Frederic Leighton, “Golden Hours” atteint £3,274,500 au marteau lors de la vente: “Defining british art evening sale” du 30 juin 2016.
Notes concernant le lot de la vente du 30 juin 2016:
Lot Notes Golden Hours came at a critical juncture in Leighton’s career as he crossed the boundary from foreign-trained outsider to establishment figurehead. The pictures that the artist exhibited at the Royal Academy in 1864 secured his election as an associate of the institution, and paved the way to artistic and worldly success. It is no coincidence that the artist decided to build his own house in leafy Kensington on the back of his Academy triumph. His 1864 pictures mirror the different strands of his art: the historical, medievalizing character of Dante in Exile (Lloyd Webber collection); the mythological story of Orpheus and Eurydice (Leighton House, London), almost the first of his classical dramas; and the dreamy aestheticism of Golden Hours. The late 1850s and early 1860s saw a shift in the landscape of British art just as momentous as the advent of Pre-Raphaelitism in the previous decade, with its mantra of ‘truth to nature’. New aesthetic impulses liberated art from the straitjacket of narrative and morality. A picture could be an object of beauty and emotion without any ostensible subject. A movement that has been tagged as ‘art for art’s sake’ included some of the brightest talents of the time, among them Dante Gabriel Rossetti, Edward Burne-Jones, Albert Moore, J.M. Whistler and Frederic Leighton. While they were not a group as such, they were closely in touch with one another, members of the Hogarth Club and the Artists’ Rifles and habituées of Mrs Prinsep’s cultivated salon at Little Holland House. They sparked ideas and images off one another and formed a loose community of like-minded spirits. La suite ici...
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