Tag Archives: 19th Century

Travel & Architecture: “Neuschwanstein Castle” Bavaria, Germany (Video)

Neuschwanstein Castle, Germany

This 19th-century Castle is a Romanesque Revival Architecture Masterpiece. Located on a Hill in Southwest Bavaria, it was Commissioned by King Ludwig the Second of Bavaria as His Personal Retreat. Completed in 1886, the Castle Was Designed in the Romanesque Revival Style that became popular in the Late-19th Century.

Art History: “Félix Fénéon: The Anarchist And The Avant-Garde” (MoMA)

“It would not be a commonplace portrait at all, but a carefully composed picture, with very carefully arranged colors and lines. A rhythmic and angular pose. A decorative Félix, entering with his hat or a flower in his hand.”

With these words, in 1890, Paul Signac described to Félix Fénéon the extraordinary portrait he was dedicating to him. In it, Signac paid homage to Fénéon’s distinctive appearance, his generous but enigmatic personality, and his innovative approach to modernism.

This painting, a masterpiece in the Museum’s collection, will be the centerpiece of Félix Fénéon, the first exhibition dedicated to Fénéon (1861–1944). An art critic, editor, publisher, dealer, collector, and anarchist, Fénéon had a wide-ranging influence on the development of modernism in the late 19th and early 20th centuries.

In the late 1880s, he played a key role in defining the new movement known as Neo-Impressionism, a term he coined himself, whose artists, including Signac, used tiny dabs of color that would mix in the eye of the viewer. Over the next five decades, he championed the careers of artists from Georges-Pierre Seurat and Signac to Pierre Bonnard, Henri Matisse, and Amedeo Modigliani.

He amassed a renowned collection of paintings by these artists and many others, and he was also a pioneering collector of art from Africa and Oceania. The exhibition will feature some 130 objects, including major works that Fénéon admired, championed, and collected, as well as contemporary photographs, letters, and publications that trace key chapters in his biography. Together these works reveal the profound and lasting legacy of Fénéon’s keen eye and bold, forward-looking vision.

Exhibition Tour: British Illustrator Aubrey Beardsley (Tate Britain)

Although our galleries are temporarily closed we wanted to share the Aubrey Beardsley exhibition at Tate Britain with you. Join Tate curators Caroline Corbeau-Parsons and Alice Insley as they discuss the iconic illustrator’s short and scandalous career.

Before his untimely death aged twenty-five, Beardsley produced over a thousand illustrations. He drew everything from legendary tales featuring dragons and knights, to explicit scenes of sex and debauchery. His fearless attitude to art continues to inspire creatives more than a century after his death.


Aubrey Vincent Beardsley (1872-1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the aesthetic movement which also included Oscar Wilde and James McNeill Whistler.

Literature: A Reading Of “Letters Of John Keats To His Family And Friends” – “Inside His Brilliant Mind”

Letters of John Keats to His Family and Friends by John KEATS (1795 – 1821) and Sidney COLVIN (1845 – 1927)

