Painting of the Day: The Portrait of Zoe Ionides, 1881

Zoe Ionides
George Frederick Watts, 1881
The Victoria and Albert Museum

Here we see a half-length, nearly full face portrait of a little girl with her hands hanging by her sides. She wears a red hat, a dark maroon dress, and a fur around her neck. This painting by George Frederick Watts was bequeathed by Constantine Alexander Ionides to the Victoria & Albert Museum in 1900. However, Mr. Ionides stipulated in his will that this, along with nineteen other family portraits, should stay in the family until the death of his wife, Agathonike. Mrs. Ionides died in 1920 when the paintings were received by the V&A.

The portrait shows Zoe Ionides (1877- 1973) who was the seventh of eight children of Constantine Alexander Ionides and his wife, Agathonike. George Frederick Watts, a life-long friend of Constantine, painted over fifty members of the Ionides family over five generations. Watts had studied under the sculptor William Behnes and entered the R.A schools in 1835. He went to Florence until 1847, where he found the patronage of Lady Holland. The painter was determined to devote himself to depicting grand, universal themes such as Faith; Hope; Charity; Love and Life; and Love and Death. However, he is best remembered as a portrait painter.

Painting of the Day: The Portrait of Zoe Ionides, 1881

Zoe Ionides
George Frederick Watts, 1881
The Victoria and Albert Museum

Here we see a half-length, nearly full face portrait of a little girl with her hands hanging by her sides. She wears a red hat, a dark maroon dress, and a fur around her neck. This painting by George Frederick Watts was bequeathed by Constantine Alexander Ionides to the Victoria & Albert Museum in 1900. However, Mr. Ionides stipulated in his will that this, along with nineteen other family portraits, should stay in the family until the death of his wife, Agathonike. Mrs. Ionides died in 1920 when the paintings were received by the V&A.

The portrait shows Zoe Ionides (1877- 1973) who was the seventh of eight children of Constantine Alexander Ionides and his wife, Agathonike. George Frederick Watts, a life-long friend of Constantine, painted over fifty members of the Ionides family over five generations. Watts had studied under the sculptor William Behnes and entered the R.A schools in 1835. He went to Florence until 1847, where he found the patronage of Lady Holland. The painter was determined to devote himself to depicting grand, universal themes such as Faith; Hope; Charity; Love and Life; and Love and Death. However, he is best remembered as a portrait painter.

Painting of the Day: The Mill: Girls Dancing to Music by a River, 1870

Click to Dance to Music by a River

"The Mill: Girls Dancing to Music by a River"
Edward Burne-Jones, 1870-1882
The Victoria & Albert Museum

Inspired by the art of the Italian Renaissance which looked to Classical subjects, this painting by Edward Burne-Jones (1833-1898) is entitled “The Mill: Girls Dancing to Music by a River.” The subject, clearly, is actually a depiction of “The Three Graces.” They’re dancing to the music of Apollo.

Burne-Jones used, as models friends, and relatives of the prominent art collection Constantine Alexander Ionides. The woman on the far left, one Mary Zambaco, was for awhile, a lover of Burne-Jones. She was also Mr. Ionides’ granddaughter. It didn’t end well. In fact, in another painting of the same year, “Phyllis and Demophoon,” Burne-Jones inscribed of Zambaco, the epigraph “Dic mihi quod feci? Nisi non sapienter amavi” (Tell me, what have I done? Except that I have not loved wisely).

The composition was started in 1870. But, it appears it wasn’t delivered to Ionides immediately. Burne-Jones took twelve years to finish it. Some feel that the artist developed an attachment to the painting because of his relationship with Zambaco. It was presented to Ionides in 1882 after being displayed at the Royal Academy. The inventory of Ionides’ collection as of 1882 lists that he paid £905 for “The Mill.” 

Painting of the Day: The Mill: Girls Dancing to Music by a River, 1870

Click to Dance to Music by a River

"The Mill: Girls Dancing to Music by a River"
Edward Burne-Jones, 1870-1882
The Victoria & Albert Museum

Inspired by the art of the Italian Renaissance which looked to Classical subjects, this painting by Edward Burne-Jones (1833-1898) is entitled “The Mill: Girls Dancing to Music by a River.” The subject, clearly, is actually a depiction of “The Three Graces.” They’re dancing to the music of Apollo.

