Black Art Young Girl Sitting by Rocks With Feet in Water

British painter (1849–1927)

John Reinhard Weguelin RWS ROI (23 June 1849 – 28 April 1927) was an English language painter and illustrator, agile from 1877 to after 1910. He specialized in figurative paintings with lush backgrounds, typically landscapes or garden scenes. Weguelin emulated the neo-classical style of Edward Poynter and Lawrence Alma-Tadema, painting subjects inspired past classical antiquity and mythology. He depicted scenes of everyday life in ancient Greece and Rome, as well every bit mythological subjects, with an accent on pastoral scenes. Weguelin also drew on folklore for inspiration, and painted numerous images of nymphs and mermaids.

Although his earliest work was in watercolour, all of Weguelin's important works from 1878 to 1892 were oil paintings. In social club to supplement his income, he drew and painted illustrations for several books, most famously Macaulay's Lays of Aboriginal Rome. His subjects were similar to those of his contemporary, John William Waterhouse, who also specialized in painting the female figure against dramatic backgrounds, just unlike Waterhouse, many of Weguelin's subjects are nude or scantily-clad. Weguelin was particularly noted for his realistic use of light. Beginning in 1893, Weguelin devoted himself almost entirely to watercolour, and became a member of the Royal Watercolour Society. Weguelin'southward work was exhibited at the Purple Academy and a number of other of import London galleries, and was highly regarded during his career. He was forgotten following the first World War, as his manner of painting savage out of way, and he is best remembered as the painter of Lesbia, depicting the fabulous muse of the Roman poet Catullus.

Life [edit]

John Reinhard Weguelin was born 23 June 1849, in the village of Due south Stoke, most Arundel. His male parent, William Andrew Weguelin, was Rector of South Stoke,^{[1] [two] [3]} but was forced to relinquish his position about 1856, when he joined the Tractarian Move, and became a Roman Catholic.^[4] When he was nevertheless a child, Weguelin's family unit departed Sussex for Italy, where they lived for several years. Weguelin spent much time at Rome, where he was inspired past art and history. Other than a few drawing lessons in Italia, Weguelin had no formal grooming in art during his childhood.^[ii] In 1860, the xi-twelvemonth-old Weguelin was sent to Cardinal Newman'south Oratory School in Edgbaston.^{[ane] [4]} From 1870 to 1873, he worked as an underwriter for Lloyd'due south of London.^{[1] [three]}

At the age of twenty-3 in 1873, Weguelin enrolled in the Slade School of Fine Art, then headed past Edward Poynter. He studied at that place for five years, under both Poynter and his successor, Alphonse Legros.^{[1] [4]} Weguelin's start exhibited work was a watercolour, The Death of the Get-go-born, at the Dudley Gallery in 1877. On his graduation from "the Slade," he had his first painting exhibited at the Imperial Academy.^[4] Although later on celebrated equally a watercolourist, Weguelin would not exhibit in this medium again until the 1890s, and nearly all of his paintings until 1893 were in oil.^[ii]

Weguelin was heavily influenced past the work of Lawrence Alma-Tadema, merely inside a few years he developed his own interpretation of classical subjects. Starting time in 1878, he exhibited numerous paintings at various London galleries, including the Imperial Academy, the Grosvenor Gallery, and the New Gallery.^[ii] His piece of work was besides featured by the Society of British Artists. His subjects included landscapes, classical and Biblical themes, and pastoral scenes. He also produced illustrations for several books, including the 1881 edition of Macaulay's Lays of Ancient Rome, G. A. Henty's The True cat of Bubastes (1889), a volume of poems by Catullus (1893),^[5] Hans Christian Andersen'due south stories in The Piffling Mermaid and other Tales (1893), and Thomas Stanley'due south translation of Anacreon (1894).^[6]

The Library described Weguelin equally ane of the few decorative artists who seldom relied on pen, and habitually expressed themselves in "launder" rather than by line: "Mr. Weguelin has illustrated Anacreon in a manner to earn the appreciation of Greek scholars, and his illustrations to Hans Andersen have had a wider and not less appreciative reception. His drawings have movement and atmosphere."^[vii]

In 1893, Weguelin took up watercolour for the first time since leaving the Slade. He exhibited The Swing at the Royal Academy, and after a few months he was elected an associate of the Majestic Society of Painters in Water Colours. He became a total member in 1897.^[ii] From this time, Weguelin painted almost exclusively in watercolour, and produced trivial in oil. He exhibited regularly at a gallery in Pall Mall Eastward.

