Philip Wilson Steer, Jonquil, British Impressionist interior with flowers

Philip Wilson Steer’s Jonquil

by 19th century ArtArtArt of the United KingdomPowerpoints
Philip Wilson Steer, Jonquil, British Impressionist interior with flowers
Philip Wilson Steer, English, 1860-1942
Jonquil, 1890, Oil on Canvas, 91.5×91.5cm, Private Collection
https://www.paulfrasercollectibles.com/blogs/art-photography/philip-wilson-steers-jonquil-will-lead-british-impressionist-art-sale?srsltid=AfmBOooN3TM25j_xhU_nVNGhK4y5qROs7_af7yFZ_Dpx-3wx8w8h2N41

March marks the quiet turning of the year, when winter light begins to soften and the first flowers appear almost shyly in gardens and hedgerows. For this month’s Flower of the Month, Philip Wilson Steer’s Jonquil offers a fitting celebration of early spring. The jonquil, long associated with renewal, modest joy, and the promise of warmer days, emerges here not as a botanical study, but as a moment of looking: intimate, fleeting, and tender. Steer, a leading figure in British Impressionism, was deeply attuned to atmosphere and seasonal change, and this small floral subject allows his sensitivity to come fully into focus.

Atmosphere, Light, and Everyday Beauty in Steer’s Work

Philip Wilson Steer (1860–1942) was born in Birkenhead and trained initially at the Gloucester School of Art before continuing his studies at the South Kensington School of Art in London. He later travelled to Paris, enrolling at the Académie Julian, where he encountered French Impressionist and Realist painting at first hand. This exposure proved formative. On his return to Britain, Steer became a central figure in the development of modern British painting, helping to introduce Impressionist approaches to colour, light, and natural observation. In 1886 he was a founding member of the New English Art Club, which offered an important alternative to the academic traditions of the Royal Academy. Steer went on to enjoy considerable professional success, exhibiting widely and later serving as an influential teacher at the Slade School of Fine Art, where he shaped a generation of British artists.

Steer’s aesthetic was grounded in close observation and a deep responsiveness to light and atmosphere. Rather than dramatic narratives or grand historical themes, he gravitated toward moments of quiet presence: coastal landscapes, figures absorbed in thought, and flowers encountered at close range. His brushwork often dissolves form at the edges, allowing light to become an active presence within the composition. Colour is handled with restraint and subtlety, creating a sense of harmony rather than contrast. This sensitivity gives his paintings a reflective quality, as if the viewer is invited to share in the artist’s own act of looking.

As a leading figure in British Impressionism, Steer played a crucial role in adapting continental ideas to the British landscape and temperament. While influenced by French Impressionists, his work remains distinctively measured and introspective, favouring mood over spectacle. Nature, for Steer, was not something to be mastered or idealised, but quietly attended to, whether in the shifting light of a shoreline or the modest presence of a single flower. His interest in everyday subjects reflects a belief that beauty resides in the ordinary, revealed through patience, attentiveness, and an openness to fleeting sensory experience.

Jonquil and the Spirit of Early Spring

Philip Wilson Steer’s Jonquil depicts a young woman standing in profile beside a tall window, absorbed in the quiet act of holding and examining a small spray of pale flowers. She is dressed in a dark, simple garment that contrasts gently with the soft yellows and greens of the interior setting. The window behind her admits a cool, diffused light, which falls across her face and hands, modelling her features with subtlety rather than clarity. A small table or ledge in the foreground holds additional blossoms, echoing the flowers in her hand and reinforcing the intimacy of the scene. The setting feels domestic and enclosed, yet permeated by light, creating a sense of stillness and inwardness.

Philip Wilson Steer, Jonquil, British Impressionist interior with flowers, a drawing
Philip Wilson Steer, English, 1860-1942
Jonquil, 1890, Pen; Ink; Card, 17.7 cm x 17.8 cm, National Museums, Liverpool
https://www.liverpoolmuseums.org.uk/artifact/jonquil

Steer’s aesthetics here are defined by restraint, atmosphere, and emotional understatement. The palette is carefully harmonised: muted yellows, soft greens, deep blues, and warm neutrals are balanced so that no single element asserts dominance. Brushwork is delicate and softened, particularly in the figure and background, allowing forms to merge gently with their surroundings. Light functions not as a dramatic spotlight but as an enveloping presence, dissolving edges and lending the scene a hushed, contemplative mood. The woman’s absorbed pose and the modest scale of the flowers suggest an interest in private, everyday experience rather than narrative or symbolism. Rather than sharply observing the flowers or the figure, Steer seems to suggest them emotionally, capturing a fleeting moment of quiet attention, where nature and human presence meet in a shared atmosphere of calm reflection.

In Jonquil, Steer offers not a celebration of the flower’s brightness, but a meditation on attentiveness itself. The painting’s quiet harmony of light, colour, and gesture invites the viewer to slow down and share in a moment of private contemplation, where the simple act of holding a flower becomes a reflection on season, presence, and renewal. As a work chosen for March, Jonquil gently captures the spirit of early spring—modest, inward, and full of promise.

For a PowerPoint Presentation, of Philip Wilson Steer’s oeuvre, please… Check HERE!

Bibliography: From the Walker Art Gallery https://www.liverpoolmuseums.org.uk/walker-art-gallery and from Sotheby’s https://www.sothebys.com/en/auctions/ecatalogue/2006/20th-century-british-art-l06141/lot.7.html

Walter E. Spradbery’s Holly

by 20th century ArtArtArt of the United KingdomPowerpoints
Artist: Walter E. Spradbery, English, 1889–1969
Issued by: Underground Electric Railways Company of London Ltd
Holly, 1936, Small format Poster, Victoria and Albert Museum, London, UK
https://collections.vam.ac.uk/item/O1023797/holly-poster-spradbery-walter-e/

Walter E. Spradbery’s Holly is a vibrant 1936 linocut poster commissioned by the Underground Electric Railways Company of London Ltd., embodying the festive spirit of Christmas while promoting travel on the London Underground. The artwork blends traditional holiday imagery, holly leaves, red berries, and a robin, with bold Art Deco typography and modern design sensibilities. Spradbery’s masterful use of color and composition not only celebrates seasonal joy but also reflects the company’s commitment to combining art and public transport, turning everyday journeys into opportunities for cultural enrichment.

