Edward John Poynter - Chloe [1893]

Edward John Poynter - Chloe [1893], a photo by Gandalf's Gallery on Flickr.

Music and harmony are key to this sophisticated arrangement, which combines the archaeological fidelity of Neo-Classicism with the Aesthetic movement’s devotion to sensual delight. The pipes in the model’s right hand and the lyre leaning against the leopard skin to her left, signify the subjects musical attributes and accomplishment. The bullfinch to which she offers cherries at her feet, also enhances the melodic theme (perhaps a rival to its mistress in terms of musical skill). Music is also obliquely referred to in the painting’s carefully composed colour harmonies and surface patterns, which combine to create a rich decorative effect. The russet, blue and gold of the intricate architectural mouldings are repeated in the beads around Chloe’s neck and picked up again in the blanket upon which she rests. The pale, shimmering tessellated pattern of her Grecian robe is echoed in the pearlised marquetry of the footstool, whose pattern reflects a smaller version of the marble floor. Sight and sound are not the only senses to in this visual feast. The bowl of ripe cherries fulfils the sense of taste, sitting directly below an aperture through which we imagine the fragrance of poppies and foxgloves enters. 

[Oil on canvas, 71.1 x 91.4 cm]

Edward John Poynter - The Cave of the Storm Nymphs [1903]

Sir Edward John Poynter (March 20, 1836 – July 26, 1919) was a British painter, designer, draughtsman and art administrator. The son of Ambrose Poynter, an architect, he was born in Paris. He was educated at Ipswich School and Brighton College before studying in London, in Rome (where he became a great admirer of Michelangelo) and with Charles Gleyre in Paris (where he met James McNeill Whistler). He became best known for his large historical paintings.

From the turn of the century Poynter's paintings declined both in numbers and quality, his main priority being the running of the Academy. He lived to see the death of classicism, and the total eclipse of his own artistic standards, and those of his contemporaries. He adopted the approach of ignoring new developments of which he did not approve. Unhappily Poynter outstayed his welcome. There was, though, something splendid about the way he remained consistent to the last, resisting what he saw as the corruption, and denigration of all that was beautiful in art. He may even have been right.