The Scapegoat' remains one of the best known religious images of the 19th century. His continuing interest in religious subjects for his paintings and a determination to paint directly from Nature culminated in his first trip to the Holy Land in 1854-6. Here he could pursue his desire to paint religious narratives in the landscape in which they took place.His continuing interest in religious subjects for his paintings and a determination to paint directly from Nature culminated in his first trip to the Holy Land in 1854-6. Here he could pursue his desire to paint religious narratives in the landscape in which they took place
He travelled to Jerusalem in June 1854 and then on to Oosdoom, on the southern shore of the Dead Sea, in October of that yeahe bought a rare, white goat in Jerusalem then spent about ten days working on the Lady Lever canvas at Oosdoom, painting the distant mountains and lake and making sketches of the goatWhen poor weather forced Hunt to return to Jerusalem for the winter, the goat died on the journey home.(this is why there are 2 versions of the painting)
By early 1855, Hunt had purchased another goat for use as a model and completed its image and the sky in his Jerusalem studio, having waited most of the winter for the right sort of clouds. In his diary he describes standing the long-suffering goat in a tray of salt and mud, collected in Oosdoom, to create the dried and cracked lake shore beneath his hoofs. In March he bought a camel skeleton and borrowed an ibex skull from a friend to add these grisly details to the painting.
Hunt took his subject from Leviticus XV1 and the Jewish ceremony of Atonement held in the Temple at Jerusalem. Two goats were used during the proceedings; one was sacrificed as a burnt offering to God, the second was led out of Jerusalem to carry the sins of the community. A crowd followed this goat, jeering and chasing it. Tied between its horns was a scarlet cloth which, if their offerings were accepted, would turn white. The whole episode was regarded as typological, a biblical Old Testament narrative prefiguring a NewTestament event, in this case the sacrifice of Christ to carry away the sins of the world.
(pre raphelire) a member of a group of English 19th-century artists, including Holman Hunt, Millais, and D. G. Rossetti, who consciously sought to emulate the simplicity and sincerity of the work of Italian artists from before the time of Raphael.
-Raphaelite art played in changing concepts of vision and truth in representation, as all wrestled with the question of how to observe and represent the natural world and the human face and figure. This rich dialogue between photography and painting is examined in the exhibition's thematic sections on landscape, portraiture, literary and historical narratives, and modern-life subjects.
all wrestled with the question of how to observe and represent the natural world and the human face and figure. This rich dialogue between photography and painting is examined in the exhibition's thematic sections on landscape, portraiture, literary and historical narratives, and modern-life subjects.
The philosophy of these founding brothers was recorded at their first meeting as follows:
1. To have genuine ideas to express.
2. To study nature attentively, so as to know how to express them.
3. To sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote;
4. And most indispensable of all, to produce thoroughly good pictures and statues.
After eventually entering the Royal Academy art schools, having initially been rejected, Hunt rebelled against the influence of its founder Sir Joshua Reynolds. He formed the Pre-Raphaelite movement in 1848, after meeting the poet and artist Dante Gabriel Rossetti. Along with John Everett Millais they sought to revitalise art by emphasising the detailed observation of the natural world in a spirit of quasi-religious devotion to truth. This religious approach was influenced by the spiritual qualities of medieval art, in opposition to the alleged rationalism of the Renaissance embodied by Raphael. He had many pupils including Robert Braithwaite Martineau.Rest, rest, a perfect rest
Dante Rossetti Poem (description of landscape and mood similar to how scape goat looks) :
Dream Land
Dream Land
Shed over brow and breast;
Her face is toward the west,
The purple land.
She cannot see the grain
Ripening on hill and plain;
She cannot feel the rain
John William Waterhouse, ‘Ophelia’ 1889:
it's the darker reaches of the Pre-Raphaelites that make the most interesting fodder for fashion, and the most modern. That's why Millais' doomed Ophelia is undoubtedly fashion's Pre-Raphaelite inspiration-board pin-up of choiceSomewhat surprisingly, the chocolate-box imagery of the Pre-Raphaelite Brotherhood has inspired some of the most exciting and brave new fashion, says Alexander Fury
Pre raphellite in fashion:
Photographed by Cuneyt Akeroglu and styled by Ece Sukan, Malagosia Bela appears in the April 2011 edition of Turkish Vogue. The cover girl (Vogue Turkey and Numero in the same month) dons a wardrobe of long flowing dresses from the likes of Christopher Kane, Christian Dior and Fendi. An amazing garden filled with flowers surrounds the Polish top-model, while Malgosia looks like a Pre-Raphaelite woman.
Unforgettable actress Rooney Mara poses beautifully in a new editorial for Vogue magazine. As the lead in the highly anticipated movie The Girl with the Dragon Tattoo, she plays Lisbeth Salander, a character very unlike the one portrayed in this Vogue editorial. Though she plays an outcast in the movie, she portrayed an incredibly fierce girl for photographers Mert Alas and Marcus Piggott. The November issue features an in-depth look into the movie star's world now that she's been handed this coveted role.
The image above reminded me of John Everett Millais painting Ophellia. This shows just how far the influence of the pre raphellites has traveled through out time.