Spradbery was an English artist, designer, and poet best known for his work as a poster artist during the early to mid-20th century. Born in London, he studied at the Walthamstow School of Art and later taught there, becoming a key figure in promoting art and design education. Spradbery served in the First World War as an official war artist, where his experiences deeply influenced his artistic outlook, emphasizing themes of resilience and beauty amid adversity. After the war, he continued to work prolifically as an illustrator, muralist, and printmaker, developing a distinctive style rooted in linocut printing and strong design principles.

Spradbery’s collaboration with major British transport companies, including the London & North Eastern Railway (LNER), Southern Railway, and London Transport (LT), played a central role in his career. His posters were part of a broader movement to use fine art to promote public travel, encouraging leisure and exploration through visually compelling imagery. For the LNER and Southern Railway, he created scenes that celebrated the beauty of the British landscape, inviting passengers to discover the countryside and coastlines by rail. For London Transport, Spradbery designed posters that combined practical information with artistic flair, often highlighting seasonal themes, gardens, and historical landmarks, thereby helping to shape the visual identity of public transport in the interwar period.

Aesthetically, Spradbery’s work is characterized by bold composition, rhythmic linework, and vibrant color contrasts, often achieved through his skilled use of the linocut technique. His designs fuse natural motifs, trees, flowers, birds, and architectural forms, with modern graphic design principles, creating images that feel both decorative and dynamic. Influenced by the Arts and Crafts movement and early modernism, Spradbery’s posters convey a sense of optimism and harmony between nature, art, and modern life. His works, including Holly, embody a timeless appeal, blending craftsmanship with a democratic vision of art accessible to the public through everyday encounters in stations and trains.

In his 1936 poster Holly, issued for the Underground Electric Railways Company of London Ltd., Walter E. Spradbery transforms a familiar seasonal motif into a striking graphic composition. Set against the stylised red ‘O’ of London Underground’s iconic roundel, a vibrant sprig of holly with lush green leaves and bright red berries encircles a singing robin at its centre. The design is executed as a bold linocut and retains the crisp simplicity of the technique, offering clear, high-contrast shapes and limited colour fields that draw the eye in. With the text ‘HOLLY CHRISTMAS GREETINGS TO ALL TRAVELLERS’ the poster functions both as a festive greeting and a visual invitation to travel, merging holiday cheer with the everyday mobility of London’s transport system. The piece is emblematic of Spradbery’s ability to unite artistic elegance with commercial purpose, turning a public-transport poster into an object of design worth preserving.

As December’s ‘Plant of the Month,’ Holly stands as a timeless symbol of resilience, renewal, and festive cheer, its evergreen leaves and bright red berries capturing the spirit of the season, Walter E. Spradbery’s Holly beautifully encapsulates these associations, blending art, nature, and celebration into a single uplifting image. Just as his 1936 poster wished ‘greetings to all travellers,’ we too can carry forward that message of warmth and goodwill. May this December bring you peace, creativity, and joy as we journey together into the festive season and the promise of a new year.

For a PowerPoint Presentation on Walter E. Spradbery’s oeuvre, please… Check HERE!

Bibliography: https://collections.vam.ac.uk/item/O1023797/holly-poster-spradbery-walter-e/ and https://www.ltmuseum.co.uk/collections/stories/design/walter-ernest-spradbery-artist-war-and-peace

Marigolds

by 19th century ArtArtArt of the United KingdomPowerpointsPre-Raphaelite movement
Dante Gabriel Rossetti, English, 1828 – 1882
Marigolds or Bower Maiden, 1873, Oil on Canvas, 114.3 x 73.66 cm, Nottingham Castle Museum and Art Gallery, UK https://useum.org/artist/Dante-Gabriel-Rossetti

When Dante Gabriel Rossetti introduced Marigolds (also known as The Bower Maiden) to his patron Frederick Leyland in 1874, he described it as ‘modern and naturalistic,’ portraying ‘a young girl (fair) in a tapestried chamber, with a jar containing marybuds (or marsh marigolds, the earliest spring flowers here), which she is arranging on a shelf. Near her is a cat playing with a ball of worsted.’ Rossetti emphasized that the picture was painted directly from nature, its freshness recalling his Veronica Veronese, and he believed it would be ’a general favourite.’ The marigolds at the heart of the composition, however, reach beyond decorative charm. They resonate with Robert Graves’s lines: ‘Look: the constant marigold / Springs again from hidden roots. / Baffled gardener, you behold / New beginnings and new shoots.’ Just as Graves praises the flower’s irrepressible return, Rossetti’s painting transforms the simple act of arranging spring blossoms into a quiet meditation on renewal, resilience, and the enduring vitality of nature and beauty. https://allpoetry.com/poem/8502277-Marigolds-by-Robert-Graves

The symbolism of the marigolds is crucial to Rossetti’s vision. In Victorian floriography, the flower carried a dual meaning, mourning and sorrow on the one hand, resilience and renewal on the other. Graves captures this duality when he writes, ’Pull or stab or cut or burn, / They will ever yet return.’ The marigold, with its golden bloom emerging each spring, becomes an emblem of endurance in the face of loss, a reminder that life continually pushes back against decay. Rossetti, painting at a time when he himself was burdened by ill health and emotional strain, may have found in the marigold a quiet metaphor for persistence, allowing his art to embody the same cycle of return that Graves’s poem celebrates.

