Anglais : Après Vêpres . Anglais : entrée de catalogue : un membre de l'Académie Royale en 1864 et élu président en 1878, Frédéric, Lord Leighton a atteint le sommet du monde de l'art britannique à un jeune âge. Fait chevalier en 1878, anobli en 1886, et élevée au rang d'une pairie à vie en tant que baron de Stretton (ironiquement, le jour avant sa mort), il gravit les échelons de la société d'une manière qui est sans précédent pour un artiste britannique moderne. Le grand succès de Leighton a coïncidé avec le mouvement esthétique des années 1870 et 1880, dans laquelle le culte de la beauté, régna dans la littérature, les beaux-arts, et en particulier

• Contributeur: The Picture Art Collection / Alamy Banque D'Images
• ID de l’image: MP9KED
• Taille du fichier: 14,3 MB (697,7 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1797 x 2781 px | 15,2 x 23,5 cm | 6 x 9,3 inches | 300dpi

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English: After Vespers . English: Catalogue Entry: A member of the Royal Academy by 1864 and elected its president in 1878, Frederic, Lord Leighton reached the apex of the British art world at a young age. Knighted in 1878, ennobled in 1886, and elevated to a life peerage as Baron of Stretton (ironically, the day before he died), he rose through the ranks of society in a manner that was unprecedented for a modern British artist. Leighton’s great success coincided with the Aesthetic movement of the 1870s and 1880s, in which a cult of beauty reigned in literature, the fine arts, and especially the decorative arts. Models were sought from multiple sources, primarily Greco-Roman antiquity, the Middle Ages, the Italian Renaissance, and Asian art, particularly Japanese. Leighton was well prepared to emulate the great Italian masters of the past by his friendships with the Italophiles Robert Browning and John Ruskin, and by his frequent travels abroad. The enigmatic painting After Vespers was ­exhibited at the Royal Academy in 1872 and again in the posthumous Leighton exhibition of 1897. It brings us into the presence of a lovely young woman who gazes out languidly with an expression of deep melancholy. Framed in the background by a niche in the wall of a church, decorated with ornamental mosaics on a gold background, she seems to be leaving a chapel enclosed by a balustrade with an egg-shaped ornament on the newel post. The mosaics appear to be free adaptations of those in St. Mark’s in Venice. The young lady’s right hand holds a coral rosary, while her left hand lifts her skirt off the dusty floor. In her hair are white flowers, probably a species of rockroses, given the small roots that are visible. According to the symbolic code of flowers that was embraced and elaborated by the Victorians, a certain species of this genus signified imminent death, which may contain a clue to the meaning of the lady’s mournful gaze, or perhaps she simply suffers from the pain

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