07 Works Welcoming Summer 2023 by Robert Patterson, Gareth Reid, Lena Kramarić, Mr STRANGE Jean-Marie GITARD, Kezban Arca Batibeki, Gareth Reid, Caroline Walker and Caroline Walker, with footnotes

Summer begins with the solstice on Wednesday, June 21, 2023 marking the astronomical first day of summer in the Northern Hemisphere. Is it really the longest day of the year? Welcome the solstice with some interesting Art.

Robert Patterson (1898-1981)
100% in the Shade, c. 1922
Oil on canvas
24 1/8 x 20 1/8 in. (61.1 x 51.1 cm.)
Private collection

Estimated for US$800 - US$1,200 in August 2023

Robert Patterson was born in Chicago and attended the Chicago Art Institute. Among his teachers there and later were Harvey Dunn, Walt Louderback, Ralph Barton, Pierre Brissaud, and Carl Erickson.

Patterson began his professional career in Chicago, and for some time, directed the Patterson studios there with his brother Loran. In 1922, he came to New York and began doing fashion illustration.

Judge magazine sent him to France in 1924 to do a feature entitled “Betty Goes Abroad.” When Judge failed in 1927, he managed to obtain a fashion illustration assignment from Vogue in Paris, where he stayed until 1934.

Upon his return to the United States, he began to do editorial illustrations for the major magazines, including McCall’s, Cosmopolitan, Good Housekeeping, The Ladies’ Home Journal, Redbook, Collier’s, Woman’s Home Companion, and American Magazine, as well as advertising assignments and book illustration. More on Robert Patterson

Gareth Reid, b. 1974
Come here to me, c. 2023
Acrylic on canvas
unframed: 145 by 116cm.; 57 by 45¼in.
Private collection

Sold for 12,700 EUR in May 2023

Gareth Reid was born in Belfast, he studied at University of Ulster, Glasgow School of Art and Florence Academy of Art, and now lives and works in Glasgow. 

He has shown on five occasions at the BP Portrait Award in the National Portrait Gallery in London, and in 2007 won the BP Travel Award. Having travelled to Finland, he gave talks on his work in the National Gallery of Scotland, Edinburgh and the National Portrait Gallery, London. His work has been published by the NPG.

Previous commissions include Graham Norton for the National Gallery of Ireland, retiral portraits of Sir George Mathewson and Stephen Hester for RBS, Lord Gill and Billy Connolly. His work is held in the collections of RBS, Ralph Lauren, The Old Bailey, the Arts Council of Northern Ireland and the National Gallery of Ireland.

Gareth is a portraiture and life drawing tutor previously in Con Ed at Glasgow School of Art, and currently at the Centre for Lifelong Learning, Strathclyde University. He also runs his his own drawing classes around Glasgow. More on Gareth Reid

Caroline WalkerUnited Kingdom
Happy days - Limited Edition of 3 Print
Printmaking, Paper on Paper
13.8 W x 19.7 H x 0 D in

Offered for sale for C$779 in June 2023

'Happy days' is an original 5-layer, hand-pulled, silk screen print on Fabriano, 300gsm paper. Inspired by Nathalie’s passion for swimming and the fun and playful energy related to it.

Nathalie Kingdon is a French screen printer artist based in London, working from her studio at Wimbledon Art Studios.

Silk screen printing has always been Nathalie's medium of choice, and she works essentially from images taken and collected from various sources of inspiration which are gathered through the years and in particular the South of France.

Nathalie transforms and enhances imagery with a particular sense of colour, and juxtaposition of shape and form.

She is interested in the new narratives that inevitably take place within the frame of the print, and the journey the process takes her on which naturally and organically evolves.