Equally striking is the painting’s sense of domestic immediacy. Rossetti was quick to assure Leyland that Marigolds was ‘modern and naturalistic,’ and indeed, the scene eschews lofty allegory for the intimacy of daily life: a young girl carefully placing blossoms in a vase, a cat playfully tangling with a ball of worsted, the faded richness of tapestried walls. This balance between realism and symbolism reflects Rossetti’s fascination with beauty as both ordinary and transcendent. By anchoring the marigolds within a recognisable domestic setting, he elevates a fleeting household moment into a meditation on permanence, underscoring how even the simplest gestures can carry the weight of renewal.

At the heart of Marigolds is ‘Little Annie,’ the daughter of the Kelmscott Manor gardener, who occasionally assisted in the house. Painted at Kelmscott in the spring of 1873 and finished in early 1874, the work captures Annie in a simple hood typically worn for housework, as she carefully places a vase of marigolds on the mantle shelf in the Green Room. Rossetti gave the painting several titles, The Bower Maiden, Fleur-de-Marie, and The Gardener’s Daughter, each emphasizing the domestic intimacy of the scene. Annie’s youthful poise and attentive gestures transform this ordinary task into a moment of quiet dignity, reinforcing the painting’s themes of care, renewal, and the persistent beauty of life.

This domestic setting also mirrors Rossetti’s own preoccupations during the early 1870s. He was navigating personal and creative challenges, including declining health and emotional strain, and the serene act of arranging marigolds becomes a gentle meditation on resilience. Annie, the flowers, and the Green Room together create a scene where everyday life and symbolic meaning intersect, echoing the same insistence on persistence and return celebrated decades later in Robert Graves’s poem.

Ultimately, Marigolds is a quiet testament to endurance and renewal, where the simplicity of a young girl placing flowers becomes a reflection of nature’s unstoppable vitality. Annie’s gentle presence and attentive gestures, combined with the marigolds’ persistent bloom, embody the cycle of return that Robert Graves later celebrated: ’Pull or stab or cut or burn, / They will ever yet return.’ Rossetti transforms a domestic moment into a meditation on life’s continuity, showing that beauty and resilience thrive even in the most ordinary of acts. In this convergence of naturalism, symbolism, and human care, the painting and the poem together remind us that beginnings, like the marigolds, always reemerge from hidden roots, inviting reflection on the quiet persistence of both nature and the human spirit.

For a PowerPoint Presentation, please… Check HERE!

Bibliography: https://www.christies.com/en/lot/lot-6408804 and https://editions.covecollective.org/content/dante-gabriel-rossetti-marigolds-alternate-titles-bower-maiden-fleurs-de-marie-gardeners

Rhyl Sands

by 19th century ArtArtArt of the United KingdomPowerpointsUncategorized
David Cox, UK artist, 1783–1859
Rhyl Sands, c.1854, Oil on Canvas, 454 x 630 mm, the TATE, London, UK https://www.tate.org.uk/art/artworks/cox-rhyl-sands-t04130

Standing on the broad, breezy shore of Rhyl Sands, it’s easy to understand why David Cox was drawn to this stretch of the North Wales coast. In his painting Rhyl Sands, Cox captures not just the physical beauty of the beach—its golden expanse, the hazy sky, and the play of light on wet sand—but also the fleeting rhythms of seaside life. This was a place where families gathered, fishermen worked, and artists found endless inspiration. I’ve always found something quietly moving in Cox’s work; there’s a sense of peace in the wide-open space and an affection for the simple, everyday moments that unfold along the shore.

David Cox (1783–1859) was a prominent British landscape painter and one of the most important figures of the early English watercolour tradition. Born in Birmingham, he began his artistic career painting theatrical scenery before turning to landscape painting. Cox studied at the Royal Academy Schools and exhibited regularly at both the Royal Academy and the Society of Painters in Water Colours. He spent much of his career working between London and Birmingham, and later in life frequently visited North Wales, which became a major source of inspiration. His work played a key role in elevating watercolour painting to a respected art form in Britain.

Cox’s aesthetic is marked by a deep sensitivity to light, weather, and atmosphere. He is known for his expressive brushwork and ability to capture the fleeting moods of nature rather than its exact details. In his later years, his style became increasingly free and vigorous, often described as a forerunner to Impressionism in its focus on immediacy and movement. Rather than tightly controlled compositions, Cox preferred open scenes—windswept landscapes, coastal views, and everyday rural life—rendered with a bold yet subtle handling of colour and form. His work is celebrated for its emotional depth and naturalism, blending observation with a poetic interpretation of the landscape.

Rhyl Sands was painted by David Cox, a master of the British watercolour tradition, in 1854. By the time he created this painting, Cox was in his early seventies and had recently embraced oil painting following his training under W. J. Müller. He developed a particular attachment to North Wales, especially the coastal town of Rhyl, making multiple sketching trips there from the early 1840s. This version, one of three oil paintings on the subject, was acquired by Tate Britain in 1985 (Accession T04130) with help from the Friends of the Tate Gallery .

In Rhyl Sands, Cox opts for a painterly, weather-focused style, showcasing his mature technique in oils. The canvas, measuring 63 × 45.4 cm, is dominated by a sweeping sky of soft greys and whites that cast a delicate light over the sandy shore and its gently scattered figures. His brushwork is loose and expressive, blending sea, sand, and sky into an atmospheric whole rather than a detailed scene. Small human forms, beach carts, and distant buildings appear almost incidental, giving the composition a mood of open, unhurried space. The visual effect, achieved with muted tones and broad strokes, reflects Cox’s deep engagement with natural light and transient weather phenomena, qualities often seen as anticipating the Impressionist movement .

With its soft light, open composition, and subtle human presence, Rhyl Sands reflects Cox’s mature vision, rooted in observation but elevated by emotion and atmosphere. In blending the familiar rhythms of coastal life with an almost poetic treatment of light and space, the painting not only celebrates a specific landscape but also exemplifies the enduring power of landscape painting to evoke feeling, memory, and place.