Weguelin enjoyed canoeing and swimming, and was a fellow member of the Savile Club.^[1] In mature life, he settled at Hastings. He died 28 April 1927.^[iii]

Artistic fashion [edit]

Weguelin's early works could be considered classicist, reconstructing images of daily life from Greek and Roman times.^[ii] However, his piece of work reflected a free accommodation of the heathen spirit of classical art, instead of adhering to a strictly historical estimation. Writing in 1904, art critic Alfred Lys Baldry described Weguelin as "a painter of archetype abstractions."^{[2] [8]}

In an 1888 article on exhibitions at the New Gallery, The Fine art Journal compared the work of 3 contemporaries, Alma-Tadema, whose work had strongly influenced Weguelin, Charles Napier Kennedy, and Weguelin himself, to that of George Frederic Watts. All four artists treated similar subjects.

Mr. Alma-Tadema'south Venus and Mars, Mr. C.N. Kennedy'south Fair-haired Slave who made himself a King, and Mr. J.R. Weguelin'southward Bacchus and the Choir of Nymphs are figure subjects of more realistic intention than the preceding [referring to Mr. Watts' ''Affections of Death'']. Mr. Tadema's colour is the nigh mellow, and Mr. Weguelin'southward the hardest and coldest. All 3 are seriously studied, and give a more than or less true notion of the figure in its natural relation to the environment.^[nine]

Weguelin's later work was described by Baldry in The Do of Water-Color Painting:

Information technology is especially as a painter of the nude figure in water-colour that Mr. J.R. Weguelin has made himself famous. He has taken upwards a class of subject field that comparatively few artists attempt, and he has handled it in a long series of very attractive paintings with a charm and distinction that can be sincerely admired. He has a very pleasing fancy and a delightful sense of style; and his graceful draughtsmanship, his exquisite feeling for fragile harmonies of colour, and his brilliantly direct and expressive brushwork brand his productions more than than ordinarily important as examples of the judicious application of the water-colour medium.

Baldry goes on to discuss Weguelin's principles and techniques.^[10]

The Eleventh Edition of the Encyclopædia Britannica mentions Weguelin as, "ane of the most facile and expressive painters of fantastic effigy subjects."^[xi]

British Water-Colour Art lists the colours used past members and associates of the Royal Society of Painters in Water Colours. Weguelin'south palette included "vermilion, light red, rose madder, purple madder, brownish madder, yellowish ochre, cadmium 1 and 2, oxide of chromium, oxide of chromium (transparent), black and Chinese white, Vandyke brown, raw umber, burnt umber."^[4]

The Practice of Water-Colour Painting describes his palette as "cendre blue, French blue, oxide of chromium (opaque and transparent), Hooker's green, No. 1, yellow ochre, aureolin, cadmium orange, raw sienna, burnt sienna, purple madder, rose madder, light red, brown madder, Vandyke brown, raw umber, and flake white; and occasionally vermilion, burnt umber, and lampblack."^[x]

Selected works [edit]

The Expiry of the Kickoff-born (1877, watercolour)^[12] was Weguelin's debut at the Dudley Gallery, and his concluding important watercolour until 1893. The field of study was 1 that Alma-Tadema had treated in both 1859 and 1872. Its championship refers to the concluding of the x Plagues of Arab republic of egypt appearing in the Book of Exodus, in which the first-born children of all Egypt were struck downward, disarming the Egyptians to release the Hebrews from chains.

The Expiry of the Firstborn, by Mr. Weguelin, shows a immature man stretched out stark for the funeral-rites, and his mother (perhaps, rather, his wife) crouched on the ground with her confront hidden between her knees; a sufficiently well-conceived treatment, fairly executed, but not to exist called intense.^[13]

The daughters of the Greek rex Danaüs pour jugs of h2o into a bottomless jar that they are condemned to fill, in The Labor of the Danaïdes (1878).^[iii] This painting was exhibited at the Royal Academy.^{[2] [14]}

Weguelin's most famous painting is probably Lesbia (1878),^[3] inspired past the adult female who inspired many of the Roman poet Catullus' works. Catullus used the pseudonym "Lesbia" to refer to an aristocratic lover whom he did not wish to scandalize, although their relationship was tumultuous, and Catullus writes bitterly of its ending. She is widely supposed to have been Clodia, around whom swirled rumors and scandals involving some of the nearly prominent men at Rome, although no gimmicky source makes that identification, and this element of mystery adds to the appeal of both the poems and Weguelin's painting.

In the painting, Lesbia is depicted every bit a young woman, standing contrapposto and framed in the gateway of a garden. She is clad only in a diaphanous gown through which sunlight is visible, and in her hair is a garland. Lesbia is feeding the birds, which fly and perch about her and gather at her feet. The birds depicted are house sparrows. Behind Lesbia are flowers, trees, and a view of the sea.

