Sir Lawrence Alma-Tadema, O.M., R.A. (1905) (14596588029)

Identifier: sirlawrencealmat00stan (find matches)
Title: Sir Lawrence Alma-Tadema, O.M., R.A.
Year: 1905 (1900s)
Authors: Standing, Percy Cross, 1870-1931
Subjects: Alma-Tadema, Lawrence, 1836-1912
Publisher: London, Paris, New York, Melbourne, Cassell and Company, limited
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute



Text Appearing Before Image:
derful marbled effects. A Nymphaum, again, is a study of abalneatrix descending into the bath, where,in the distance, women are bathing. Hopeand Fear is an inimitable study of anold man, Grecian in mould and form; hisdaughter, armed with a bouquet of roses andmyrtle, choosing the meal-time to ask herfather to be allowed to marry the one sheloves. Meanwhile, Alma-Tadema had been electedan Associate of the Royal Academy, to befollowed by the fuller title of Academician threeyears afterwards—namely, in 1879. After The Death of the First-born it had beenimpossible for the authorities longer to neglecthis claims to honourable distinction. The newsof his election to an Associateship came tocheer him up during his enforced stay inRome subsequent to the wreck of TownshendHouse. The idea of a life-size figure, to be entitled The Sculptors Model, was suggested toAlma-Tademas mind by the discovery, in 1874,of the so-called Venus of Esquiline. He com-pleted this great canvas in 1877. The purity
Text Appearing After Image:
THERE HE IS! By Permission of Messrs. L. H. Lefeure & Son,the Owners of the Copyright. PICTURES OF THE SEVENTIES. 59 of the conception, the wonderful flesh tintsand the slender girlishness of the nude figure,formed a most compelling combination ofcharm before which every note save undividedadmiration was silent. The girl is holding upher hair with one hand, the other restingupon a feathery fern, while the general attitudeappears to signify a certain vexation at themonotony of a models task. Alma-Tadema hasreason to be proud of this creation of his. Itexhibited his genius in yet another varyingform and phase, and it considerably heightenedhis reputation among those best qualified tojudge. Previous to his departure for another Italianvisit in 1878, he painted the dainty littlepastoral of Pompeian life, A Loving Welcome.Father, mother, servant, and dog are all greetingthe little daughter who has returned home insafety. The male parent, evidently a literaryman of the period, has hasti