For a PowerPoint Presentation of Rhyl Sands by David Cox, please… Check HERE!

Bibliography: https://www.tate.org.uk/art/artworks/cox-rhyl-sands-t04130

The Roses of Heliogabalus by Sir Lawrence Alma-Tadema

by 19th century ArtArtArt of the United KingdomPowerpointsVictorian Art
Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., British Artist, 1836-1912
The Roses of Heliogabalus, 1888, Oil on Canvas, 132.7 cm × 214.4 cm, Private Collection https://medium.com/@nauraanadhira/artwork-explained-the-roses-of-heliogabalus-by-alma-tadema-deb5113cb8b

As June blooms in full splendor, there is no better time to celebrate the rose, the quintessential flower of this month, than through the lavish spectacle of The Roses of Heliogabalus by Sir Lawrence Alma-Tadema. This sumptuous painting, a masterpiece of Victorian classicism, captures a moment of both beauty and morbid decadence drawn from the Historia Augusta… In a banqueting-room with a reversible ceiling he once overwhelmed his parasites with violets and other flowers, so that some were actually smothered to death, being unable to crawl out to the top.  With petals cascading like a silken avalanche, Alma-Tadema transforms a tale of imperial excess into a vision of opulence tinged with quiet horror—perfectly suited for a season where nature and drama entwine. https://penelope.uchicago.edu/Thayer/E/Roman/Texts/Historia_Augusta/Elagabalus/2*.html (Historia Augusta. Life of Elagabalus — Part 2 of 2)

The Roses of Heliogabalus is a striking fusion of historical narrative and aesthetic opulence. Painted in 1888, it depicts a sensational episode from the life of the Roman Emperor Elagabalus (or Heliogabalus), known for his eccentricity and extravagance. The story, as recounted in the Historia Augusta, tells of a banquet where the emperor used a reversible ceiling to release an overwhelming cascade of violet petals—though Alma-Tadema substitutes violets with roses—to smother his guests for amusement. This chilling episode of cruelty masked by beauty becomes the core of Alma-Tadema’s vision, offering a glimpse into the macabre excesses of ancient imperial decadence.

Aesthetically, the painting is a feast for the senses. The scene is bathed in soft, golden light that dances on the marble surfaces of the opulent banquet hall. Clad in flowing silks, the reclining figures exude a lethargic elegance, their expressions caught between delight and alarm as petals rain down in suffocating abundance. Alma-Tadema’s meticulous attention to classical detail—visible in the architecture, textiles, and floral textures—reveals his archeological fascination with antiquity. Yet beyond historical accuracy, he layers the image with sensuality and spectacle, transforming the tale into a visual symphony of beauty, excess, and impending doom.

Sir Lawrence Alma-Tadema (1836–1912) was one of the most celebrated and successful painters of the Victorian era, renowned for his meticulously detailed portrayals of the ancient world—especially scenes of Roman luxury and domestic life. Born as Lourens Alma Tadema in the small Dutch village of Dronrijp, Friesland, he showed artistic talent from a young age. Orphaned of his father at four, Alma-Tadema originally set out to study law, but after a health scare in his teens (when doctors mistakenly predicted he had only a short time to live), he chose to devote his remaining days to painting. He recovered fully, and went on to live a long and prolific life.

He trained at the Royal Academy of Antwerp, and it was during a trip to Italy in 1863 that he fell in love with ancient Roman architecture and culture. This moment would shape the rest of his artistic life. After moving to England in 1870—amid the chaos of the Franco-Prussian War—he anglicized his name to Lawrence and added “Alma” (originally a middle name) to the front to stand out in alphabetical exhibition catalogs. In England, his career flourished. He became a favorite of both the Royal Academy and Queen Victoria, was knighted in 1899, and later received the Order of Merit.

Alma-Tadema was known for his obsessive attention to historical details. His London studio was famously packed with Roman artifacts, architectural fragments, and textiles. Visitors joked that he lived like an emperor among his collection. One anecdote tells of how he spent weeks experimenting with rose petals for The Roses of Heliogabalus—ordering fresh blooms by the thousands and even timing how long it would take for them to fall realistically from the ceiling. In his personal life, he was equally colorful: he married his second wife, Laura Epps (a talented painter herself), after painting her as a muse and falling in love through their shared artistic passion.

Though his popularity waned after his death—dismissed by Modernists as overly sentimental and decorative—Alma-Tadema’s work has since enjoyed a revival, admired for its technical brilliance and imaginative evocation of a world suspended between beauty and decay.

For a PowerPoint Presentation on the oeuvre ofSir Lawrence Alma-Tadema, please… Check HERE!

Teacher Curator has already POSTED two presentations on Sir Lawrence Alma-Tadema, titled… Sir Lawrence Alma-Tadema and Romantic Love https://www.teachercurator.com/19th-century-art/sir-lawrence-alma-tadema-and-romantic-love/ and A Coign of Vantage by Sir Lawrence Alma-Tadema https://www.teachercurator.com/19th-century-art/a-coign-of-vantage-by-sir-lawrence-alma-tadema/

Bibliography: https://penelope.uchicago.edu/~grout/encyclopaedia_romana/severans/roses.html and https://medium.com/@nauraanadhira/artwork-explained-the-roses-of-heliogabalus-by-alma-tadema-deb5113cb8b

Photo Credit: https://medium.com/@nauraanadhira/artwork-explained-the-roses-of-heliogabalus-by-alma-tadema-deb5113cb8b

David Hockney’s Daffodils

by ArtArt of the United KingdomStudent ActivitiesWorksheets
David Hockney, English,born 9 July 1937
The Arrival of Spring, Normandy, 2020, Do Remember They Can’t Cancel the Spring, iPad painting © David Hockney https://www.standard.co.uk/culture/david-hockney-daffodils-spring-coronavirus-lockdown-a4394636.html

As we step into March, we celebrate its arrival with the radiant Daffodil, beautifully captured in David Hockney’s Daffodils, 2020, a standout piece from his series The Arrival of Spring, Normandy, 2020. This artwork embodies the vitality and optimism of spring, as the bright yellow blooms emerge as harbingers of renewal and resilience. Hockney immortalizes the Daffodils with bold colours and a dynamic composition, reflecting his belief in the enduring power of nature, encapsulated in his poignant phrase, ‘Do remember they can’t cancel the Spring.’Together, we’ll explore the ‘who,’ ‘when,’ ‘what,’ ‘why’ and ‘how’ of this artwork, uncovering how it bridges the natural world and artistic expression, inviting us to pause and embrace the beauty of March in full bloom.