Read by: Nemo and Eva Davis

Chapters: 00:00:00  – 00 – Preface 00:21:11 – 01 – Letter 1 – to Charles Cowden Clarke 00:22:21 – 02 – Letter 2 – to Benjamin Robert Haydon 00:24:06 – 03 – Letter 3 – to Benjamin Robert Haydon 00:25:00 – 04 – Letter 4 – to Charles Cowden Clarke 00:26:57 – 05 – Letter 5 – to John Hamilton Reynolds 00:28:25 – 06 – Letter 6 – to John Hamilton Reynolds 00:29:52 – 07 – Letter 7 – to George and Thomas Keats 00:34:17 – 08 – Letter 8 – to John Hamilton Reynolds 00:42:14 – 09 – Letter 9 – to Leigh Hunt 00:50:13 – 10 – Letter 10 – to Benjamin Robert Haydon 01:00:31 – 11 – Letter 11 – to Messrs. Taylor and Hessey 01:03:50 – 12 – Letter 12 – to Messrs. Taylor and Hessey 01:06:07 – 13 – Letter 13 – to Mariane and Jane Reynolds 01:10:34 – 14 – Letter 14 – to Fanny Keats 01:18:27 – 15 – Letter 15 – to Jane Reynolds 01:26:44 – 16 – Letter 16 – to John Hamilton Reynolds 01:34:49 – 17 – Letter 17 – to Benjamin Robert Haydon 01:37:39 – 18 – Letter 18 – to Benjamin Bailey 01:43:58 – 19 – Letter 19 – to Benjamin Bailey 01:51:33 – 20 – Letter 20 – to Benjamin Bailey 01:54:19 – 21 – Letter 21 – to Charles Wentworth Dilke 01:55:20 – 22 – Letter 22 – to Benjamin Bailey 02:05:23 – 23 – Letter 23 – to John Hamilton Reynolds 02:11:23 – 24 – Letter 24 – to George and Thomas Keats 02:16:25 – 25 – Letter 25 – to George and Thomas Keats 02:26:06 – 26 – Letter 26 – to Benjamin Robert Haydon 02:28:19 – 27 – Letter 27 – to John Taylor 02:29:30 – 28 – Letter 28 – to George and Thomas Keats 02:35:45 – 29 – Letter 29 – to John Taylor 02:37:09 – 30 – Letter 30 – to George and Thomas Keats 02:45:42 – 31 – Letter 31 – to Benjamin Bailey 02:53:40 – 32 – Letter 32 – to John Taylor 02:55:38 – 33 – Letter 33 – to John Hamilton Reynolds 03:00:19 – 34 – Letter 34 – to John Hamilton Reynolds 03:09:32 – 35 – Letter 35 – to John Taylor 03:10:23 – 36 – Letter 36 – to George and Thomas Keats 03:14:06 – 37 – Letter 37 – to John Hamilton Reynolds 03:20:52 – 38 – Letter 38 – to George and Thomas Keats 03:25:16 – 39 – Letter 39 – to John Taylor 03:28:39 – 40 – Letter 40 – to Messrs. Taylor and Hessey 03:29:39 – 41 – Letter 41 – to Benjamin Bailey 03:39:27 – 42 – Letter 42 – to John Hamilton Reynolds 03:46:04 – 43 – Letter 43 – to Benjamin Robert Haydon 03:51:10 – 44 – Letter 44 – to Messrs. Taylor and Hessey 03:52:54 – 45 – Letter 45 – to James Rice 03:58:59 – 46 – Letter 46 – to John Hamilton Reynolds 04:06:50 – 47 – Letter 47 – to Benjamin Robert Haydon 04:12:07 – 48 – Letter 48 – to John Hamilton Reynolds 04:17:53 – 49 – Letter 49 – to John Hamilton Reynolds 04:20:39 – 50 – Letter 50 – to John Taylor 04:24:29 – 51 – Letter 51 – to John Hamilton Reynolds 04:29:41 – 52 – Letter 52 – to John Hamilton Reynolds 04:46:49 – 53 – Letter 53 – to Benjamin Bailey 04:52:06 – 54 – Letter 54 – to Benjamin Bailey 04:57:26 – 55 – Letter 55 – to John Taylor 04:59:14 – 56 – Letter 56 – to Thomas Keats 05:08:57 – 57 – Letter 57 – to Fanny Keats 05:18:23 – 58 – Letter 58 – to Thomas Keats 05:28:49 – 59 – Letter 59 – to Thomas Keats 05:39:49 – 60 – Letter 60 – to John Hamilton Reynolds 05:48:19 – 61 – Letter 61 – to Thomas Keats 06:01:55 – 62 – Letter 62 – to Benjamin Bailey 06:16:12 – 63 – Letter 63 – to Thomas Keats 06:30:05 – 64 – Letter 64 – to Thomas Keats 06:43:57 – 65 – Letter 65 – to Mrs. Wylie 06:50:42 – 66 – Letter 66 – to Fanny Keats 06:53:45 – 67 – Letter 67 – to Fanny Keats 06:55:12 – 68 – Letter 68 – to Jane Reynolds 06:56:23 – 69 – Letter 69 – to Charles Wentworth Dilke

These are the letters of John Keats, as written to family, close friends and others during his brief, eventful years as an artist. (However, the editor chose to exclude love letters to Fanny Brawne, respecting their private nature.) The celebrated Keats letters were written between 1816-1820, and include those colorful entries penned during his 44-day tour with Charles Brown as they rambled through England, Ireland and Scotland. Also included are the famous, lengthy ‘journal letters,’ written to his brother George and sister-in-law in America. Not only a poetic genius, Keats shines in epistolary form. His letters brim with the emotion, wit and intelligence he routinely shared with intimates. – Summary by NemoR

Art: “Van Gogh In Paris, 1886” (Hammer Galleries)

TEFAF’s Meet the Experts presents Howard Shaw from Hammer Gallery shares what Van Gogh would have most likely seen when he visited Paris in 1886. This period of Van Gogh’s life is pivotal to his works as an artist.

Book Interviews: “Out Of Darkness, Shining Light” Author Petina Gappah

BBC Radio 4 Books and AuthorsBBC Radio 4 speaks to Petina Gappah on her new book, “Out of Darkness, Shining Light”.