Nathalie has most recently been experimenting with digitally manipulated and printed images, which complements her traditional methods of screen printing. More on Nathalie Kingdon

Caroline Walker
Threshold, Painted in 2014
Oil on canvas
200 x 300 cm (78 3/4 x 118 1/8 in.) 
Private collection

Sold for £927,100 in March 2023

“In a broad sense my work is exploring pre-conceived gender and identity positions in relation to the home, but I paint women because in some ways I am always painting myself, and my own experiences or anxieties.” — Caroline Walker

Caroline Walker’s lustrous oil paintings depict women at work. The artist captures her subjects in quiet, typically invisible moments of labor: They vacuum, hang laundry, wash dishes, water plants, cook meals, and peer through microscopes. The viewer becomes a sort of voyeur, spying on figures who complete mundane chores inside and outside the home. Walker paints from photographs she takes herself—often covertly—as she documents the cultural, economic, and racial realities that face a diverse group of contemporary women. She obtained her BA in painting from the Glasgow School of Art before enrolling at the Royal College of Art, where she graduated with an MA in painting in 2009. Since then, Walker has exhibited in London, Edinburgh, New York, Los Angeles, Milan, and Seoul, among other cities, and her work has been acquired by collections worldwide. More on Caroline Walker

Kezban Arca Batibeki, (Turkish, born 1956)
Sunday Afternoon , c. 2007
Digital collage
150 x 85 cm. (59.1 x 33.5 in.)
Private collection

Born in Istanbul. Kezban Arca Batıbeki graduated from The Fine Arts Faculty of Istanbul Marmara University’s Graphic Arts Department. She worked for the best art and women magazines in Turkey as an illustrator, designed book covers, children books and movie posters. She created an animation film for Swedish State TV and worked as a production designer and photographer on the films production.

1983 she relocated to Oxford and London in the UK to focus on her painting. She featured in twentyone solo exhibitions and participated in numerous Turkish and International group shows. She has been widely regarded as one of the most insightful artists concerned with popular culture involved in the contemporary art scene in Turkey. She works on paintings, photographs, installations and short films about women. She also writes about Art for the newspaper and magazines.

She has twice been presented with the Grand Prize at the Esbank Awards. She lives and works in Istanbul. More on Kezban Arca Batıbeki

Mr STRANGE Jean-Marie GITARD, France
A Summer Day in Marbella, c. 1986
Oil on Canvas
29.5 W x 39.4 H x 0 D in

Sold. Originally listed for C$1,822

Mr STRANGE Jean-Marie GITARD, France is a French artist born in 1964 who lives in the south of France.

After a fairly classic approach as a visual artist, Mr Strange, very largely inspired by surrealism, gradually moved away from classical painting to take an interest in polymorphic forms, mixing painting and sculpture. This is his "Spicture" period.

His artistic evolution leads him to appropriate the digital medium and create what he calls his photos manipulations.

Hybridization, logic of the absurd, subversion, are the artist's favorite entry points.
From birth to death, from the individual to society, he spares no one.
Mr Strange handles surrealism with a certain derision, and offers a personal reflection on the world that is sometimes poetic, sometimes caustic but always sharp. More on Mr Strange

Lena Kramarić, Croatia
(Summer) State of Mind
Acrylic on Canvas
39.4 W x 59.1 H x 2 D in

Sold. Originally listed for C$7,194

Lena Kramarić, Dubrovnik, "Exploring the world around me in relation to my own inner world in an introspective and autoreferential way I am trying to connect motifs of the real and surreal, of the actual, imaginary and subconscious in the narrative scenes, leaving enough space to observers for their individual interpretation.
I reflect while I paint. Amongst my works there are those that are obvious and easily comprehensible and yet there are those that are less easily decipherable

Colour and drawing supercede and complement each other in the working process while the paint roller with white tempera partially annuls them, creating transparency or dimness. A painting is created in layers, using trial, error and success to achieve the desired final effect. Taking off and then adding new layers of colour and drawing, a worn-out surface is obtained which is contrasted by bright details.

Private and individual is put above general and collective. I believe that the best way to get through to the observer and to my own self is through a personal prism, which is essential for my overall development as an individual as well as an artist. Sometimes I use text, spontaneous thoughts, which complement or annul the pictorial form." More on Lena Kramarić





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02 Paintings, The amorous game, Odd Nerdrum's Daddy's Girl, With Footnotes #80

Odd Nerdrum, Norwegian, b. 1944
Daddy's Girl, c. 2014
Oil on canvas
81 × 104 in, 205.7 × 264.2 cm
Private collection

In this 2014 oil painting Nerdrum returns to the beautiful nude couple of Summer Nights (see below). But now they are aged and decrepit, the woman lay dying across the lap of her grieving partner. Yet at their feet the infant still sleeps peacefully in it's manger, unchanged and now seemingly too young to even be the offspring of this couple. And the rifle? It's barrel peeks out from beneath the couple's makeshift bedding.