David Hockney’s The Arrival of Spring, Normandy, 2020 is a vibrant celebration of renewal and the beauty of the changing seasons, created during the global lockdown. Comprising 116 iPad paintings, the series captures the artist’s observations of the Normandy countryside, where he sought refuge during the pandemic. Hockney masterfully uses his iPad as a digital canvas, bringing a fresh perspective to landscapes with bright colours, bold lines, and a sense of immediacy. Echoing his poignant phrase… Do remember they can’t cancel the Spring, the collection reflects his enduring fascination with nature and the passage of time, offering viewers a sense of hope, resilience, and the simple joys of observing the world around them.

Who is David Hockney? David Hockney is one of the most influential and celebrated British artists of the 20th and 21st centuries, renowned for his innovative approach to art and his exploration of colour, perspective, and technology. Born in Bradford, England, in 1937, Hockney gained international acclaim in the 1960s as a key figure in the Pop Art movement, with works that often reflected his fascination with everyday life, portraiture, and landscapes. Over his prolific career, he has continually reinvented his style and medium, from his iconic California pool paintings to groundbreaking digital works created on iPads. Hockney’s art is deeply personal, yet universal, capturing the joy and beauty of the world around him with a distinctive blend of boldness and warmth, making him a beloved figure in contemporary art.

David Hockney, English, born 9 July 1937
The Arrival of Spring, Normandy, 2020, No. 258, 27th April 2020, No. 1, David Hockney. © David Hockney https://www.dreamideamachine.com/?p=81176

When did David Hockney create The Arrival of Spring, Normandy, 2020 series, and what inspired him during that time? David Hockney created The Arrival of Spring, Normandy, 2020 during the early months of the COVID-19 pandemic in 2020 while living in isolation at his farmhouse in Normandy, France. Inspired by the changing seasons and the resilience of nature amidst global uncertainty, the series reflects his deep observation of the renewal and vitality of spring, serving as both a personal meditation and a universal message of hope. Through 116 iPad paintings, Hockney captured the essence of the Normandy countryside, celebrating the enduring beauty of nature during a time of profound disruption. The artist produced all the works in the series en plein air, much like the Impressionists, whose work influenced Hockney both generally and specifically for this series. For example, Monet’s Stacks of Wheat, and Hockney’s The Arrival of Spring explore the interplay of light and color at different times of day and throughout the progression of the season, bringing a dynamic and transformative perspective to his landscapes.

David Hockney, English, born 9 July 1937
The Arrival of Spring, Normandy, 2020, No. 340, 21st May 2020, iPad painting © David Hockneyhttps://www.bozar.be/en/watch-read-listen/david-hockney-bozar

Why did Hockney turn to iPad painting for, instead of traditional mediums, and how was it received by audiences? David Hockney turned to iPad painting for The Arrival of Spring, Normandy, 2020 because it allowed him to work swiftly and spontaneously, capturing the fleeting beauty of nature with immediacy and precision. The portability and versatility of the medium enabled him to document the changing seasons in real-time, often completing a piece The Arrival of Spring, Normandy, 2020within hours. Hockney has long embraced new technologies in his art, viewing them as tools to expand creative possibilities. The use of iPad painting in this series was well-received by audiences, who appreciated its modernity and accessibility. Critics praised Hockney’s ability to translate traditional artistic techniques into a digital format while maintaining the vibrancy, detail, and emotional resonance that characterize his work, further solidifying his reputation as a forward-thinking artist.

David Hockney in his Normandy studio with his iPad landscapes © David Hockney
https://www.bozar.be/en/watch-read-listen/david-hockney-bozar

Why does Daffodils, 2020 stand out as a representation of March and how did Hockney incorporate Daffodils in his The Arrival of Spring, Normandy, 2020 series? Daffodils, 2020 stands out as a representation of March because they are often the first signs of spring. The Daffodil is a quintessential symbol of the season, celebrated for its vibrant yellow blooms that herald the end of winter and the renewal of life. In Hockney’s artwork, the Daffodils burst with energy and optimism, reflecting the vitality and hope associated with the transition into spring. Hockney’s use of bold colours and dynamic composition captures the essence of the flower’s cheerful and resilient nature, making it an ideal representation of March—a month characterized by growth, renewal, and the promise of brighter days ahead. Through this piece, Hockney invites viewers to pause and appreciate the simple, uplifting beauty of the natural world.

How is the Daffodil connected to the Greek myth of Narcissus? The Daffodil, botanically known as Narcissus, is intrinsically linked to the Greek myth of Narcissus, the son of the river god Cephissus and the nymph Liriope. According to legend, Narcissus was a youth of extraordinary beauty who became entranced by his own reflection in a pool of water, ultimately leading to his demise. In some versions of the myth, the gods transformed him into the Daffodil flower, which thereafter bore his name. This association imbues the Daffodil with themes of self-love and vanity, as well as the transient nature of beauty. The flower’s early spring bloom further symbolizes rebirth and new beginnings, adding layers of meaning that have been reflected in art and literature throughout history.

For Student Activities inspired by David Hockney’s Daffodils, please… Check HERE!