“This is how we carried out of Africa the poor broken body of Bwana Daudi, the Doctor, David Livingstone, so that he could be borne across the sea and buried in his own land.” 

Petina Gappah Author
Author Petina Gappah

So begins Petina Gappah’s powerful novel of exploration and adventure in nineteenth-century Africa—the captivating story of the loyal men and women who carried explorer and missionary Dr. Livingstone’s body, his papers and maps, fifteen hundred miles across the continent of Africa, so his remains could be returned home to England and his work preserved there.

Narrated by Halima, the doctor’s sharp-tongued cook, and Jacob Wainwright, a rigidly pious freed slave, this is a story that encompasses all of the hypocrisy of slavery and colonization—the hypocrisy at the core of the human heart—while celebrating resilience, loyalty, and love.

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Art: “Eve” Sculpture By Auguste Rodin (1899)

John Swarbrooke from Dickinson Gallery explains the beauty and play of light behind the cast of Auguste Rodin’s Eve.

François Auguste René Rodin (12 November 1840 – 17 November 1917) was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. He was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Paris’s foremost school of art.

Eve is a nude sculpture by the French artist Auguste Rodin. It shows Eve despairing after the Fall.

n 1880 Rodin was commissioned to produce The Gates of Hell, for which he exhibited Adam at the 1881 Paris Salon. In a sketch for Gates Rodin showed a central silhouette possibly intended as Eve (both the sketch and Gates are now in the Musée Rodin), but in October 1881 he decided to produce Eve as a pair for Adam, with the two sculptures flanking a huge high-relief bas-relief. This would be the first free-standing female sculpture he had produced since the destruction of his Bacchante in an accident between 1864 and 1870. He began Eve in 1881, later abandoning his intended colossal version of it when he realised his model, probably Adèle Abruzzesi, was pregnant. It was first exhibited to the public at the 1899 Paris Salon. It shows a strong influence from Michelangelo, picked up by Rodin in Italy in 1876.

He also produced an autograph white marble version in 1884 (now in the Museo Soumaya in Mexico City), a version in patinated plaster and a much-reproduced 71 cm high bronze version in 1883 (known as the Petite Ève or Little Eve, whose original is also in the Musée Rodin in Paris). He also reused the same figure of Eve in his marble Eve and the Serpent (1901) and his plaster Adam and Eve (1884).

From Wikipedia

Reading: New York Public Library Celebrates 125 Years With “125 Books List”

New York Public Library logoThe New York Public Library is marking its 125th birthday this year—in part with this list of their favorite books written for adults from the past 125 years, which they hope will “inspire a lifelong love of reading.” 

New York Public Library Celebrates 125 Years with 125 Favorite Books List

New York Public Library Celebrates 125 Years with 125 Favorite Books List

See the full list here

New Books: “The Making Of Poetry – Coleridge, The Wordsworths And Their Year Of Marvels”

The Making of Poetry Coleridge, The Wordsworth and Their Year of Marvels Adam Nicolson 2020 US ReleaseIn The Making of Poetry, Adam Nicolson embeds himself in the reality of this unique moment, exploring the idea that these poems came from this particular place and time, and that only by experiencing the physical circumstances of the year, in all weathers and all seasons, at night and at dawn, in sunlit reverie and moonlit walks, can the genesis of the poetry start to be understood.

June 1797 to September 1798 is the most famous year in English poetry. Out of it came Samuel Taylor Coleridge’s The Rime of the Ancient Mariner and “Kubla Khan,” as well as his unmatched hymns to friendship and fatherhood, and William Wordsworth’s revolutionary songs in Lyrical Ballads along with “Tintern Abbey,” Wordsworth’s paean to the unity of soul and cosmos, love and understanding.

Excerpt from The Prelude by Wordsworth and Coleridge

The poetry Wordsworth and Coleridge made was not from settled conclusions but from the adventure on which they embarked, thinking of poetry as a challenge to all received ideas, stripping away the dead matter, looking to shed consciousness and so change the world. What emerges is a portrait of these great figures seen not as literary monuments but as young men, troubled, ambitious, dreaming of a vision of wholeness, knowing they had greatness in them but still in urgent search of the paths toward it.

The artist Tom Hammick accompanied Nicolson for much of the year, making woodcuts from the fallen timber in the park at Alfoxden where the Wordsworths lived. Interspersed throughout the book, his images bridge the centuries, depicting lives at the source of our modern sensibility: a psychic landscape of doubt and possibility, full of beauty and thick with desire for a kind of connectedness that seems permanently at hand and yet always out of reach.

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