The Tired Dancer, as well known as Revelry (1879), was exhibited at the Grosvenor Gallery.^{[two] [15]} It was reviewed in The Dublin University Magazine:

J.R. Weguelin'southward "Tired Dancer" is very clear and rich. The daughter has flung herself upon a marble seat beneath a marble pillar; her loose dress of dark crimson gause forms a brilliant patch against the marble, and yet it does not hide the limbs beneath. Her night hair is crowned with clustering yellow flowers, the face is utterly asleep, and the right arm flung out straight upon the marble slab behind her well conveys the thought of consummate weariness. The execution of the marble is a kind of reminiscence of Alma Tadema'southward work.^[xvi]

A Portrait (1880) was exhibited at the Royal Academy.^[14]

In Pressing Grapes (1880),^[3] two immature women, their skirts gathered to their knees, stand in a stone tub, pressing grapes, as the juice pours into a bucket through a notch in the side of the tub. The two women stand up on either side of a pole suspended from above, which they grasp with their hands to keep their rest. Backside them are arches, through which a richly-forested landscape tin be seen below and stretching into the distance. Stone jars and baskets of grapes line the wall. A young girl with a ribbon in her pilus leans against a large vessel, her feet on a stool as she watches the women piece of work. The painting was discovered at a domicile in Portland, Maine in 1997, and subsequently adamant to be the work of Weguelin.^[iii] This may be the same painting as The Vintage.

The Vintage (1880, oil on canvas, 45 1/2 x 30") was exhibited at the Grosvenor Gallery with an extract from Macaulay's poem, Horatius: And in the vats of Luna/This year the must shall foam/Round the white feet of laughing girls/Whose sires have marched to Rome. In its review, The Times described the painting equally, "a rare example of pictorial use made of a good subject which is gimmicky every bit well equally antiquarian."^{[12] [15]} A simpler version appears as one of the illustrations to the 1881 edition of the Macaulay poems.

The Obsequies of an Egyptian Cat (1886).

The Fishers (1881) was exhibited at the Royal University.^{[xiv] [xv]}

A Roman Acrobat (1881) was exhibited at the Grosvenor Gallery.^{[2] [15]} It was critiqued in The Gentleman'south Magazine, where it was compared with William Britten's The Flight of Helen, with which it was exhibited:

Apologue has no place in Mr. Weguelin's canvas; no Venus need smiling approving of the feat that is there recorded. A Roman Acrobat—a strapping girl making her perilous way forth the tight-rope, and watched by wondering eyes as the arms balance each other and the bare feet press and squeeze round the narrow cord—is a subject area that most of the few painters fitted to deal with it at all would take been tempted to make too carefully antiquarian. A painful realisation of the furniture of antiquity—a modest truth to a small matter—would accept left petty room for the greater truths of graphic symbol and the higher interests of beauty and action. From this permanent mistake—which yet would take ensured that passing popularity which waits on the adroit brandish of mere learning and adroitness—Mr. Weguelin is freed. 1's first thought is non of the artist, of his fund of antiquarian cognition and his laborious battle with technical difficulty. 1 takes, instead, a frank and elementary pleasance in the flick. It is of excellent draughtsmanship and expressive action—at once imaginative and real. Mr. Weguelin is hardly shown by information technology to be a skilled colourist, but he is a vivid painter of open-air light, in which it may be that colours strike one as less subtle. Mr. Weguelin's work depends less, however, upon whatever single highly developed souvenir of technical skill than upon a union of many gifts which are considerable already, and will improve by and past.^[17]

Weguelin'due south illustrations for Macaulay'due south Lays of Ancient Rome appeared in the 1881 edition, the embrace of which employed Weguelin'due south depiction of Horatius defending the Sublician span against the army of Lars Porsena.

In Bacchus Triumphant (1882, oil on canvas, 18 x 12 one/iv"), the god is depicted every bit a child, being carried on a litter through a jubilant crowd. He is seated on a wild boar, and in his hand he clutches a thyrsus, which he raises triumphantly. In the background is an ancient tree trunk, and the pedestal of some monumental statuary. Poplars and the sea are visible in the distance.^[12]

The Feast of Flora (1882) was exhibited at the Imperial Academy:^{[two] [14] [xv]}

"The Banquet of Flora" (No. 766), past J. R. Weguelin, is a bright picture, well fatigued, with keen attention paid to the details, and some sense of humour. The primary effigy is a young adult female with a basketful of fresh flowers coming downwards a marble staircase, holding a bunch of narcissus blossoms up to the nose of a groovy black Egyptian idol. In the courtyard to the left, in that location is a bronse effigy, and virtually the staircase and in the distance are gay crowds celebrating the joyous festival.^[18]

Habet! (1882) features a bather stooping down to aid a tortoise, whom she has inadvertently knocked over.^[15] This painting was exhibited at the Grosvenor Gallery.^[19]

In The Maidens' Race, (1883) six virgins wearing chitons await the start of a footrace before an arena filled with cheering spectators. A seventh is preparing to give the bespeak for the race to begin. In a catalogue of works exhibited at the Majestic Academy, a note reads, "During the games celebrated in award of Hither, information technology was the custom of the immature girls of Elis to run in the Olympic stadium, which was shortened for them by ane-6th."^{[xiv] [15]} This painting was admired by Lewis Carroll, who mentioned it in his diary.^[20]

