This is a reprint of the original 1995 book by Endeavour Press.Īfter reading Virginia Woolf’s diaries and letters I thought I had everything I needed to know about the Bloomsbury Group. She is a contributor to the Dictionary of Women Artists and a frequent lecturer in Britain, North America and Japan. She has also scripted arts documentary programmes for radio and television, and has curated exhibitions of work by women painters of the PreRaphaelite movement. Marsh has written a number of ground-breaking biographies, including PreRaphaelite Sisterhood, Jane and May Morris, The Legend of Elizabeth Siddal and her highly acclaimed work, Christina Rossetti. Siddal and Rossetti were married in 1860 without their family and friends, just a couple of witnesses whom they had asked in Hastings.Bloomsbury Women : Distinct Figures in Life and Art by Jan Marsh.Though she was later praised for her beauty, Siddal was originally chosen as a model for her plainness.It was Rossetti who changed the spell of her family name, originally Siddall, by dropping the second “l”.Significant collections of her work can be found at Wightwick Manor and the Ashmolean.Siddal posed as a model to Walter Deverell, William Holman Hunt, John Everett Millais and her husband Dante Gabriel Rossetti.It was the second exhibition on her work (the first one was curated by Dr Jan Marsh at the Ruskin Gallery in 1991). In 2018, the exhibition Beyond Ophelia examined Siddal’s career, artistic style, subject matter, and the prejudice she faced as a female artist whilst also examining the Manders of Wightwick as pioneering collectors: Rosalie Glynn Grylls and Geoffrey Mander paid a record sum for her work in the 1960s and gave it to the National Trust.īeyond Ophelia was curated by the National Trust Assistant Curator Hannah Squire, ran at Wightwick Manor and featured 12 artworks created by Siddal and owned by the National Trust. Lovers listening to music by Lizzie Siddal, 1854 According to the critic William Gaunt “her verses were as simple and moving as ancient ballads her drawings were as genuine in their medieval spirit as much more highly finished and competent works of Pre-Raphaelite art”.
I watch the shadows gather round my heart,ĭuring this period Siddal also began to write poetry, choosing often dark themes such as lost love or the impossibility of true love. To break her pathway through the darkened wood,įilled all my life with trembling and tears Gone o touch the glove upon her tender hand, Her sketches are laid out in a fashion similar to Pre-Raphaelite compositions illustrating Arthurian legends and other idealised medieval themes, and she exhibited with the Pre-Raphaelites at the summer exhibition at Russel Place in 1857.
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