Burne-Jones used, as models friends, and relatives of the prominent art collection Constantine Alexander Ionides. The woman on the far left, one Mary Zambaco, was for awhile, a lover of Burne-Jones. She was also Mr. Ionides’ granddaughter. It didn’t end well. In fact, in another painting of the same year, “Phyllis and Demophoon,” Burne-Jones inscribed of Zambaco, the epigraph “Dic mihi quod feci? Nisi non sapienter amavi” (Tell me, what have I done? Except that I have not loved wisely).

The composition was started in 1870. But, it appears it wasn’t delivered to Ionides immediately. Burne-Jones took twelve years to finish it. Some feel that the artist developed an attachment to the painting because of his relationship with Zambaco. It was presented to Ionides in 1882 after being displayed at the Royal Academy. The inventory of Ionides’ collection as of 1882 lists that he paid £905 for “The Mill.” 

Painting of the Day: The Mill: Girls Dancing to Music by a River, 1870

Click to Dance to Music by a River

"The Mill: Girls Dancing to Music by a River"
Edward Burne-Jones, 1870-1882
The Victoria & Albert Museum

Inspired by the art of the Italian Renaissance which looked to Classical subjects, this painting by Edward Burne-Jones (1833-1898) is entitled “The Mill: Girls Dancing to Music by a River.” The subject, clearly, is actually a depiction of “The Three Graces.” They’re dancing to the music of Apollo.

Burne-Jones used, as models friends, and relatives of the prominent art collection Constantine Alexander Ionides. The woman on the far left, one Mary Zambaco, was for awhile, a lover of Burne-Jones. She was also Mr. Ionides’ granddaughter. It didn’t end well. In fact, in another painting of the same year, “Phyllis and Demophoon,” Burne-Jones inscribed of Zambaco, the epigraph “Dic mihi quod feci? Nisi non sapienter amavi” (Tell me, what have I done? Except that I have not loved wisely).

The composition was started in 1870. But, it appears it wasn’t delivered to Ionides immediately. Burne-Jones took twelve years to finish it. Some feel that the artist developed an attachment to the painting because of his relationship with Zambaco. It was presented to Ionides in 1882 after being displayed at the Royal Academy. The inventory of Ionides’ collection as of 1882 lists that he paid £905 for “The Mill.” 

Painting of the Day: Le Pardon de Plourin, Brittany, 1877

Le Pardon de Plourin, Brittany
Leon Lhermitte, 1877
The Victoria & Albert Museum

Painter Léon Lhermitte (1844-1925) was born in Mont-Saint-Père, but he didn’t remain in the little French town.  Lhermitte soon became a student at the Petite Ecole in Paris, under the supervision of Horace Lecoq de Boisbaudran (1802-1897), who was responsible for instructing such famous names as Henri Fantin-Latour (1836-1904) and Alphonse Legros (1837-1911) among others.

Lhermitte exhibited at the Paris Salon between 1866 and the first decade of the 20th century. He was, notably, a founding member of the Société Nationale des Beaux-Arts in 1890 and was made officer of the Légion d'honneur in 1894.

Lhermitte's is best known for his bucolic peasant scenes depicting scenes of everyday life.  Here, we see such a scene set outside of a church on the occasion of a religious feast called a “Pardon” which was celebrated during Easter. 

Lhermitte presents a charming scene of men and women in traditional dress.  They are chatting and buying fruits and cakes while leaving the church in a village which looks a lot like Mont-Saint-Père—the artist’s birthplace.  In fact, Lhermitte painted this work while visiting his home town in 1877.

This work was commissioned from the artist (as a pair) by Constantine Alexander Ionides around April 1877.  A letter in a private collection from Lhermitte in Paris to the famed collector Ionides is dated April 19 1877.  The letter mentions that one of his two pictures is finished and that the other would be ready in time for his next trip to London.

Painting of the Day: The Window Seat, 1861

The Window Seat
George Frederick Watts, 1861
The Victoria & Albert Museum

You may remember this painting as a "Gratuitous Bertie Dog Picture."

This intimate study of a woman lost in her sewing by George Frederick Watts (1817-1904) was inspired by Seventeenth Century Dutch genre paintings. This beautiful and emotionally-charged canvas belonged to Charles Rickards, an important early patron of the artist.