Bibliography: https://www.artic.edu/articles/1010/10-things-to-know-about-david-hockney-s-the-arrival-of-spring-normandy-2020 and

‘October’ Stained Glass Roundel

by 15th century ArtArtArt of the United KingdomMedieval ArtStudent ActivitiesWorksheets
October, ca. 1480, Clear and coloured glass with painted details in brown/black pigment and yellow (silver) stain, Diameter: 29.2cm, V&A Museum, London, UK https://collections.vam.ac.uk/item/O7620/october-roundel-unknown/

I’m not sure if you enjoy Japanese Haiku, those brief poems with 3 lines and 17 syllables. As I look at the ‘October’ Stained Glass Roundel at the Victoria and Albert Museum depicting a farmer sowing seeds, I reminisce about the ‘Haiku’ games I used to play with my students. And just like that, a new Haiku came to life… Red and yellow glow, / Seeds are sown in glass and light, / Medieval blooms…

Stained glass roundels offer a vivid glimpse into the daily lives and seasonal rhythms of medieval society, and the Victoria and Albert Museum holds a remarkable example in its collection. Among the treasures acquired by the museum in 1931 are three roundels, which once formed part of a larger set depicting the ‘Labours of the Months.’ Although the original location of these roundels remains a mystery, they are believed to have originated from the old parsonage at St Michael-at-Coslany in Norwich. One of the missing pieces, illustrating the month of January or February, now resides in the Burrell Collection in Glasgow, connecting these scattered remnants of medieval art across time and space.

The ‘Labours of the Months’ is a captivating iconographic theme in medieval art, reflecting the cyclical nature of rural life and the deep connection between humanity and the seasons. Each month was traditionally represented by a specific task or activity, from sowing seeds in October to harvesting in August, offering a visual calendar of rural labour. These depictions often appeared in illuminated manuscripts, sculptures, and stained glass, serving as both educational tools and spiritual reflections of the divine order of the world. In churches and cathedrals, the ‘Labours of the Months’ provided parishioners with a relatable visual narrative that connected the rhythms of the natural world with their spiritual lives.

The Stained Glass Roundel depicting ‘October’ in the Victoria and Albert Museum beautifully exemplifies the role of stained glass in medieval church decoration. With its vibrant colours and intricate design, this roundel transforms the agricultural task of sowing seeds into a luminous spectacle of divine light. Like many stained glass windows of the period, this piece is not just a work of art but a powerful symbol of spiritual illumination. The depiction of a farmer scattering seeds is rendered in brilliant hues that would have cast vivid images across the stone interiors of the church, engaging and educating the faithful.

According to the V&A experts, …the farmer is depicted dressed in a red tunic and yellow hose, his head covered by a capuchon, indicating cool weather conditions. He has a pouch attached to a belt around his waist, and over his shoulder, he carries a wicker basket containing seed that he strews across the fields. He is probably sowing seed for wheat that will be harvested in the spring. https://collections.vam.ac.uk/item/O7620/october-roundel-unknown/

This roundel, believed to have originated from the old parsonage at St Michael-at-Coslany in Norwich, required exceptional craftsmanship—each piece of glass was carefully selected, painted, and assembled to convey the rhythm of life and labour in harmony with the divine. Serving both as an educational illustration for a largely illiterate medieval population and as a spiritual tool, this roundel is a testament to the enduring legacy of stained glass in guiding the faithful toward contemplation and connection with the divine.

For a Student Activity inspired by the V&A Museum roundel of ‘October’, please… Check HERE!

The March Marigold by Sir Edward Coley Burne-Jones

by 19th century ArtArtArt of the United KingdomPre-Raphaelite movementStudent ActivitiesVictorian ArtWorksheets
Sir Edward Coley Burne-Jones, British Artist, 1833–1898
The March Marigold, circa the 1870s, Oil and Mixed Media on Canvas, 71.7×77.4 cm, Private Collection https://www.wikiart.org/en/edward-burne-jones/the-march-marigold

The March Marigold by Sir Edward Coley Burne-Jones celebrates the vibrantly tinted and warmly hued, Μarigold, the flower that carries rich symbolic meaning across various cultures. Often associated with the sun, these flowers symbolize positivity, joy, and the life-giving energy of sunlight. In many traditions, marigolds are also linked to themes of celebration, prosperity, and good fortune, making them popular choices for festivals, weddings, and other auspicious occasions. Additionally, marigolds are known for their resilience and ability to thrive in diverse conditions, serving as a symbol of endurance and tenacity. Whether used in religious ceremonies, cultural celebrations, or simply as decorative elements, marigolds convey a profound message of optimism, resilience, and the enduring beauty that can emerge from even challenging circumstances.

So… What Do Marigolds Symbolize Internationally?

The scientific name of the Marigold flower is Calendula officinalis, and it comes from Latin. The Romans noticed the plant’s consistent flowering on the Calends, the first days of each month in the Roman Calendar and associated it with the regular intervals of their calendar, hence the name Calendula. The specific epithet officinalis, Latin as well, indicates that the plant was officially used as a medicinal or culinary herb, emphasizing its recognized and established role in traditional practices.

In ancient Greece and Rome, the bright and vibrant marigold flowers were seen as a reflection of the sun’s rays, and they were sometimes considered symbols of light and positivity, often linked to the God Apollo, and Goddesses Aphrodite or Hera. They were also valued for their medicinal properties. Calendula flowers, used for their healing attributes, were employed in salves and ointments to treat wounds, inflammation, and various skin conditions. Additionally, Calendula petals were incorporated into culinary practices, lending color to salads and dishes. The plant’s association with health and well-being is reflected in its use in rituals and ceremonies, demonstrating its cultural and practical importance in ancient Greek and Roman society.