Odd Nerdrum
Summer Nights, c. 2001
71 1/2 x 75 1/2 inches
Oil on canvas
Weinstein Gallery, San Francisco

Odd Nerdrum (born 8 April 1944) is a Norwegian figurative painter, born in Sweden, and considered to be one of the greatest living classical figurative painters. His work is held by museums worldwide. Themes and style in Nerdrum's work reference anecdote and narrative. Primary influences by the painters Rembrandt and Caravaggio help place his work in direct conflict with the abstraction and conceptual art considered acceptable in much of Norway. 

Nerdrum was born in Helsingborg, Sweden, because his parents were resistance fighters who had fled German-occupied Norway during World War II. At the end of the war Nerdrum returned to Norway with his parents. Nerdrum was educated in a Rudolf Steiner school and later at the Art Academy of Oslo. Disillusioned with the art form taught at the academy and with modern art in general Nerdrum began to teach himself to paint in a post modern style with Rembrandt and Caravaggio as influences. In 1965, he began a several-months study with the German artist Joseph Beuys.

Nerdrum says that his art should be understood as kitsch rather than art as such. On Kitsch, a manifesto composed by Nerdrum, describes the distinction he makes between kitsch and art. Nerdrum's philosophy has spawned The Kitsch Movement among his students and followers, who call themselves kitsch painters rather than artists. More on Odd Nerdrum

The Kitsch Movement is an international movement of classical figurative painters, which define ‘kitsch’ on similar basis with Aristotle’s rationalized ‘Techne’.The movement was born in 1998, upon a new philosophical understanding of kitsch – announced by Odd Nerdrum at his retrospective show at the Astrup Fearnley Museum of Modern Art in Oslo. Nerdrum decleared himself a kitsch-painter and later clearified the concept of kitsch in his book On Kitsch – written together with Jan-Ove Tuv and others. More on The Kitsch Movement




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02 Paintings, The amorous game, Pieter Breughel the Younger's Marriage Procession, With Footnotes #81

Pieter Breughel the Younger  (1564–1638)
The Marriage Procession, c. 1623
Oil on panel
height: 68.1 cm (26.8 in); width: 122.7 cm (48.3 in)
Worcester Art Museum

Flemish wedding processions, as depicted here, publically announced the union of two families before the private, religious ceremony was held at a church. The bride wears her hair down and uncovered except for the wedding headpiece. The groom, wearing a wedding crown atop his bright red cap, is followed by two men, probably the fathers of the bridal couple. More on this painting

Pieter Brueghel II (Brussels 1564/5-1637/8 Antwerp)
Peasants in an open wagon
oil on panel
4½ x 9½ in. (11.5 x 24 cm.)
Private collection

Sold for USD 665,000 in Jun 2014

This scene, showing a group of rowdy peasants en route to a wedding celebration, exemplifies the lighthearted and often humorous observations of everyday life for which Pieter Brueghel II was - and remains - renowned. Even in its small size, this vignette reveals a wealth of anecdotal detail: seven peasants have crowded into the rickety carriage, pressed together so that one at the front has to wrap his arms around his knees to fit inside, while the two nearest the viewer seem poised to fall backwards over the edge. At center, a particularly boisterous woman raises a wine jug high in the air, perhaps to keep it away from her obviously eager companion, who may have already had too much. Stumbling around the back of the cart, a man in a red cap with his back to the viewer rearranges the bridal gifts, aided by another fellow who moves a three-legged stool - a common motif in Brueghel's paintings - out of the way. The cart, which might more usually have been drawn by a driver in an enclosed cab, is pulled by two sturdy horses that seem just to have felt the sting of their rider's whip. More on this painting

Pieter Brueghel II (also Bruegel or Breughel the Younger; between 23 May and 10 October 1564 – between March and May 1638) was a Flemish painter, known for numerous copies after his father Pieter Bruegel the Elder's work as well as his original compositions. The large output of his studio, which produced for the local and export market, contributed to the international spread of his father's imagery.