The painting is signed, “G F W 1861.”  It was bequeathed by Constantine Alexander Ionides, the famous art collector, to the V&A in 1900. Curiously, the work is not mentioned in the inventory of his private collection.  From this, we can deduce that after it passed from Charles Rickards, it could have belonged to Constantine’s father Alexander C. Ionides. 

“The Window Seat” is considered one of George Frederick Watts’ most exceptional works.  

Object of the Day, Museum Edition: Le Pardon de Plourin, Brittany, 1877

Le Pardon de Plourin, Brittany
Leon Lhermitte, 1877
The Victoria & Albert Museum

Painter Léon Lhermitte (1844-1925) was born in Mont-Saint-Père, but he didn’t remain in the little French town.  Lhermitte soon became a student at the Petite Ecole in Paris, under the supervision of Horace Lecoq de Boisbaudran (1802-1897), who was responsible for instructing such famous names as Henri Fantin-Latour (1836-1904) and Alphonse Legros (1837-1911) among others.

Lhermitte exhibited at the Paris Salon between 1866 and the first decade of the 20th century. He was, notably, a founding member of the Société Nationale des Beaux-Arts in 1890 and was made officer of the Légion d'honneur in 1894.

Lhermitte's is best known for his bucolic peasant scenes depicting scenes of everyday life.  Here, we see such a scene set outside of a church on the occasion of a religious feast called a “Pardon” which was celebrated during Easter. 

Lhermitte presents a charming scene of men and women in traditional dress. They are chatting and buying fruits and cakes while leaving the church in a village which looks a lot like Mont-Saint-Père—the artist’s birthplace.  In fact, Lhermitte painted this work while visiting his home town in 1877.

This work was commissioned from the artist (as a pair) by Constantine Alexander Ionides around April 1877.  A letter in a private collection from Lhermitte in Paris to the famed collector Ionides is dated April 19 1877.  The letter mentions that one of his two pictures is finished and that the other would be ready in time for his next trip to London.

Painting of the Day: The Window Seat, 1861

The Window Seat
George Frederick Watts, 1861
The Victoria & Albert Museum

This intimate study of a woman lost in her sewing by George Frederick Watts (1817-1904) was inspired by Seventeenth Century Dutch genre paintings. This beautiful and emotionally-charged canvas belonged to Charles Rickards, an important early patron of the artist.

The painting is signed, “G F W 1861.”  It was bequeathed by Constantine Alexander Ionides, the famous art collector, to the V&A in 1900. Curiously, the work is not mentioned in the inventory of his private collection.  From this, we can deduce that after it passed from Charles Rickards, it could have belonged to Constantine’s father Alexander C. Ionides. 

“The Window Seat” is considered one of George Frederick Watts’ most exceptional works.  

The Belle Époque Today: “The Cult of Beauty” at the Victoria and Albert Museum

The Cult of Beauty

The Victoria & Albert Museum has launched a special exhibition which chronicles the history of the Aesthetic Movement (circa 1860 to 1890) and demonstrates the progression of the movement as well as its many influences. The exhibition, “The Cult of Beauty,” is a visual treat with examples of Aesthetic Movement fine and decorative arts from the museum’s permanent collection. Among the items on display are paintings, sculpture, photographs, furniture, decorative home goods, china, clothing, jewelry, prints, drawings and books.

Charger
William De Morgan, 1888
The Victoria & Albert Museum

For purposes of the exhibition, the Aesthetic Movement is defined by four ideas: The Search for the New Beauty, Art for Art’s Sake, Beautiful People and Aesthetic Houses, and Late-Flowering Beauty. The exhibit runs through July 17, 2011. To learn more about visiting this remarkable installation at the V&A and to see examples from the exhibit, visit the Web site of the Victoria & Albert Museum.

Mrs. Luke Ionides
William Blake Richmond, 1882
The Victoria & Albert Museum

Gratuitous Bertie Dog Picture: Bertie and the Tinker

"I don't give a damn."

Image: The Tinker; Le Chaudronnier ou Le Rétameur de Campagne, c, 1874, Legros, born 1837 - died 1911 (artist), Bequeathed by Constantine Alexander Ionides to The Victoria & Albert Museum.    

You, too, could have a cup of tea with Bertie. Or, you could wear his picture proudly. Visit our online store to see our range of Gratuitous Bertie Dog products.

Happy Fathers' Day!

Image: The Family of Alexander Constantine Ionides, George Frederick Watts, 1840, The Victoria and Albert Museum