Friday, February 23, 2018

Victorian painter George Watts returns to public notice...

". . . Watts’s return to public esteem owes much to four factors: a revaluation of late Victorian art in its international context, an outstanding exhibition, the revitalisation of the Watts Gallery, and – largely as a consequence – a reassessment of Watts’s wife, Mary, as an independent artistic personality. The aspect of Watts’s art that most appealed to his high-minded admirers in his lifetime, his allegorical or philosophical subjects, such as the endlessly reproduced Hope (1886), was an important reason why his reputation plummeted in the general reaction against Victorian moralising. Yet it’s precisely this aspect of his work that has led art historians to argue that Watts, together with such contemporaries as Burne-Jones, can be understood as part of mainstream European Symbolism.”

A new show featuring the Victorian painter George Watts might help to restore his place in art history:

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