Traditionally Pieter Brueghel the Younger has been nicknamed "de helse Brueghel" or "Hell Brueghel" because it was believed he was the author of several paintings with fantastic depictions of fire and grotesque imagery. These paintings have now been attributed to his brother Jan Brueghel the Elder. More on Pieter Brueghel II




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27 Paintings from Émile‏ Henri Bernard's ten year stay in Egypt, with footnotes

Émile‏ Henri Bernard
A Seated Oriental Beauty
Oil on canvas
39¾ x 38 in. (101 x 96.5 cm.)
Private collection

Sold for USD 42,000 in Apr 2007

A strong light illumines the figure, reducing the background to a dark plane and yet does not diminish the sense of real dimension. The figure has a certain dignity in countenance, unlike the languid and coy expressions of many other Orientalist models. Bernard conveys his deep visual interest in the subject, carefully recording the items surrounding her. Such objects he would have seen on his travels through Tunisia and Egypt: rosewood clogs inlaid with mother-of-pearl, an ivory fan, gold necklaces and clustered bracelets, a carved-wood Moresque table and a variety of rich fabrics. Bernard's virtuosity is demonstrated in the rendering of silk in the figure's North African dress as well as the model's legs which are expertly painted to show through the sheer material while maintaining her modest beauty. More on this painting

Émile‏ Henri Bernard
L'Egyptienne, c. 1902
Oil on canvas
177.5 x 95 cm. (69.9 x 37.4 in.)
Private collection

Émile‏ Henri Bernard
EGYPTIENNE ACCROUPIE/ CROUCHING Egyptian, c. 1895
Oil on canvas
65 x 81 cm. (25.6 x 31.9 in.)
Private collection

Emile Bernard
Vision of Egypt, c. 1898-1899
Oil on linen canvas
179 x 118 cm
Private collection

Émile‏ Henri Bernard
Women on the banks of the Nile, c. 1900
Oil on canvas
height: 200cm; width: 300cm
  Lille Palace of Fine Arts

Émile‏ Henri Bernard
Femmes et enfants au bord du Nil, c. 1897
Oil on canvas
h: 180 w: 120 cm
Private collection

Émile‏ Henri Bernard
Les porteuses d'eau/ The water carriers, c. 1894–1894
Oil on canvas
42.5 x 66 cm. (16.7 x 26 in.)
Private collection

Émile‏ Henri Bernard
Water carriers, c. 1894
Oil on canvas
89 x 78 cm 
Private collection

Émile‏ Henri Bernard
THREE WOMEN BY THE RIVER
Oil on canvas
Private collection

Émile‏ Henri Bernard
Bread sellers in Cairo or The market in Cairo, c. 1895
Oil on canvas
Height: 43 Width: 60 cm
Private collection

Émile‏ Henri Bernard
Les Égyptiennes, c. 1895
Oil on canvas
50.2 x 61 cm
Private collection

Émile‏ Henri Bernard
Marchands de fruits au Caire/ Fruit vendors in Cairo, c. 1897
Oil on canvas
h: 180 w: 120 cm
Private collection

Émile‏ Henri Bernard
Egyptiennes, c. 1895
Oil on canvas
50 X 60 Cm
Private collection

Émile‏ Henri Bernard
AU BORD DU NIL/ ON THE EDGE OF THE NILE, c. 1900
Oil on canvas
120 x 120 cm
Private collection

Émile‏ Henri Bernard
Banks of the Nile at Marg, evening effect
Oil on canvas
55 x 44,5 cm ; 21 3/4 by 17 1/2 in
Private collection

El Marg is an administrative ward of Cairo, in the north-east of the Cairo Governorate,

Émile‏ Henri Bernard
YOUNG WOMAN BREASTFEEDING, c. 1895
Oil on canvas
46.5 by 65cm
Private collection

Émile‏ Henri Bernard
THE FELLAHS (THE EGYPTIAN TERRASSIERS; ARAB WORKERS, c. 1895
Oil on canvas
82 by 108.1cm., 32 1/4 by 42 1/2 in
Private collection