The Bath (1884, oil on canvas, twenty 10 10") features a nude woman standing before a fountain, from which she has fatigued water in an urn. The bather is pouring water from the urn over her left shoulder, while her confront is turned away from the viewer.^{[12] [fifteen]}

With Herodias and her Daughter (1884), Weguelin depicts a scene from the Gospels of Matthew and Mark. Herodias, whose union to Herod Antipas was called illegal by John the Baptist, encourages her cute daughter Salome to trip the light fantastic for her stepfather, and demand an oath of him. Once he has agreed, Salome requires her stepfather to bring her the head of John, much to Herod'south dismay. This painting was exhibited at the Royal Academy.^{[ii] [14] [15]}

In the painting, Weguelin depicts Herodias persuading her reluctant daughter to participate in her plan for revenge. Salome is clad in veils, preparing to dance seductively before her stepfather and his guests at a feast. The 2 stand behind the corner of a wall, and a large statue of a lion carved in an oriental fashion. There is an elaborate marble floor, and guests are visible at the edge of the painting, while Herod'due south pavilion, in the style of a Greek temple, is in the background.

An Egyptian Difficulty in the time of Augustus (1885, 35 x 23"),^[21] otherwise known as A Immature Girl with Flamingoes, and probably the same as Dance of the Flamingos (1885, oil on canvas, 92 x 61.2 cm)^[12] was exhibited in the Grosvenor Gallery. The catalogue describes the painting as, "a daughter with flamingoes; marble arch over bronze door. A feature picture by this creative person." In one hand, the daughter holds a hoop wound with ivy or a similar vine, and in the other a stalk of grass, which she waves toward one of a group of tame flamingos, apparently trying to coax it through the hoop.^{[15] [22]}

In The Swing Feast (1885, oil on canvas, 51 ten 33"),^{[3] [23]} two young women, one standing, i seated, savour a pair of swings suspended from trees before a temple, with other celebrants in the background. The Majestic University catalogue explains, "In expiation of the death of Erigone, who hung herself, and in imitation of her, the maids of Athens on this 24-hour interval swung themselves from trees, while they sang hymns in her honour."^{[2] [fourteen] [15]}

Reflection (1885, oil on canvas, 8 10 10") depicts a nude lying on cushions before a pool of water. She plays with a long garland of roses.^[12]

In The Obsequies of an Egyptian Cat (1886, 32 x 49"),^[21] a priestess kneels earlier an chantry upon which is placed the mummy of a true cat. She is burning incense, and has presented offerings of flowers and food to the cat'south spirit, together with a plate of milk. On the wall backside the priestess is an Egyptian fresco, and a statue of the goddess Sekhmet or Bastet enthroned guards the entrance to the temple. Stairs atomic number 82 up to the doorway, through which a view of the heaven and other buildings are visible.^{[3] [xiv] [15]}

A Summer Afternoon (1886, 8 x ten") is a film of a young woman napping on a pile of cushions on a broad bench, fastened to a loftier wall. Information technology was exhibited at the Grosvenor Gallery.^[24]

The Fair Girl (1886) was too exhibited at the Grosvenor Gallery. Grosvenor Notes describes the subject: "night hair, standing against a wall."^{[15] [24]}

The Convict Forest Nymph (1887) received a diploma of the third order of merit amongst oil and watercolour paintings from the Adelaide Jubilee International Exhibition.^[25]

The Gardens of Adonis (1888).

The Toilet of Faunus, or Adoring the Herm (1887, twenty 10 22")^[21] was exhibited at the Majestic Academy, where it was described as, "girl placing wreaths of purple flowers on Faun'southward head."^{[2] [14] [26]}

The Gardens of Adonis (1888, oil on sheet, 93 x 135 cm)^[27] was exhibited at the New Gallery,^[2] where it was described: "Low-cal flowing robes of pink imperial, dark-green and pale lemon colour; 1 maiden carries rose wreaths for offerings." The catalogue explains,

Before the feast of Adonis information technology was the custom of the Greeks to sow in shallow vessels the seeds of lettuce, endive, barley, &c. These grew up chop-chop, and having no roots soon withered abroad, and in effect were considered as typifying the life and early decease of Adonis. They were called Gardens of Adonis, and later on existence carried in procession were, together with a statuette of the god, committed to the sea on the last mean solar day of the ceremonies. This observance is described past Theocritus, Idyll Sixteen.^[28]

This painting is part of the collection of the Northampton Central Museum & Fine art Gallery.^[29]

Bacchus and the Choir of Nymphs (1888, oil on sail, 49 ten 108 1/2") was described every bit "ane of the most important compositions in the New Gallery:"

Bacchus with ruby-red garment lying on a leopard pare holds a thyrsus. The nymphs have pale draperies of pink, yellow and white; one has ivy in her hair, and another on the left some violet flowers; the sea lies blueish below them, flecked with purple shadows; the rocks are grey; the pic is light in color throughout, and delicately harmonised.^{[2] [28]}

The painting was exhibited with the bearding translation, perhaps that of the artist, of the first lines of Horace's Bacchum in remotis carmina rupibus vidi docentem (Odes 2.xix):"I saw inside remotest rocks/ (Believe that read in after fourth dimension)/Bacchus who taught and nymphs in flocks/Who learnt the lesson of his rhyme."^{[12] [28]}

Bacchus and the Choir of Nymphs (1888).

