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The Guardian - UK
The Guardian - UK
Lifestyle

The Cult of Beauty: The Aesthetic Movement 1860-1900 – in pictures

Cult of Beauty: Cult of Beauty
The Little White Girl: Symphony in White, No.2 by James McNeill Whistler, 1864
In his portraits Whistler brilliantly danced on the border between British middle-class taste for good likenesses and his knowledge of French impressionism to create a nuanced, musical art of mood that suggests the preludes of Wagner
Photograph: Tate, London
Cult of Beauty: Cult of Beauty
Arrangement in Grey and Black 2: Thomas Carlyle by James McNeill Whistler, 1872-3
The historical essayist Carlyle was one of the brooding visionary intellectuals of the Victorian age, but here Whistler sets him in a dreamy impressionist arrangement of colours that tames his rage
Photograph: Glasgow Museums
Cult of Beauty: Cult of Beauty
The Daydream by Dante Gabriel Rossetti, 1880
Jane Morris, the lush sex symbol of Victorian Britain, inspired this Rossetti painting that turns her into a modern Mona Lisa, at once real and unreal
Photograph: V&A Images
Cult of Beauty: Cult of Beauty
Veronica Veronese by Dante Gabriel Rossetti, 1872
While Walter Pater was working on his aesthetic book The Renaissance, Rossetti painted this flamboyant recreation of Renaissance art, successfully evoking the richness of 16th-century Venetian painting
Photograph: Delaware Art Museum, Samuel and Mary R. Bancroft Memorial
Cult of Beauty: Cult of Beauty
Design for Fruit Wallpaper by William Morris, 1862
No aesthete was more radical than William Morris, a disciple of Marx and author of the utopian socialist fantasy News From Nowhere, yet today his designs are cherished as visual comforts
Photograph: V&A Images
Cult of Beauty: Cult of Beauty
Peacock feathers furnishing fabric, Arthur Silver for Liberty & Co, 1887
Liberty prints are a living legacy of the aesthetic movement, and this early classic evokes the famous Peacock Room that Whistler designed as a vision of luxuriant grace
Photograph: V&A Images
Cult of Beauty: Cult of Beauty
Fantasy by Edward Burne-Jones, 1897
Burne-Jones evolved from the aesthetic movement to be recognised across Europe as a symbolist and his visionary art bears comparison with that of Munch, Klimt and Odilon Redon, who similarly sought to create modern myths
Photograph: Cecil French Bequest
Cult of Beauty 2: Cult of Beauty 2
The Golden Stairs by Edward Burne-Jones, 1880
The repetitive, cyclical procession of maidens in this painting influenced Marcel Duchamp, who quotes it in his early sensation Nude Descending a Staircase
Photograph: Tate, London
Cult of Beauty: Cult of Beauty
Laus Veneris by Edward Burne-Jones, 1873-78
This painting, with its ethereal air and rich tapestries, illuminates the fantasy of the Arthurian middle ages that Burne-Jones worked with William Morris to recreate in Victorian homes
Photograph: Laing Art Gallery
Cult of Beauty: Cult of Beauty
Pavonia by Frederic Leighton, 1858-59
Leighton's paintings – the title of this one is the Italian word for 'peacock' – are somewhat slavish in their recreation of Renaissance beauty, but his house near Holland Park in London is a wondrous time capsule of aesthetic delights
Photograph: Private Collection c/o Christies
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