medieval story, was the mistress of Henry II and was poisoned by his wife, Queen Eleanor. The King kept Rosamund hidden from the world in a house that was surrounded by an elaborate maze. The Queen, jealous of her rival, found a way to penetrate the maze, after which Rosamund, 'lived not long'. The painting shows the Queen entering the garden. Rosamund is surrounded by flowers, symbolizing love and pain and secrecy, her fall is symbolized by a broken plant, while her pastimes are indicated by the stringed instrument and the printed textile.

Good Night: 1865-66
In the Grass: ca 1864-65
La Belle Dame Sans Merci

"La Belle Dame sans Merci" ("The Beautiful Lady without Pity") is a ballad written by the English poet John Keats. It exists in two versions, with minor differences between them. The original was written by Keats in 1819, although the title is that of a fifteenth century poem by Alain Chartier.
The poem describes the encounter between an unnamed knight and a mysterious fairy. It opens with a description of the knight in a barren landscape, "haggard" and "woe-begone". He tells the reader how he met a beautiful lady whose "eyes were wild"; he set her on his horse and she took him to her "elfin grot", where she "wept, and sigh'd full sore". Falling asleep, the knight had a vision of "pale kings and princes", who cried, "La Belle Dame sans Merci hath thee in thrall!" He awoke to find himself on the same "cold hill's side" where he is now "palely loitering".
Enjoying "La Belle Dame Sans Merci", by John Keats
Lucy Hill: 1888
Lucy Hill and her family were life-long friends of Arthur Hughes. He also painted her, along with three of her siblings, in 1866 (The Children of George Birkbeck Hill, Bruce Castle Museum, Tottenham). Hughes visited William Bell Scott at Penkill Castle from 7 to 21 October 1887, and the present portrait was finished soon after his return to Wandle Bank. Lucy was the great-niece of Sir Rowland Hill, post office reformer and inventor of the penny post. Her father, George Birkbeck Hill, edited the Letters of Dante Gabriel Rossetti to William Allingham (Fisher Unwin, 1897) and she herself edited The Letters of George Birkbeck Hill (Arnold, 1906). Lucy's husband-to-be was related to an Editor of The Times, and another of his relatives founded a maritime law-firm known as Crumps.
Attached to the reverse of the panel is a note written by a subsequent owner which reads: "Inscribed on an original label on this picture was 'To Mary Manson from Lucy Crump 1864-1887 ~ 1938. Contre mauvaise fortune bon couer'. Lucy and Charles Crump were neighbors of the Mansons. Arthur Hughes (1832-1915) is the artist. The subject is understood to be Lucy as a young girl. The Crumps had work by J.B. Manson (director of the Tate Gallery, 1930-8). Mary was his eldest daughter and taught music at the North London Collegiate School."
Mariana at the Window: ca 1865-67

"Oil on board; signed with monogram; inscribed on old label verso by A.F. Hughes: "A Study/painted about 1856".
The subject is taken from Tennyson's poem, Mariana:
"She drew the casement-curtain by,
And glanced athwart the glooming flats.
She only said, 'The night is dreary,
He cometh not,' she said;
She said, 'I am aweary, aweary,
I would that I were dead!'".

Old Neighbor Gone Bye
Overthrowing of the Rusty Knight
A beautiful young maiden turns with a look of yearning gratitude, to face a victorious knight resplendent in his armor who has vanquished the villain who threatened her purity. The opponent lies lifeless in the stream beneath an ancient bridge where the joust has recently taken place, and the breath of valiant knight's horse still heated from the combat, hangs in the chill autumn air. This is the moment of anticipation between the fight and the moment when the knight which take the indebted maiden in his arms.
The subject of 'The Overthrowing of the Rusty Knight' is taken from Tennyson's tale of medieval romance and chivalry, Gareth and Lynette and the moment depicted is immediately following the hero Gareth's victory over the tyrant Evening, who had captured Lynette and tied her to a tree. The poem Gareth and Lynette was written in 1872 for 'The Idylls of the King', the most influential modern reinterpretation of Arthurian legend of the Nineteenth Century and one of Tennyson's most widely illustrated texts.

Asleep in the Woods

Pansies

The girl clutches a letter that has moved her deeply. She holds on her lap yellow pansies, the flower of memory. The scene is characteristically suggestive and affecting and recalls the theme of Hughes's 'April Love' of 1856 (Tate Britain). Pansies was probably painted around 1860.

Phyllis

Portrait of an Elderly Woman: 1851

Enid and Geraint

The Overthrowing of the Rusty Knight 1894

The Priestess of Bacchus 1889

The Knight of the Sun

Sir Galahad: 1865-70

刻在背面：

The clouds are broken in the sky,
And thro' the mountain-walls,
A rolling organ-harmony
Swells up, and shakes and falls,
Then move the trees, the copses nod,
Wings flutter, voices hover clear:
Oh just and faithful knight of God!
Ride on: the prize is near.
So pass I hostel, hall, and grange;
By bridge and ford, by park and pale,
All-arm'd I ride, whate'er betide,
Until I find the holy Grail'.