A Bacchante (oil on canvas, eleven 1/2 ten 7 1/2") features a immature worshipper of Bacchus, leaning against a colonnade. She wears a leopard skin, and in her hair is an ivy garland.^[xxx]

The Study of Conchology (1888, 20 x 10") was exhibited at the Grosvenor Gallery. It features a young woman, nude, gathering seashells. Grosvenor Notes describes the groundwork: "blue sea, with purple rocks showing through clear water."^[31]

The Yellow Sands (1888, oil on canvass, 10 10 xx") is described as "a small nude study; dorsum view." It features a adult female sitting on the embankment on a clear 24-hour interval, when the bounding main is calm. This painting was exhibited at the New Gallery.^[28]

In 1889, Weguelin painted three "Decorative Panels for a door," described in Grosvenor Notes every bit "(1) girl standing on crab; (2) seated on dorsum of fish; and (3) flight through the air, followed by fishes. Small nude studies."^[32]

Psyche (1890, oil on canvass, 24 x 20")^[33] was exhibited at the New Gallery, whose catalogue described it: "small-scale head of a girl, with opal-tinted butterfly wings." She is holding the box of Pandora.^[28]

"Spring-time" (1890, oil on sheet, 68 1/4 ten 32")^[12] was also exhibited at the New Gallery. The catalogue describes it: "foremost effigy in almost transparent white robe, with dark violet blueish sash; backside her a figure in cerise purple. All the foreground is in shadow. A gleam of sunlight catches the apple-blossom and strikes beyond the grass beyond." The painting is labeled, O primavera, gioventù del anno/O gioventù, primavera della vita (O spring, youth of the year/O youth, the springtime of life).^[28]

A Roman homo begetting a sprig of laurel pours water from a bullpen into a pool of water in O Babbling Spring, an illustration for Horace, Book iii, Ode xiii. The bound rises at the foot of large boulders, and a immature caprine animal is tied to a statue higher up some small urns. An engraving of this moving picture was used equally the frontispiece for the July, 1890 edition of Scribner'southward Mag.^[34]

To Faunus is a cartoon depicting a maiden and her companion behind a big rock on a hillside, as Faunus plays upon his flute nearby. The maiden wears a garland in her hair, and carries her drapery as she stands, listening. Her naked companion is rising from the ground. This illustration served every bit the frontispiece for the July, 1891 edition of Scribner'due south Magazine.^[35]

Quondam Love Renewed (1891) is an illustration for i of the poems of Horace, Book iii. Ode ix. It was exhibited at the New Gallery.

Behind the night-haired maiden, who stands looking back at her erstwhile lover, is the stake-blue sky and the warmer tinted sea, and in full contrast to them a branch of crimson rhododendron which grows out from backside the marble wall. The man who sits in the shadow of a cypress is clad in a pale purple cloak. In the centre altitude the many-coloured town is seen in full sunlight.^[28]

The Mermaid of Zennor (1900).

A nude girl whispers to a silent statue of a sphinx in A Whispered Question (1892), which was exhibited at the Royal University.^[xiv] This painting was one of vii used as illustrations in Southward.G. Owen'due south edition of Catullus.^[5]

Mr. Weguelin's plates enhance greatly the value of the book. These consist of a charming frontispiece and six other illustrations, all equally graceful in design and execution. The outset and most graceful of these is to the second ode, and presents Lesbia and her sparrow. The last illustration is to 50. 35 of the 'Pervigilium Veneris.' Mr. Weguelin's designs have the grace and dazzler of concluding century workmanship.^[36]

Heard Melodies are Sweetness; but Those Unheard are Sweeter was exhibited at the New Gallery in 1892.^[37]

The Swing (1893) marked Weguelin's return to watercolour. This painting was exhibited at the Royal Academy.^{[2] [14]}

The aforementioned twelvemonth, Weguelin produced sixty-five illustrations for The Little Mermaid and Other Stories, a collection of fairy tales by Hans Christian Andersen. A review in The Sketch reported, "as for Mr. J.R. Weguelin'south illustrations it would scarcely be possible to over-praise them; the pencil can do no more for Andersen than Mr. Weguelin has done for him hither."^[38]

In 1894, Weguelin illustrated Thomas Stanley'southward translation of Anacreon. His watercolor paintings were turned into photogravures for the volume. X paintings from this collection were exhibited at the New Gallery, including a frontispiece, Love's Night Walk, Roses, The Wish, The Invitation, The Picture, Love Imprisoned, The Spring, The Bee, and On a Basin wherein Venus was Engraved. ^{[6] [28]}

The frontispiece depicts two young women on the ground, one seated and ane reclining, before a statue of Anacreon, who holds a flute. Trees and bushes occupy the background, with the words, ΑΝΑΚΡΕΟΝΤΟΣ ΜΕΛΗ.