Sir Edward Coley Burne-Jones, British Artist, 1833–1898
Stooping Woman, circa the 1870s, Chalk on paper, 152 × 165 mm, TATE, London, UK https://www.tate.org.uk/art/artworks/burne-jones-stooping-woman-a00069

In Europe, during the Middle Ages, the golden color of the Marigolds, reminiscent of the radiance associated with Mary’s purity and divine nature in the Christian tradition, was linked to the Virgin Mary and her pure heart. Over time, this visual connection, coupled with the flowers’ frequent use in religious ceremonies and art, solidified the link between marigolds and the Virgin Mary in Christian symbolism. While marigolds are not explicitly mentioned in the Bible, their use in religious and cultural practices reflects a rich tapestry of symbolic meanings within the Christian context.

In Mexico, Marigolds, or Cempasúchil in Spanish, hold deep cultural significance, particularly during the Dia de los Muertos (Day of the Dead) celebration. Marigolds are thought to guide the spirits of the deceased back to the world of the living with their vibrant orange and yellow colors. Families often create intricate floral arrangements and altars adorned with marigolds, candles, and mementos to honor and remember loved ones who have passed away. The flower’s strong aroma is believed to attract the spirits, and its use in Day of the Dead rituals reflects a blend of indigenous traditions with Catholicism, symbolizing the interconnectedness of life and death in Mexican culture. Marigold’s role in these traditions goes beyond aesthetics, embodying a powerful symbol of remembrance, spirituality, and the enduring connection between the living and the deceased.

In India, Marigolds hold multifaceted cultural and religious significance. These vibrant flowers, known as Genda Phool in Hindi, are commonly used in religious ceremonies, festivals, and decorations. Marigold garlands are often offered in temples to various deities, symbolizing purity and auspiciousness. The golden hue of Marigolds is associated with the sun, representing positive energy and prosperity. Additionally, during festivals like Diwali and Durga Puja, Marigolds are extensively used for decoration, adorning homes, and public spaces as a symbol of joy and celebration. The flower’s resilience and vibrant color contribute to its popularity in Indian culture, where marigolds serve as more than mere ornamental elements, embodying spiritual, cultural, and festive significance.

For a Student Activity inspired by the Marigold Flower, please… Check HERE!

Sir Lawrence Alma-Tadema and Romantic Love

by 19th century ArtArtArt of the United KingdomPowerpointsVictorian Art
Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., British Artist, 1836-1912
A Solicitation, 1878, pencil and watercolour on paper, 22.9 x 45.1 cm, Private Collection https://www.mutualart.com/Artwork/A-Solicitation/8FB915CF2DFA260B4CC9A753186F8298

On Saint Valentine’s Day, I think of Sir Lawrence Alma-Tadema and Romantic Love. I think of his many paintings portraying the emotional nuances of romantic interactions, the courtship scenes with a heightened sense of intimacy, the use of rich colors and the exquisite settings often applied to evoke a romantic ambiance.  I reflect upon his gentle gestures, unambiguous glances, and subtle expressions that capture the essence of romantic relationships in a bygone era. Alma-Tadema’s paintings, whether set in ancient Rome, Greece, or other historical periods, convey a sense of timeless beauty and the universal aspects of love and courtship. The artist’s ability to infuse his works with a sense of elegance and emotion allowed viewers to connect with the theme of courtship on a deeply human level, transcending the specific historical context of each painting. Sir Lawrence Alma-Tadema was a master in representing Romantic Love!

On the 13th of December 2022, a small watercolour painting by Alma-Tadema, titled A Solicitation, was auctioned at Christie’s, with great success. The composition is entirely typical of his work, with a young woman sitting upright on a marble bench, listening to the entreaties of the young man who reclines beside her. Is she swayed by his ‘words? I do not know… I see her holding on to her lap the flowers ‘he’ probably gave her contemplating his ‘proposition’. https://www.christies.com/lot/lot-6408828?ldp_breadcrumb=back&intObjectID=6408828&from=salessummary&lid=1

The painting A Solicitation has all the characteristics of the Sir Lawrence Alma-Tadema artistic style. Renowned for his expertise in portraying various facets of sun-soaked, glowing marble, the artist, for example, presents a large, almost luminescent bench to the viewer, by skillfully utilizing watercolour transparency to evoke the hues of the marble. Equally interesting is how the depicted young couple, dressed in off-white clothes, stands out, due to Alma-Tadema’s adept handling of different textures. Finally, it is essential to mention the Mediterranean oleander tree in the right part of the middle ground, which the artist used to harmonize the rectangular shape of the composition, and the blue hues of the sea and distant coast in the background that seamlessly merge with the bright sky, creating a splendid morning scene. https://www.christies.com/lot/lot-6408828?ldp_breadcrumb=back&intObjectID=6408828&from=salessummary&lid=1

Alma-Tadema’s patrons were captivated by the romantically appealing compositions depicting courtship, prompting the artist to create multiple versions of this theme. The inaugural scene, titled “Pleading,” was crafted in 1876 and is currently housed in the Guildhall Art Gallery in London. Following this, in approximately 1877, Alma-Tadema produced another courtship scene titled “The Question,” now part of the Colección Pérez Simón in Mexico City. The third installment in this series is the watercolor painting from 1878, named “A Solicitation.” Subsequently, three additional paintings, dating back to 1883, are dispersed across prominent locations—the British Museum (Op. CCLVIII), a private collection, and the Walters Art Museum in the United States (Op. CCLIX). Throughout these various iterations of the courtship composition, Alma-Tadema maintained a consistent portrayal of the fundamental relationship between the two figures: a contemplative female and a beseeching, submissive male gazing up at her. The compositions also feature an expansive, almost panoramic view extending beyond the edge of the bench, revealing the vast sea and its miniature sailing boats. https://www.christies.com/lot/lot-6408828?ldp_breadcrumb=back&intObjectID=6408828&from=salessummary&lid=1

