VII Международная студенческая научная конференция Студенческий научный форум - 2015

In my article I will speak about the great English painter - Edmund Blair Leighton. He was a member of Pre-Raphaelite Brotherhood. His painting is beautiful technique among artists of his time.

Mr Blair Leighton was born in London, on September 1st 1853, his father being that Charles Blair Leighton, portrait and subject painter, whose exhibits at the Royal Academy and other London galleries covered the period between 1843 and 1855. The son was educated at University College School, before taking a position in an office in the city, but entered the Royal Academy Schools after a course of evening study at South Kensington and Heatherley’s.

He commenced exhibiting in 1874, and succeeded, four years later, in securing the verdict of the Hanging Committee of the Royal Academy in favour of two works, entitled respectively «Witness My Act and Seal», and «A Flaw in the Title».

Although his name is not commonly known, Edmund Blair Leighton's most famous works are among the most widely recognized paintings of the period. His works of «Godspeed» (1900) and the «Accolade» (1901), can be seen in almost every poster shop around the world and are used as the epitome of medieval iconography. If one looks at the visual elements in Godspeed for example, it becomes evident that very few paintings encapsulate with such a strong a sense, the sensibilities of this genre. The beautiful maiden on the steps of a stone castle, the knight in shining armor, the white steed, and the sense of immediate peril which threatens the subjects contentment almost define our modern day conception of Medieval legend and romantic sentiment.

The work of Blair Leighton seems to hold a special place in many people's hearts. Even when unfamiliar with the artist, people are drawn to his depictions of bygone eras which draw the viewer into another time and place. Though Leighton may be best known for his medieval compositions, he also painted a large number of nineteenth century costume pieces which share similar subject of male female interaction and romantic gesture. When one looks at Leighton's body of work as a whole, it is clear that he captures a certain quality that reaches the core of human emotion. Despite differences in time, the subject of love and romance are the same and universal.

Today, when few art-historical surveys even acknowledge Blair Leighton or his academic peers, there is a large and growing population of collectors, scholars, and art experts who love and respect his work. There are many references to him or his paintings in modern works of literature both fictional and historical. For example, in the book Alain Chartier: The Quarrel of the Belle Dame Sans Mercy which is the foremost of works dedicated to the legendary medieval writer and poet, Joan E. McRae acknowledges the role of Blair Leighton's 1903 masterwork Alain Chartier in the revival of interest in this medieval poet: «The Pre-Raphaelite painting by Edmund Blair Leighton depicting the kiss has brought this legend of Alain Chartier into the modern imagination».

The death of Mr. Edward Blair Leighton, on September 1st, removed from our midst a painter who, though he did not attain to the higher flights of art, yet played a distinguished part in aiding the public mind to an appreciation of the romance attaching to antiquity, and to a realization of the fellowship of mankind throughout the ages.

In conclusion I can say that the painting of Edmund Blair Leighton is very popular now. His beautiful pictures are very important in art history. People must know Leighton’ s specific style of paintings.

References

Leighton House Museum (2014). A Victorian obsession: the Pérez Simon collection at Leighton House Museum, 14 November 2014-29 March 2015. Exhibition guide. London, Leighton House Museum.

Bate, P.H. (1972) The English Pre-Raphaelite painters : their associates and successors, New York : AMS Press, ISBN 0-404-00691-4

Staley, A. and Newall, C. (2004) Pre-Raphaelite vision : truth to nature, London : Tate, ISBN 1-85437-499-0

Townsend, J., Ridge, J. and Hackney, S. (2004) Pre-Raphaelite painting techniques : 1848–56, London : Tate, ISBN 1-85437-498-2