Émile‏ Henri Bernard
Arab camp, Beduinlager , c. 1902
Oil on canvas
195 x 229 cm.
Private collection

Émile‏ Henri Bernard
Baigneuses au Bord du Nil, 1893
Oil on canvas
86.5 x 66 cm
Private collection

Estimated for CHF 70,000 - CHF 90,000 in June 2017

This painting, which was created shortly after his arrival in Egypt, is a typical example of Bernard's work from that period. Androgynous water bearers and bathers on the banks of the Nile are nude, only adorned by bracelets and anklets, as he often depicted at the time. Presenting a strong contrast to this is a seated elderly woman dressed in black robes. She is likely a nun, as Bernard found shelter in a religious order during that time and later married a Syrian Christian. He was additionally fascinated by the contrasts and connections between nature and religion. More on this painting

Émile‏ Henri Bernard
Arab Festival, c. 1894
Oil on canvas
84 x 110 cm
Musée National des Arts d'Afrique et d'Océanie, Paris.

Émile‏ Henri Bernard
Femmes fellahs au bain, c. 1900
Oil on wood pane
height: 175.7cm; width: 97.3cm
Musée des beaux arts de Reims

Painted in 1900, Femmes fellah au bain is a sort of synthesis between classical culture, to which he returned at that time, and his passion for the Orient. Indeed, Bernard uses large pink and green touches that he structures with a few superimposed white squares. This blurred and colorful style corresponds to his youthful plastic research and contrasts with the very naturalistic bodies of the three women in the foreground. The colors are warm but not flashy, the touch is long and quick, visible in places. The artist expresses in this work a sensual intimacy but without voyeurism. Seized at the time of their toilet, these women seem to be posing for the artist. More on this painting

Émile‏ Henri Bernard
The exotic dancer, c. 1915
Oil on canvas
128.6 x 80.7 cm
Private collection

This painting, his own Odalisque, features a level of naturalism that is quite new to Bernard's work but certainly in keeping with his determination to return to "tradition" and to reject emerging avant garde experimentation.

In this erotically-charged painting, the sensuous female figure, whose breasts are nearly completely exposed and who wears luxurious garments carefully described by Bernard and intended to read as "exotic," glances off to her right rather than meeting the gaze of the viewer. More on this painting

Émile‏ Henri Bernard
Danseuse nue/ Nude dancer, c. 1894
Oil on canvas
cm 150x94
Private collection

Sold for  €4,000 EUR in June 2019

Emile Bernard Nude Dancing Girl with Henna Tatoos and bangles, a veiled woman sitting next to her, cloth, curtain and a vase nearby.

Émile‏ Henri Bernard
Danseuse orientale/ Belly dancer
Oil on canvas
106 x 75 cm. (41.7 x 29.5 in.)
Private collection

Émile‏ Henri Bernard
Danseuse des rues/ Street dancer, c. 1898
Oil on canvas
180 x 120 cm. (70.9 x 47.2 in.)
Private collection

Émile‏ Henri Bernard
In the harem
Oil on board
42 x 29¾ in. (106 x 75.4 cm.)
Private collection

Émile‏ Henri Bernard
AU HAREM
Oil on canvas
42 1/2 by 55 1/2 in. 108 by 141 cm
Private collection

Émile Henri Bernard's most formative artistic years were spent in the city of Paris where the Impressionist style had arisen and dominated the avant-garde scene into the 1880s. He immersed himself in the arts, attending exhibitions and visiting galleries and studying at the École des Arts Décoratifs beginning in 1884. He also trained at the well-respected Atelier Cormon, the studio of the artist and teacher, Fernand Cormon. There he met Henri de Toulouse-Lautrec, with him he formed a lasting friendship. Eventually, he was dismissed for "insubordinate behavior" and thus the radical young artist struck out on his own.