In Dear's Night Walk, a young man lies on a bed of cushions, asleep but with a restless pose and expression. Backside him is a wall, open to the outside, and seated on the wall is Cupid, aiming an arrow of love at the sleeper.

Ii young women, 1 fair and one nighttime, both wearing long, flowing dresses, dance beneath a garland in Roses.

The Wish depicts a adult female untying her sandal before stepping into a puddle of water to bathe. Lilies rest on the calm, reflecting surface, and grasses and shrubs occupy the background.

A youth on the ground implores a maiden's affections in The Invitation. The fellow wears a garland every bit he stretches toward his companion. She, nude, looks abroad, bashfully. Backside them is a wall of rock.

The Movie depicts a woman in contemplation, equally she reclines against some pillows on a bed. Backside her is a relief, depicting a festival with musicians.

Dear Imprisoned features a nude woman, seated on the ground, who has bound Cupid betwixt ii trees with a garland of flowers. The annoyed deity looks over his shoulder at his captor, whose back is to the viewer.

The Magic of Pan'south Flute (1905).

In The Leap, iii nude maidens assemble flowers to string into garlands. One sits on the basis, property the garland on which she has been working, as a second holds a string of blossoms above her head, and a third picks flowers to add.

The infant Cupid, distressed after existence stung past a bee, seeks his mother'due south condolement in The Bee. Venus stands among pocket-sized trees by a shallow pool, gazing at her crying son, who sits on the a cloth on the ground, looking at his wound. She wonders at the pain her son's arrows will inflict on lovers, compared with the hurt acquired by that "winged ophidian" called a bee.

Venus swims amidst breaking waves in On a Bowl wherein Venus was Engraved. Here the title is allegorical, the basin existence the body of water itself, and Venus' birth beingness described as engraving. The fins of a dolphin (depicted in the heraldic way, rather than realistically) emerge from the cream nearby, and a rocky headland can be seen in the background.

Two young women in flowing gowns gather flowers in a spring garden and fling them at one another in mock battle, in A Boxing of Flowers (1894, watercolour, 20 ten 28 1/ii"). This picture was exhibited by the Regal Watercolour Society, together with Venetian Golden, and may exist the same picture known as Rose Petals.

The watercolour Venetian Gilt, exhibited at the Royal Watercolour Guild in 1894, depicts "sixteenth-century ladies in their schiavonetti, having their hair combed in the dominicus on the flat roofs of a firm." The Sat Review remarked that "Mr. Weguelin affects a new mode of technique this year, very liquid, and light in hue. His Venetian Gold is one of the most interesting drawings he has exhibited."^[39]

Rodantha (watercolour, 13 3/4 10 20 3/4") depicts a young woman with red hair, draped in blue and reclining confronting a pile of cushions.^[23]

Cupid Spring by the Nymphs (1896, oil on canvas) depicts 3 nymphs frolicking in a wood with the infant Cupid, whom they accept bound with garlands. This painting was exhibited at the Royal Academy, and the Walker Gallery in Liverpool.^{[2] [14] [forty]}

The Piper and the Nymphs (1897) features a piper playing at the foot of a gnarled tree by the banks of a stream, every bit nymphs listen from their seats on roots on the other side. A young nymph stands on a rock overlooking the stream, rapt in the music. She is nude, and flowers fill her hair. This painting was exhibited at the Imperial Academy.^{[ii] [3] [14]}

In 1898, Weguelin illustrated a book of works by Lew Wallace, including The Wooing of Malkatoon and Commodus. ^[7]

Pan the Beguiler (1898, watercolour, 23 x 17") depicts two mermaids sprawled upon the rocks, and listening intently to Pan, who is playing his flute every bit the waves break confronting the shore. The god's back is turned to the viewer.^{[four] [23] [40]}

The Mermaid of Zennor (1900, watercolour), also known as The Mermaid Discovered, features a man wearing renaissance garb, standing on a flight of rock stairs leading downwards to the water, and staring in astonishment at the immature woman draped across the stones at the base. Her pilus is red, and she is unclad from the waist upwardly; from the waist down she has pinkish fins. The picture alludes to the legend of the Mermaid of Zennor who lives at Pendour Cove, near the Cornish village of Zennor.

The Rainbow Lies in the Curve of the Sand (1901)^[3] features a mermaid sitting in the midst of a winding stream emptying into the sea beyond a sandy embankment. She has long, red hair, her fish tail is green with red fins, and she rests in blue and purple h2o between golden bars of sand. Green waves, capped past white cream, break realistically in the background.