John Everett Millais:
In this picture his subject is 'Ophelia' from William Shakespeare's 'Hamlet' who driven out of her mind by Hamlet's neglect and the murder of her father drowns in a stream ...
Determined to depict Shakespeare’s waterlogged maiden with utmost accuracy, but recognising that the chances of persuading someone to pose in the freezing Hogsmill were distinctly slim, Millais came up with the wheeze of getting his model – the 19-year-old Elizabeth Siddall, future wife of Dante Gabriel Rossetti – to lie, fully clothed, in a full bathtub. Oil lamps were placed underneath the tub to keep the water warm, but when they went out the artist was too engrossed in his work to notice. Lying deathly still in chilly water for hours on end left Siddall with a stinking cold.
Dante Gabriel Rossetti and Elizabeth Siddal.
http://preraphaelitesisterhood.com/pre-raphaelite-marriages-dante-gabriel-rossetti-and-elizabeth-siddal/
Fruit of jesus Sacrifice (II) (llse Kleyn)
Relates to scape goat as shows jesus’s sacrifice scapegoat is symbol of this. and has biblical nature a modern version.
Pomegranates - The Fruit of Jesus' sacrifice. When cut open it exudes RED Juice. Its skin is Purplish in color, suggestive of God Manifestation and royalty
The 613 seeds found within the pomegranate represent the 613 commandments in 1st five books of the Old Testament, which is "the law". We know that the 613 commandments are the law. The law condemns us, but Jesus came to fulfill the law and now we live under grace by His work on the cross.
SACRIFICE -
Hunt took his subject from Leviticus XV1 and the Jewish ceremony of Atonement held in the Temple at Jerusalem. Two goats were used during the proceedings; one was sacrificed as a burnt offering to God, the second was led out of Jerusalem to carry the sins of the community. A crowd followed this goat, jeering and chasing it. Tied between its horns was a scarlet cloth which, if their offerings were accepted, would turn white. The whole episode was regarded as typological, a biblical Old Testament narrative prefiguring a New Testament event, in this case the sacrifice of Christ to carry away the sins of the world.
Pre Raphellite -
a member of a group of English 19th-century artists, including Holman Hunt, Millais, and D. G. Rossetti, who consciously sought to emulate the simplicity and sincerity of the work of Italian artists from before the time of Raphael.Raphaelite art played in changing concepts of vision and truth in representation, as all wrestled with the question of how to observe and represent the natural world and the human face and figure. This rich dialogue between photography and painting is examined in the exhibition's thematic sections on landscape, portraiture, literary and historical narratives, and modern-life subjects.
all wrestled with the question of how to observe and represent the natural world and the human face and figure. This rich dialogue between photography and painting is examined in the exhibition's thematic sections on landscape, portraiture, literary and historical narratives, and modern-life subjects.
SUFFERING- First goat he used as a model died, second goat he made stand on cracked dirt in a studio for prolonged period of time. In the Book of Leviticus chapter 16, God instructed Moses and Aaron to select two goats every year for an offering. One was to be used as a sin offering to atone for the sins and trans-gressions of the people. Once killed, it’s blood was to be sprinkled on God’s mercy seat on the Ark of the Covenant.
The high priest would then lay hands on the second goat which was allowed to live, and he would confess the sins of the people putting them on the head of the goat. The goat would then bear the blame for all the transgressions of the people and would be set free into the wilderness, where God would remember their sins no more. The goat became known as the scapegoat.The last scape goat, jesus sacrificed himself and no more scape goats would be accepted by god. He did the same thing as the goat with sins.
DANTE ROSSETTI- The poem he wrote seems to relate very closely to the atmosphere of the painting scape goat. He was apart of the pre raphellite group and so would have been close to hunt.
Shed over brow and breast;
Her face is toward the west,
The purple land.
She cannot see the grain
Ripening on hill and plain;
She cannot feel the rain
The colours of the scape goat painting are similar to this description along with the landscape etc.
Jo Spence (suffering) :
Jo Spence was born on 15 June 1934 in London to working class parents. Before she became a photographer, she was a writer, cultural worker, and a photo therapist. She started off as a wedding photographer and ran a studio from 1967–1974. Soon afterwards, she began documentary work in the early 1970s, motivated by her political concerns
The colours of the scape goat painting are similar to this description along with the landscape etc.
Jo Spence (suffering) :
The photograph of her, taken whilst having a mammograph done, exemplifies her vulnerability, as semi-naked, she literally has to place her body under the control and scrutiny of this machine.
Jo Spence responded to this by deciding to document what was happening to her through photographic records, thereby becoming the active subject of her own investigation, rather than the object of the doctors' medical discourse.
Following a lumpectomy she decided to undertake a holistic approach to managing her illness, and opted for Traditional Chinese Medicine in preference to undergoing radio- and chemotherapy. In conjunction with this she used phototherapy (literally using photography to heal) to tackle the emotional crisis which suffering from cancer created for her.
Through phototherapy she explained how she felt about her powerlessness as a patient, her relationship to doctors and nurses and her infantilisation whilst being managed and processed by a state institution. This work included photos of her dressed as an infant, and to some extent echo her feelings about the class struggle, and her fight to stand as an individual, on an equal footing with those who hold power in our society.
http://www.jospence.org
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