Bernard's close friendships with Paul Gauguin and Vincent van Gogh, two of the most influential artists of the Post-Impressionist period, proved fruitful in many ways, not least of which was the trio's intense co-experimentation; frequently, the produced works in identical themes and also made portraits of one another. Bernard maintained an extensive personal correspondence with Van Gogh and the letters they exchanged provide a unique window into the relationship. It is said that he was the first person to become aware of the importance of Van Gogh's work. Interestingly, Van Gogh's criticism of his work, particularly the biblical themes, prompted Bernard to end the correspondence. In the late 1880s, Bernard developed his unique Cloisonnist and Synthetist styles, which were extraordinarily influential for artists such as Gauguin, Anquetin, and Sérusier. More on Émile Henri Bernard




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01 painting, The amorous game, Hugh Goldwin Riviere's Garden of Eden, with Footnotes #97

Hugh Goldwin Riviere (1869–1956)
The Garden of Eden, c. 1901
Oil on canvas
H 123 x W 94 cm
Guildhall Art Gallery

The Garden of Eden depicts a young couple walking through Kensington Gardens by Lancaster Gate on a rainy day.

It is a touching scene of two otherwise insignificant people made significant by the love they bear each other.

Their fixed gazes show the depth of their affection that converts, for them, the dreariness of the chilly city into paradise; a transformation underscored by the title’s biblical reference to the paradise of Eden.

The pair are isolated from the bustling realm of the city cabs by the park railings and from the natural world by the low-level boundary rail.

This isolation highlights that their respite from busy urban life is man-made and fleeting.

The pleasing grey and blue tones conveying the scene’s light and atmosphere help the viewer to understand how the otherwise wintry environment might seem beautiful to a couple so overcome with love.

The couple portrayed in The Garden of Eden is Beatrice Langdon-Davies, Rivière’s sister-in-law, and her fiancé Percy Silley, an architect.

The pair were closely chaperoned during the making of the work and were married not long after it was completed. More on this painting

Hugh Goldwin Rivière (1869–1956) was born in Bromley and was the son of the artist Briton Riviere. He was educated at St. Andrews University and then studied at the Royal Academy Schools.

He established a successful society portrait practice.

He exhibited 90 paintings at the Royal Academy,1 at the Royal Hibernian Academy, 24 at the Walker Art Gallery, Liverpool and many others; he was elected to the Royal Society of Portrait Painters in 1900.

Riviere worked and lived in Paris and London and later in Midhurst, Sussex.

His work can be seen in the National Portrait Gallery, London; in total there are 69 of his portraits in public collections. More on Hugh Goldwin Rivière




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 painting, Willem Van Mieris the Elder's A trumpeter at a casement window, with Footnotes #96

Willem Van Mieris the Elder (Leiden 1662-1747)
A trumpeter at a casement window with another figure holding an upturned wine glass, c. 1689
Oil on panel
24.1 x 19.6cm (9 1/2 x 7 11/16in).
Private collection

Willem van Mieris (3 June 1662 – 26 January 1747) was an 18th-century painter from the Northern Netherlands.

He was a painter, sculptor and etcher active in Leiden. He was born in Leiden and studied under his father Frans van Mieris the Elder (1635–1682), who was a successful genre painter. Willem had a reasonably successful career, being supported by a few patrons who commissioned and collected various of his works. His oeuvre consists mostly of genre and portraiture, with some landscape painting, as well as some sculptures. 

At age 19, Van Mieris took over the family workshop after his father died in 1681. He had barely finished his training in the family studio and it would take another two years before he entered the Leiden painters' guild in 1685. He set out to uphold his father's reputation as a Leiden fijnschilder. The Leiden fine painters produced a small scale of mostly genre paintings or portraits with high attention to detail. 

Besides genre and portrait painting, Van Mieris was also a skilled landscape painter, etcher, and draughtsman; moreover, he also tried his hand at history painting with remarkable results. more on Willem van Mieris



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3 Paintings, Richard Redgrave's The Outcasts, with footnotes The Outcast

Frederick Walker, ARA (1840-1875)
The Lost Path, c. 1863
Oil on canvas
7½ x 5¼ in. (9.1 x 13.3 cm.)
Foundling Museum

In an age when sexual innocence was highly valued and sex for a respectable woman was deemed appropriate only within marriage, the loss of chastity for an unwed woman had multiple repercussions. The figure of the ‘fallen’ woman was popularly portrayed in art, literature and the media as Victorian moralists warned against the consequences of losing one’s virtue. More on this painting

Frederick Walker was a painter; born 26 May 1840, in London. Trained in architect’s office 1855, at Leigh’s Academy 1857 and Royal Academy Schools 1858, then with engraver Josiah Wood Whymper 1858–9; joined the Langham Artists’ Society 1859 and made his mark as an illustrator, contributing to publications including Once a Week and Cornhill Magazine, where his popular drawings for Thackeray’s The Adventures of Philip appeared; subsequently established a reputation as a watercolourist and oil painter of contemporary subjects, notable for their lyrical and poetic feeling and dealing with narrative and social realist themes; member of the Old Watercolour Society from 1864, exhibited at the RA during the 1860s and elected ARA 1871.