A gentle sound, an awful sight!
Three angels bear the holy grail:
With folded feet, in stoles of white,
On sleeping wings they sail.

Sir Galahad: ca 1894

Mrs Norman Hill and Children: 1897

Mrs James Leathart and Children: 1863-65

The Newcastle industrialist and art collector James Leathart commissioned this portrait of his young family from Arthur Hughes, who was one of the younger generations of Pre-Raphaelite artists. The faces of the family were painted from life at their Gateshead home. The balcony format is influenced by 16th-century Italian Renaissance pictures, and Mrs Leathart is shown in a Renaissance-style dress. Reflected light from the dress creates a bright green shadow on the baby's bib. The artist used a Pre-Raphaelite technique of painting bright, pure colors over a white under-layer to increase the intensity of the colors. Pigeons flying into the scene give it an informal quality.

Portrait of Ellen Dana Conway: 1873

Portrait of Mrs Louisa Jenner: 1867

When taking into account the similarities between Mrs Thomas Woolner and Mrs Louisa Jenner, we can assume that Charles Jenner was aware of the former and wished to possess a similar likeness of his young wife (she was her husband's junior by 23 years). Both portraits place the sitter standing, full-length, in a highly-detailed part-wooded landscape; her arms draped with a scarf and her head turned aside. Further evidence of this connection derives from comparing Mrs Woolner's portrait to the early study for Mrs Jenner. They reveal near- identical attitudes: both women standing to the right while facing to the left, with their right arms across their midriffs. It is also interesting to note that the pigeons at Mrs Jenner's feet are reminiscent of those depicted in Mrs James Leathart.

That was a Piedmontese: 1862

The Annunciation: ca 1858

The Convent Boat: 1873-74

The Heavenly Stair: ca 1887-88

The King's Orchard (Study): ca 1857-62

The Lady of Shalott: ca 1872-73

The Nativity: 1858

The Property Room: 1879

The Enchantress: 1870-74

Will o' the Wisp

The Land Baby 1899

Home from the Sea 1862

A Music Party: 1861-64

A Spring Afternoon

Benedick in the Arbor: 1852-54
Cecily Ursula - aged three years
Cecily Ursula Palgrave was the daughter of the critic, Francis Turner Palgrave. She is seen measuring her height against a door. This work was exhibited at the Royal Academy in 1867.
Edward Robert Hughes as a Child: 1854-55

Asleep in the Woods
Hughes had chosen Mary MacDonald as the model for Beauty. The subject for the painting came from Jeanne-Marie Leprince de Beaumont's classic eighteenth century fairytale, La Belle et la Bete. The origins of the story can be traced to Lucius Apuleius's Cupid and Psyche (2nd Century AD). Psyche, the third and most beautiful daughter of the King, is cursed by Venus to fall in love with the most miserable creature living, the most poor, the most crooked, and the most vile, that there may be none found in all the world of like wretchedness. The earliest version of La Belle et la Bete was written by Madame Villeneuve in 1740, a story laced with Baroque theatrical extravaganzas, very different to de Beaumont's more straightforward interpretation. Hughes depicts the scene in de Beaumont's tale in which Beauty is granted a week of freedom from the Beast's enchanted castle to spend with her beloved father. She awakes to find a chest of beautifully embroidered gowns of jewel-like colors, a gift from the Beast, although in her modesty she chooses the plainest:

"You shall be there tomorrow morning", said the Beast, "but remember your promise. You need only lay your ring on a table before you go to bed, when you have a mind to come back. Farewell Beauty." Beast sighed, as usual, bidding her good night, and Beauty went to bed very sad at seeing him so afflicted. When she awaked the next morning, she found herself at her father's, and having rung a little bell, that was by her bedside, she saw the maid come, who, the moment she saw her, gave a loud shriek, at which the good man ran up stairs, and thought he should have died with joy to see his dear daughter again. He held her fast locked in his arms above a quarter of an hour. As soon as the first transports were over, Beauty began to think of rising, and was afraid she had no clothes to put on; but the maid told her, that she had just found, in the next room, a large trunk full of gowns, covered with gold and diamonds. Beauty thanked good Beast for his kind care, and taking one of the plainest of them, she intended to make a present of the others to her sisters. She scarce had said so when the trunk disappeared. Her father told her, that Beast insisted on her keeping them herself, and immediately both gowns and trunk came back again.

Hughes had chosen this particular passage to emphasize humility and avoidance of vanity. He had just returned from a 'grand tour', which had been funded by his wealthy new patron John Hamilton Trist. He had marveled at the fashions, art and architecture in the medieval towns of Nuremberg, Cologne, Verona, Padua and, most importantly, Venice, describing the church of San Marco as a fairy palace out of the Arabian Nights. In addition, in Venice he admired and studied the works of Bellini with their 'great color' and 'understanding of texture'. Here was the inspiration for the Beast's gifts of rich fabrics, extraordinary gowns and magnificent jewelery.