![]() Theme originated from American writer Nathaniel Hawthorne’s ‘Rappacini’s Daughter’, a macabre tale featuring a garden filled with poisonous plants. Or wizard’s guidance to discover the secrets of the future. Its unhappy subject was a young medieval noblewoman who had sought an alchemist Because the painting puzzled visitors, Leslie was asked for an explanation of its meaning. Lavishly displaying this tendency, George Dunlop Leslie’s In the Wizard’s Garden was first shown at the Royal Academy in 1904, and in New Zealand at the 1906–07 Christchurch International Exhibition. In response to the adverse impacts and uncertainties of the industrial age, many late Victorian and Edwardian British artists were drawn to somewhat escapist historical or literary themes. ![]() Bulletin asked a few commentators for their thoughts on the matter. How are models of supply and demand affected? Does the freedom from more traditional funding models allow greater innovation? Do 'serious' artists even ask for money? It's a big topic, and one that is undoubtedly shaping up in PhD theses around the world already. The rise of online crowdfunding platforms also raises important questions about the role of the state in the funding and generation of artwork, and the democratisation of tastemaking. ![]() But, although these projects have been made possible by the internet, the concept behind the funding model is certainly not new. The Gallery has been involved in two online crowdfunding ventures – a project with a public art focus around our 10th birthday celebrations, and the purchase of a major sculpture for the city. The public are also being asked to provide wealth in the form of cultural capital through crowdsourcing projects. Musicians, designers, dancers and visual artists are inviting the public to finance their projects via the internet. By providing a funding model that enables would-be-investors to become involved in the production of new works, they have altered traditional models of patronage. Golden Hours is therefore not only a masterpiece of aesthetic art, but also a ‘pivotal work’.In recent years, crowdfunding and crowdsourcing have become big news in the arts. ‘These ideas coming from France through Leighton and others formed a shift in what British artists were about to do,’ says Brown. New aesthetic impulses liberated art from the straitjacket of narrative and morality - a picture could be an object of beauty and emotion without any ostensible subject. The late 1850s and early 1860s saw a shift in the landscape of British art just as momentous as the advent of Pre-Raphaelitism in the previous decade, with its mantra of ‘truth to nature’. He is the object of desire.īrown goes on to explain how Leighton travelled to Venice in the 1860s and was inspired by the golden light in St Mark’s basilica, and discusses the balance of composition in the painting - ‘light and dark, male and female, and the wonderful billowing fabrics that add to the feeling of emotion’. The intent way in which the woman leans forward, however, suggests that she is devouring him with her eyes. The sexual charge between the couple is palpable, even though the man is looking down at the keyboard. Peter Brown, a Christie’s specialist in Victorian, Pre-Raphaelite & British Impressionist Art, describes the painting as ‘a love duet’. ![]()
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