Carmine Blossom (1905, watercolour, 21 10 14 1/four") features a young woman, nude, with a garland of purple flowers, surrounded by the blossoms of a small cherry growing from a low spot. The landscape is covered with bound grass, in which hyacinths are growing.^[41]

In The Magic of Pan's Flute (1905, watercolour, 20 3/iv x 13 3/4"),^[23] the god Pan sits on a tree root, his back to the viewer, playing on a flute. On the opposite side of the twisted and gnarled tree stands a naked nymph, listening attentively. She is wearing flowers in her long, golden hair. Scattered rays of sunlight penetrate the misty wood, vaguely depicted in greens and purples.^[3]

A Pastoral (1905, watercolour, 15 ten 21") depicts a nude woman, seated at the edge of a small wood with her dorsum to the viewer, playing a flute as sheep graze nearby. She wears a garland in her hair. The foreground is in shadow, with sunlight visible through the trees. Shrubs in blossom and the size of the sheep suggest springtime.

Shepherd and Lambs in a Field before a Windmill (1908, watercolour, 53 10 35 cm) features a shepherd in a plaid shirt, his back turned to the viewer, continuing in a tranquil field with sheep and lambs.

Gladsome Spring (1911, watercolour) depicts 2 maids frolicking in a flower-filled meadow. They accept garlands in their hair, and a train of xanthous blossoms extends between them.^[41]

In Mermaid (1911, watercolour, 25 ten 36 cm), the subject sits on a rock by the seashore. The h2o is turquoise, and the sky filled with purplish clouds. The mermaid tilts her head and looks toward the viewer, as she arranges her long blonde tresses.^[41]

The Sleeping Mermaid (1911, watercolour) features a mermaid sprawled across a sunny beach, a cord of shells past her outstretched hand. Light-green waves roll in behind her, and the shore curves around into a rocky headland, overlooking the wine-dark sea.

Other works [edit]

• Blossoms from a Roman Garden (1885, 29 10 19")^[21]
• The Captive Dryad (1903, watercolour)^{[2] [4]}
• The Clerk and the Farmer's Wife (watercolour), from "Little Claus and Big Claus," by Hans Christian Andersen
• A Cornish Shore (1903, watercolour)^[iv]
• Down to the Summertime Sea (1884, 17")^[21]
• Evoë Bacche (1882) was exhibited at the Grosvenor Gallery.^{[fifteen] [19]}
• Flowers from a Roman Garden, possibly the same as Blossoms from a Roman Garden
• Iris and Ruby Flower (1903, watercolour)^[iv]
• The King'due south Commands (watercolour, twenty x 36")^[42]
• A Cooler (nineteen")^[21]
• Libation to the Nymph (1883)^[15]
• Maidens (watercolour, twenty x 28")^[23]
• The Mermaid on the Sea Shore ^[2]
• Mrs. Jefferson (oil on canvas, 9 1/2 x 7") is a portrait of a woman, head and shoulders, in a white apparel.^[12]
• The Racing Nymphs (watercolour)^[4]
• A Real Princess ^[2]
• Rose Petals (watercolour, 28 x xx")^[23]
• Saturnalia
• A Secret (1883)^[15]
• A Serving Girl Wearing a Garland of Ivy (watercolour, 83 10 36 cm)^[41]
• Shepherd and Lambs in a Field before a Windmill (1908, watercolour, 53 ten 35 cm)^[43]
• Solutis Gratiæ Zonis (1902, watercolour)^{[2] [four]}
• Spring Blossoms and Youth (1904, watercolour, 15 1/2 x twenty 3/iv")^[12]
• Summertime Afternoon (1886)^[15]
• Nether the Hollow Hung Sea Dark-green
• Wishes ^[two]

References [edit]