The photograph shows Alma-Tadema’s studio at Townsend House, after its reconstruction following the destruction caused by an explosion on a barge on the Regent’s Canal in 1874. Alma-Tadema decorated the small first-floor studio in a Pompeian style, with a dark red ceiling and red and yellow wall panels with garlands and medallions. Over the fireplace can be seen a bronze bust of his wife backed by a curtain of cloth of gold. On the easel appears to be a variation of the watercolour ‘A Declaration’ 1883 and just below it, on the floor, is a reproduction of ‘Anthony and Cleopatra’, 1883. The studio also housed Alma-Tadema’s extensive collection of photographs. https://www.royalacademy.org.uk/art-artists/work-of-art/sir-lawrence-alma-tadema-r-a

Sir Lawrence Alma-Tadema (1836–1912) was a renowned Dutch-born Victorian painter who achieved international acclaim for his vivid and meticulously detailed depictions of classical antiquity. Known for his mastery of historical accuracy and meticulous attention to architectural and ornamental details, Alma-Tadema’s paintings often showcased scenes from ancient Rome, Greece, and Egypt. His works, characterized by their sumptuous colors, intricate compositions, and a focus on the opulent lifestyles of the classical world, captivated audiences during the late 19th and early 20th centuries. Alma-Tadema’s artistic contributions left an enduring impact on the academic art scene, and his legacy continues to be celebrated for the way he brought ancient history to life through his extraordinary talent and dedication to historical accuracy.

For a PowerPoint Presentation of six paintings by Sir Lawrence Alma-Tadema, presenting Courtship Scenes, please… Check HERE!

February and the Waterloo Cup

by ArtArt of the United KingdomPowerpoints
George Derville Rowlandson, British, 1861-1918
The Month of February: Coursing, the Waterloo Cup, unknown date, pen & ink and w/c on paper, Private Collection https://www.meisterdrucke.uk/fine-art-prints/George-Derville-Rowlandson/179537/The-Month-of-February:-Coursing-%28pen-and-ink-and-wc-on-paper%29.html

I’ll tell of the Magna Charter / As were signed at the Barons’ command / On Runningmead Island in t’ middle of t’ Thames / By King John, as were known as “Lack Land.”    /    …”We’ll get him a Magna Charter,” / Said Fitz when his face he had freed; / Said the Barons “That’s right and if one’s not enough, / Get a couple and happen they’ll breed.”    /    So they set about making a Charter, / When at finish they’d got it drawn up, / It looked like a paper on cattle disease, Or the entries for t’ Waterloo Cup… humorously wrote Edgar Marriott, and I think of February and the Waterloo Cup by George Derville Rowlandson. https://allpoetry.com/Magna-Charta

George Derville Rowlandson (1861–1928) was a British artist known for his contributions to the field of illustration and watercolour painting. Rowlandson was born on the 11th of December 1861 in Secunderabad, Madras, India, the son of George Rowlandson an Indian Army colonel, and studied at the Gloucester Art School as well as the Westminster School of Art, London, and in Paris. He was part of the Rowlandson artistic family, his grandfather being the famous caricaturist and satirist Thomas Rowlandson (1757-1827).

His works often depicted charming rural scenes, equestrian portraits, sporting scenes and military subjects as he was one of the first official WWI artists of the UK. At first, that is between 1897 and 1900, Rowlandson worked as an illustrator for The Illustrated London News, and then, from 1899 to 1900, he worked for the English Illustrated Magazine. As a freelance artist, he exhibited oil paintings and watercolours at the British Institution and the Royal Institute of Painters in Watercolours. https://en.wikipedia.org/wiki/George_Derville_Rowlandson

On the 1st of February, I present you with a lovely watercolour by George Derville Rowlandson, titled February, The Waterloo Cup. It is part of a set of twelve small watercolour paintings depicting a sporting event, one for each month of the year.  

Every Month, a different Sporting Event, unknown date, pen & ink and w/c on paper, 11.4 x 14.9 cm, Private Collection https://www.christies.com/en/lot/lot-4210691

Christie’s experts have identified the Months along with their corresponding sporting events as: January, the skating championships; February, the Waterloo cup; March, point to point; April, cross country; May, Rotten Row; June, Hurlingham; July, not out; August, common objects by the sea; September, his first fish – a fifty pounder at least; October, a rocketer; November, forward away; December, well passed sir all signed with initials ‘G.D.R.’ (seven lower right); and five (lower left) and inscribed ‘January, the skating championships’ (lower centre); ‘February, the Waterloo cup’ (lower centre); ‘March, point to point’ (lower centre); ‘April, cross country’ (lower centre); ‘May, Rotten Row’ (lower centre); ‘June, Hurlingham’ (lower centre); ‘July, not out’ (lower centre); ‘August, common objects by the sea’ (lower centre); ‘September, his first fish -a fifty pounder at least’ (on the reverse); ‘October a rocketer’ (lower centre); ‘November, forward away’ (lower centre); ‘December, well passed Sir’ (lower centre) respectively. https://www.christies.com/en/lot/lot-4210691

Artistically, the scene depicting February and the Waterloo Cup stands out as my favourite, distinct from it being a favoured sporting event. Full of energy and excitement, the scene presents a renowned coursing event organized by the National Coursing Club (NCC). Established in 1836, the competition held a prestigious status in the world of greyhound coursing. The event took place annually at Altcar near Liverpool in England and was named after the Waterloo Hotel, which hosted the inaugural meeting.

Coursing involves setting greyhounds after a hare, and the Waterloo Cup was a prominent fixture attracting participants and spectators alike. The competition’s history spans decades, contributing to the rich tapestry of traditional British sporting events. Not only did it showcase the speed and agility of greyhounds, but it also became a social and cultural phenomenon. The Waterloo Cup held its last meeting in 2005, marking the end of an era in coursing history due to changes in legislation related to animal welfare. Despite its closure, the Waterloo Cup remains a significant historical chapter in the world of coursing and sportsmanship.

For a PowerPoint presentation, please… Check HERE!