He was described by George Du Maurier as ‘small and slight, though beautifully made, with tiny hands and feet’. [4] Walker was a vivid and engaging personality and a sportsman, especially keen on hunting and fishing. Magdalene Keaney

Richard Redgrave RA (1804 - 1888
The Outcast, c. 1851
Oil on canvas
784 mm x 1071 mm x 22 mm
Royal Academy of Arts

The Outcast represents a fallen woman with her illegitimate child being evicted from her home by her stern father, despite the pleadings of the family. On the floor is a purse of money and an incriminating letter. The scene is made more pathetic by the snowy wastes outside the door and the innocent child’s hand raised in echo of the hand of the pleading sister. More on this painting

Richard Redgrave (1804–1888) was an English painter, writer, and art administrator. He began as a painter of anecdotal literary subjects, often in 18th-century costume, but in the 1840s he became a pioneer of scenes of contemporary social concern (The Poor Teacher, 1845, Shipley AG, Gateshead). ‘It is one of my most gratifying feelings’, he wrote, ‘that many of my best efforts in art have aimed at calling attention to the trials and struggles of the poor and the oppressed.’ In his later career his artistic output consisted mainly of landscapes painted when he was on holiday, as most of his time was taken up with administration: he was Surveyor of the Queen's Pictures (see Royal Collection) from 1857 to 1880, and also held various posts at the Government School of Design (which became the Royal College of Art) and the South Kensington (later Victoria and Albert) Museum. More on Richard Redgrave (1804–1888)

In an age when sexual innocence was highly valued and sex life for a respectable woman was deemed appropriate only within marriage, the loss of chastity for an unwed woman had multiple repercussions. The figure of the ‘fallen’ woman has been mythologised through contemporary art, journalism and literature as Victorian moralists warned against the consequences of losing one’s virtue. The Foundling Museum. 

George Frederic Watts  (1817–1904)
Found Drowned, c. 1867
Oil on canvas
Watts Gallery

Found Drowned is an oil painting by George Frederic Watts, c. 1850, inspired by Thomas Hood's 1844 poem The Bridge of Sighs.

The painting depicts the dead body of a woman washed up beneath the arch of Waterloo Bridge, with her lower body still immersed in the water of the River Thames. She is presumed to have drowned after having thrown herself in the river in despair to escape the shame of being a "fallen woman". The grey industrial cityscape of the south bank of the Thames is barely visible in the background through thick smog. Dressed simply, perhaps a servant, her arms and body form the shape of a cross, much remeniscent of the crucifixion of Christ. She holds a locket and chain in one hand, indicating her attachment to her lover; a single star is visible as a sign of hope in the sky above. More on this painting

George Frederic Watts was born in Marylebone, London, the delicate son of a poor piano-maker. He showed promise very early, learning sculpture from the age of 10 with William Behnes and enrolling as a student at the Royal Academy at the age of 18. He came to the public eye with a drawing entitled Caractacus, which was entered for a competition to design murals for the new Houses of Parliament at Westminster in 1843. Watts won a first prize in the competition, which was intended to promote narrative paintings on patriotic subjects, appropriate to the nation's legislature. In the end Watts made little contribution to the Westminster decorations, but from it he conceived his vision of a building covered with murals representing the spiritual and social evolution of humanity.

Visiting Italy in the mid-1840s, Watts was inspired by Michelangelo's Sistine Chapel and Giotto's Scrovegni Chapel, but back in Britain he was unable to obtain a building in which to carry out his plan. In consequence most of his major works are conventional oil paintings, some of which were intended as studies for the House of Life. More on George Frederic Watts



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