| Revision as of 22:09, 13 December 2013 editNihiltres (talk | contribs)Edit filter managers, Administrators83,813 edits Modernized infobox syntax, added DEFAULTSORT← Previous edit | Revision as of 17:21, 14 December 2013 edit undo99.101.196.201 (talk) →The compositionNext edit → | ||
| Line 23: | Line 23: | ||
| In 1890s Draper was focused mainly on ] subjects. ] had depicted Icarus in 1869, but while Leighton showed the preparations for the flight, Draper depicted the tragical end of the flight. For the composition Draper adopted Leighton's method of depicting separate figures, for which he employed four young professional models (Ethel Gurden, Ethel Warwick, Florence Bird and Luigi di Luca).<ref name="Smith">Alison Smith. ''Exposed: The Victorian Nude'', Watson-Guptill, 2002</ref> | In 1890s Draper was focused mainly on ] subjects. ] had depicted Icarus in 1869, but while Leighton showed the preparations for the flight, Draper depicted the tragical end of the flight. For the composition Draper adopted Leighton's method of depicting separate figures, for which he employed four young professional models (Ethel Gurden, Ethel Warwick, Florence Bird and Luigi di Luca).<ref name="Smith">Alison Smith. ''Exposed: The Victorian Nude'', Watson-Guptill, 2002</ref> | ||
| The use of the male body as a vehicle for the projection of subjective emotion, as in ''The Lament for Icarus'', is a feature of late-] painting and sculpture,<ref name="Smith"/> and in ''The Lament for Icarus'' the body appears to melt within the arms of one nymph. Draper applied liquid light effects without abandoning form and used mainly warm colors. The tanned skin of Icarus refers to his close approach to the Sun before falling down. The rays of the setting sun on distant cliffs emphasize the transience of time. Moralizing, sentimental and sensual, ''The Lament for Icarus'' ultimately became a well-composed image of epic failure. However, somewhat surprising, Icarus has his wings fully intact, contrary to the myth where they fell apart feather by feather as the wax melted. The image of a "winged creature" is likely utilized to create a more symbolic, romantic and elegant appearance |
The use of the male body as a vehicle for the projection of subjective emotion, as in ''The Lament for Icarus'', is a feature of late-] painting and sculpture,<ref name="Smith"/> and in ''The Lament for Icarus'' the body appears to melt within the arms of one nymph. Draper applied liquid light effects without abandoning form and used mainly warm colors. The tanned skin of Icarus refers to his close approach to the Sun before falling down. The rays of the setting sun on distant cliffs emphasize the transience of time. Moralizing, sentimental and sensual, ''The Lament for Icarus'' ultimately became a well-composed image of epic failure. However, somewhat surprising, Icarus has his wings fully intact, contrary to the myth where they fell apart feather by feather as the wax melted. The image of a "winged creature" is likely utilized to create a more symbolic, romantic and elegant appearance. | ||
| ==Notes== | ==Notes== | ||
Revision as of 17:21, 14 December 2013
| The Lament for Icarus | |
|---|---|
 | |
| Artist | Herbert James Draper |
| Year | 1898 |
| Type | Oil on canvas |
| Dimensions | 180 cm × 150 cm (72 in × 61 in) |
| Location | Tate Britain, London |
The Lament for Icarus is a painting by Herbert James Draper, showing dead Icarus, surrounded by lamenting nymphs. The wings of Icarus are based on the bird-of-paradise pattern. In 1898 the painting was bought from the Royal Academy exhibition through The Chantrey Bequest, a public fund for purchasing modern art bequeathed by Sir Francis Leggatt Chantrey, R.A.. The Lament for Icarus was subsequently awarded the gold medal at the Exposition Universelle of 1900 in Paris.
According to Dr. Justine Hopkins, Draper identifies Icarus "with the other heroes of the Pre-Raphaelites and symbolists, who, like James Dean half a century later, manage to live fast, die young and leave a beautiful corpse".
The composition
In 1890s Draper was focused mainly on ancient Greek mythological subjects. Frederic Leighton had depicted Icarus in 1869, but while Leighton showed the preparations for the flight, Draper depicted the tragical end of the flight. For the composition Draper adopted Leighton's method of depicting separate figures, for which he employed four young professional models (Ethel Gurden, Ethel Warwick, Florence Bird and Luigi di Luca).
The use of the male body as a vehicle for the projection of subjective emotion, as in The Lament for Icarus, is a feature of late-Victorian painting and sculpture, and in The Lament for Icarus the body appears to melt within the arms of one nymph. Draper applied liquid light effects without abandoning form and used mainly warm colors. The tanned skin of Icarus refers to his close approach to the Sun before falling down. The rays of the setting sun on distant cliffs emphasize the transience of time. Moralizing, sentimental and sensual, The Lament for Icarus ultimately became a well-composed image of epic failure. However, somewhat surprising, Icarus has his wings fully intact, contrary to the myth where they fell apart feather by feather as the wax melted. The image of a "winged creature" is likely utilized to create a more symbolic, romantic and elegant appearance.
Notes
- ^ Jacob E. Nyenhuis. Myth and the creative process: Michael Ayrton and the myth of Daedalus, the maze maker, Wayne State University Press, 2003, p. 54, ISBN 0-8143-3002-9
- "The Chantrey Bequest">
- "Art Reproduction of Draper". Allartclassic.com. Retrieved 2010-11-19.
- ^ Alison Smith. Exposed: The Victorian Nude, Watson-Guptill, 2002