1. ^ ^{a b c d e} Who's Who (1897), Douglas Sladen, ed.
2. ^ ^{a b c d e f g h i j grand l one thousand n o p q r s t u v w x} Alfred Lys Baldry, "J. R. Weguelin and his Work." The International Studio, vol. 24 (1904-05), p. 378 ff.
3. ^ ^{a b c d eastward f chiliad h i j chiliad fifty} "Your Source of Visual Intoxication". artmagick.com.
4. ^ ^{a b c d east f g h i j k} Marcus Bourne Huish, British Water-Colour Fine art, Adam & Charles Blackness, London (1904).
5. ^ ^{a b} Catullus: with the Pervigilium Veneris, Southward.One thousand. Owen, editor, Lawrence and Bullen, London (1893).
6. ^ ^{a b} Anacreon, Thomas Stanley, translator, A.H. Bullen, London (1892, 1906).
7. ^ ^{a b} R.E.D. Sketchley, "English Book-Illustration of To-Mean solar day", in The Library, New Serial, vol. 3 (1902).
8. ^ "Lesbia als Pin-up Girl", in Catull in Bild und Ton, Tobias Calinski, ed., WBG, Darmstadt (2021), pp. 183–204.
9. ^ The Art Periodical, New Series (1888), p. 221.
10. ^ ^{a b} Alfred Lys Baldry, The Practice of H2o-Color Painting: Illustrated by the Work of Modern Artists, Macmillan and Co., Limited, London (1911).
11. ^ "Painting," in the Encyclopædia Britannica, Eleventh Edition (1911).
12. ^ ^{a b c d due east f m h i j} Christie'due south, [www.christies.com]
13. ^ W. One thousand. Rossetti, "The Dudley Gallery", in The Academy: a Weekly Review of Literature, Science, and Art, vol. xi, p. 124 (Feb 10, 1877).
14. ^ ^{a b c d e f g h i j m l thousand} Algernon Graves, The Royal Academy of Arts: A Consummate Dictionary of Contributors and their work from its foundation in 1769 to 1904 vol. Eight (1906).
15. ^ ^{a b c d e f g h i j thou 50 k n o p q} Cyclopedia of Painters and Paintings, John Denison Champlin, Jr. and Charles C. Perkins, eds., vol. 4 (1913).
16. ^ "A Gossip on the Grosvenor Gallery," in The Dublin University Magazine, vol. 94, p. 66 ff. (July, 1879)
17. ^ "Rising Artists," in The Gentleman's Magazine, vol. 251 (July to Dec, 1881).
18. ^ "The Pictures at the Royal Academy—Iii" in The Building News, vol. 42, p. 595 (May 19, 1882).
19. ^ ^{a b} "The Moving picture Shows" in Household Words, vol. Three, no. 55 (xiii May 1882).
20. ^ Jenny Woolf, The Mystery of Lewis Carroll, Haus Publishing Ltd. (2010).
21. ^ ^{a b c d eastward f} Christie'southward, auction of 27 & 28 Nov 1913.
22. ^ Grosvenor Notes 1885: an Illustrated Catalogue of the Summertime Exhibition at the Grosvenor Gallery, Henry Blackburn, ed.
23. ^ ^{a b c d due east f} "Sotheby's: Art Auctions & Private Sales for Contemporary, Modern & Impressionist, Old Principal Paintings, Jewellery, Watches, Wine, Decorative Arts, Asian Fine art & more". sothebys.com.
24. ^ ^{a b} Grosvenor Notes 1886: a Complete Catalogue, with Facsimiles of Sketches past the Artists, Henry Blackburn, ed.
25. ^ Adelaide Jubilee International Exhibition, 1887. Listing of Juries and Official Listing of Awards. H.F. Leader, regime printer (1889).
26. ^ Academy Notes 1887, with Facsimiles of Sketches past the Authors, Henry Blackburn, ed.
27. ^ BBC - Your Paintings [world wide web.bbc.co.united kingdom of great britain and northern ireland/arts/yourpaintings]
28. ^ ^{a b c d due east f g h} The New Gallery: An Illustrated Catalogue, vols. one-5, Henry Blackburn, ed. (1888-1892).
29. ^ Christopher Wright, British and Irish Paintings in Public Collections, Yale University Printing (2006).
30. ^ The Faringdon Collection, [www.buscot-park.com]
31. ^ Henry Blackburn (ed.), Grosvenor Notes 1888: an Illustrated Catalogue, with Facsimiles of Sketches past the Artists (London: Chatto & Windus, 1888).
32. ^ Grosvenor Notes 1889: an Illustrated Catalogue of the Summer Exhibition, Henry Blackburn, ed.
33. ^ DuMouchelles, [www.dumouchelles.com].
34. ^ Scribner's Magazine, vol. Viii, issue i (July, 1890).
35. ^ Scribner'southward Mag, vol. X, issue 1 (July, 1891).
36. ^ "Notes on Books, &c." in Notes and Queries, Eighth Series, No. 109 (January. 27, 1894).
37. ^ Louise Lippincott, Lawrence Alma-Tadema: Spring, J. Paul Getty Museum (1990).
38. ^ The Sketch.
39. ^ 'The Imperial Social club of Painters in Water-Colours', Saturday Review, five May 1894.
40. ^ ^{a b} A Record of Art in 1898, an Extra Number of The Studio, Part ane: British Section.
41. ^ ^{a b c d} "Bonhams". bonhams.com.
42. ^ "Lots Road". lotsroad.com.
43. ^ "JS Auctions". jsauctions.co.uk. Archived from the original on 23 October 2015.

External links [edit]

Media related to John Reinhard Weguelin at Wikimedia Eatables

• Works past John Reinhard Weguelin at Project Gutenberg
• Works by or nearly John Reinhard Weguelin at Internet Annal
• J. R. Weguelin at Library of Congress Authorities, with 4 catalogue records

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Source: https://en.wikipedia.org/wiki/John_Reinhard_Weguelin

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