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'''''The Fair Toxophilites''''' is an 1872 ] by the British ] ] depicting three young women practicing ].<ref>Cohen p.33</ref> It also known by the title ''English Archers, Nineteenth Century''. Today the painting is in the collection of the ], in ].<ref>https://rammcollections.org.uk/collections/13460e52-3422-39f6-84e3-799483e0bdf4/</ref> |
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'''''The Fair Toxophilites''''' is an 1872 ] by the British ] ] depicting three young women practicing ].<ref>Cohen p.33</ref> It also known by the title ''English Archers, Nineteenth Century''. Today the painting is in the collection of the ], in ].<ref>https://rammcollections.org.uk/collections/13460e52-3422-39f6-84e3-799483e0bdf4/</ref> |
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The three women portrayed were Frith's daughters Alice, Fanny and Louise. It reflects the ] archery craze, referred to in the novel '']'' by ].<ref>Rogers p.400</ref> <ref>Wood p.157</ref> Frith exhibited it at the ]'s 1873 ] alongside another featuring women playing ]. The review in '']'', which was generally hostile to Frith's work, was critical. A more positive reception came from '']'' and '']''. <ref>Wood p. 157-59</ref> |
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The three women portrayed were Frith's daughters Alice, Fanny and Louise. They are all dressed in a very fashionable way, reflecting their upper class status. It reflects the ] archery craze, referred to in the novel '']'' by ].<ref>Rogers p.400</ref> <ref>Wood p.157</ref> Frith exhibited it at the ]'s 1873 ] alongside another featuring women playing ]. The review in '']'', which was generally hostile to Frith's work, was critical. A more positive reception came from '']'' and '']''. <ref>Wood p. 157-59</ref> |
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==References== |
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==References== |
The three women portrayed were Frith's daughters Alice, Fanny and Louise. They are all dressed in a very fashionable way, reflecting their upper class status. It reflects the Victorian era archery craze, referred to in the novel Daniel Deronda by George Eliot. Frith exhibited it at the Royal Academy's 1873 Summer Exhibition alongside another featuring women playing billiards. The review in The Athenaeum, which was generally hostile to Frith's work, was critical. A more positive reception came from The Art Journal and The Times.
