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Course: Europe 1800 - 1900 > Unit 4
Lesson 2: The Pre-Raphaelites and mid-Victorian art- A Beginner's Guide to the Pre-Raphaelites
- The Aesthetic Movement
- Pre-Raphaelites: Curator's choice - Millais's Isabella
- Sir John Everett Millais, Isabella
- Sir John Everett Millais, Christ in the House of His Parents
- Sir John Everett Millais, Christ in the House of His Parents
- Sir John Everett Millais, Ophelia
- Sir John Everett Millais, Ophelia
- Millais, Ophelia
- Millais, Mariana
- Millais, Mariana
- Millais, Portrait of John Ruskin
- A Portrait of John Ruskin and Masculine Ideals of Dress in the Nineteenth Century
- Sir John Everett Millais, Spring (Apple Blossoms)
- Millais, The Vale of Rest
- Millais, The Vale of Rest
- John Everett Millais, Bubbles
- Hunt, Claudio and Isabella
- Hunt, Claudio and Isabella
- Hunt, Our English Coasts ("Strayed Sheep")
- Hunt, Our English Coasts ("Strayed Sheep")
- Hunt, Our English Coasts
- Hunt, the Awakening Conscience
- Hunt, The Awakening Conscience
- William Holman Hunt, Isabella or the Pot of Basil
- William Holman Hunt, The Lady of Shalott
- William Holman Hunt, The Shadow of Death
- William Holman Hunt, The Scapegoat
- Ford Madox Brown, Work
- Ford Madox Brown, The Last of England
- Ford Madox Brown, The Last of England
- Ford Madox Brown, Work
- Pre-Raphaelites: Curator's choice - Ford Madox Brown's 'Work'
- Rossetti, Ecce Ancilla Domini
- Rossetti, Beata Beatrix
- Rossetti, Proserpine
- Wallis, Chatterton
- Wallis, Chatterton
- William Powell Frith, Derby Day
- Dyce's Pegwell Bay, Kent - a Recollection of October 5th, 1858
- Dyce, Pegwell Bay, Kent - a Recollection of October 5th, 1858
- Emily Mary Osborn, Nameless and Friendless
- John Roddam Spencer Stanhope, Thoughts of the Past
- John Roddam Spencer Stanhope, Thoughts of the Past
- Burne-Jones, The Golden Stairs
- Burne-Jones, The Golden Stairs
- Burne-Jones, King Cophetua and the Beggar Maid
- Burne-Jones, King Cophetua and the Beggar Maid
- Sleeping Beauty — but without the Kiss: Burne-Jones and the Briar Rose series
- Burne-Jones, The Depths of the Sea
- Burne-Jones, Hope
- Burne-Jones, Hope
- Sir Edward Burne-Jones, four stained glass windows at Birmingham Cathedral
- Waterhouse, The Lady of Shalott
- William Butterfield, All Saints, Margaret Street
- William Morris, The Green Dining Room
- William Morris and Philip Webb, Red House
- Pre-Raphaelites
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Dyce's Pegwell Bay, Kent - a Recollection of October 5th, 1858
William Dyce, Pegwell Bay, Kent - a Recollection of October 5th 1858-60, oil on canvas, 25 x 35 inches (Tate Britain, London) Speakers: Dr. Beth Harris, Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- @3:03When Prof. Harris talks about the examples of how the artists has conveyed/expressed 'the passage of time; in the painting, I think I would also include in that list 'the ebb and flow of the tide.(7 votes)
- I felt like Beth's comments on this piece were some of her best I've heard, and I've been watching every video from the Prehistoric to the Victorian and beyond. Kudos, Beth.(4 votes)
- What is the painting they show at1:02?(3 votes)
- It is Ramsgate Sands (Life at the Seaside) by William Powell Frith.(3 votes)
- There seems to be a very precise attention to detail and color in the geology and the landscape, but a pale flatness in the figures faces. It seems to only be on the faces, not the hands. You can see it clearly at "1:17" with the child, and the woman in orange at "1:24". Is there a symbolic meaning to this? Or am I just reading too much into it?(1 vote)
- If there is a sense that they, like us, live in an urbanized society, then their faces strike me as a powerful sign that the people are not enough in nature. Also, paleness was a more desirable quality than it is today, so it, together with their colorful clothing, may serve to reinforce the separation between the people and the natural setting.(4 votes)
- Why must Dr. Beth Harris, Dr. Steven Zucker be referred to as "Man" and "Woman" in the captions? I'd mention their names to give them credit for the narration.(2 votes)
- what is the age of this picture(1 vote)
- It's from 1858.(1 vote)
Video transcript
(piano music) Woman: So we're looking at William Dyce's Pegwell Bay Kent, a recollection
of October 5th, 1858. Man: It must be a very specific date. There is actually even a comet
up in the sky in the center, which probably was a specific
event at that moment. Woman: Visible on a
particular date in 1858. Man: That notion of the
particular, of the specific, seems critical throughout
the whole canvas. Woman: He's painting the cliffs
there so carefully and specifically and really everything
in the painting from the objects in the foreground through
the stone in the background
is painted very carefully. Obviously William Dyce has been influenced by the pre-Raphaelite movement. Man: But there is a kind of specificity
and a kind of intricate detail that speaks to it, although the
colors are much more subdued, and the subject is a more standard image
of the seacoast of the resort, right? Woman: Yeah, although we don't
see a kind of modern life seen of vacationing on the
resort in a simple way. I think we have a much more mysterious and
disconcerting image of figures who seem strangely isolated from one
another across the foreground. A child who looks out
and two women who are separately engaged in
collecting seashells. These are all, I think,
members of the artist's family. Then the woman on the right who
heads in yet another direction with some figures that
are also kind of isolated, strewn across the background and
it's obviously late in the day. It's low tide and the
figures are very small in relationship to the landscape. There is a clear sense I think of
human being smallness in relationship to nature or awe and wonder at nature. Man: I think that makes sense,
especially with the comet
right? And the grand cliffs, and the distance of the vista. And in a way, the artist
is also using color. I mean even though the women
and the boy are dressed in relatively subdued colors,
those are still among the
brightest colors in the canvas. They do stand out as something
different and apart, not only from
each other but from the landscape. Woman: That's true. The landscape
exists really apart from them
in a kind of timelessness. Man: He seems to be interested in
details that seem almost scientific. The strata of the cliffs seem to
be particularly carefully rendered, as if he had been studying geology. Woman: Yeah and I think
there is some sense that Dyce was interested in geology and
just the enormous interest at this time in nature and
science, and amateur science. Man: I think about the
women collecting sea shells. They're being collected for their
beauty but also as scientific specimens. Woman: I said there is
a sense of timelessness. There is also a sense of the measuring
of time by the strata on the cliffs, by the sun going down. There is a sense of the passage of time. I mean this almost reads to
me as a Memento Mori in a way. Maybe reminder of death is too strong. I feel like I have been on holiday
with my family in places just like this doing similar activities and so it becomes
very poignant I think about Dyce himself, the artist on this day with
his child, with his family, in this place that removes one
from one's everyday life and
puts one in touch with something that is more mysterious, whether that
mystery is in science and nature, or whether the mystery is in God. Man: I think that's exactly right because
we have the sense of the specific day, the specific moment, but we also
have a sense of the eternal here, of the way in which this
scene is encapsulated within as much grander scene of the
solar system of the universe. Woman: And so our lives here in the year
2010 are in some ways not so different from William Dice's in 1858. We still go on holiday. We go to places like this. We live in a modern industrial,
urban world that we escape
from to places like this, that take us someplace else. (piano music)