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Garden Tulip (1885)

William Morris (English, 1834-1896)

#art #watercolor #publicdomain #williammorris #birminghammuseums #graphicdesign
original watercolor painting of a William Morris wallpaper design featuring tulips and floral scrolls
November 24, 2024 at 2:04 PM
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“The Blind Girl” by John Everett Millais (British) - Oil on canvas / 1854–1856 - Birmingham Museum & Art Gallery (Birmingham, United Kingdom) #WomenInArt #art #JohnEverettMillais #Millais #blind #artText #GirlPainting #BirminghamMuseums #BlueskyArt #artwork #BritishArt #Pre-Raphaelite #DoubleRainbow
Two pale young women sit on a grassy verge of a country lane after rain. The elder, a blind street musician, rests with eyes closed beneath a brown shawl covering her red hair; around her neck hangs a sign that reads “PITY THE BLIND.” A concertina musical instrument sits in her lap, and she steadies herself with one hand against the damp grass. A tortoiseshell butterfly rests on her cloak. Leaning against her, a younger blonde girl clasps her hand and shades her eyes, gazing toward a brilliant double rainbow arching over sunlit fields, sheep, and a distant church tower. Bright wildflowers and wet blades of grass glisten in the foreground. “The Blind Girl” exemplifies the ideals of the Pre-Raphaelite Brotherhood, which British artist John Everett Millais co-founded to pursue vivid color, exacting natural detail, and moral resonance. Millais painted the luminous Sussex landscape on site and later added the two sisters in Perth, Scotland. The blind girl was modeled by Matilda Proudfoot, while Isabella Nicol posed as her younger sibling. The painting meditates on perception, compassion, and hope. The elder girl, marked as an itinerant musician by her instrument and sign, cannot see the spectacular rainbow her companion marvels at. Instead, she experiences the world through other senses like the sun’s warmth on her face, the texture of grass, or the butterfly’s light touch. The rainbow, corrected by Millais after critics noted its scientific inaccuracy, becomes both natural wonder and biblical symbol of covenant and renewal. The juxtaposition of blindness and sight underscores different ways of comprehending beauty and meaning. Victorian Britain was marked by poverty, child labor, and disability often visible on city streets. Millais offers not pity but dignity, presenting the sisters as vulnerable yet resilient. Awarded the Liverpool Academy’s annual prize in 1857, the painting was hailed by contemporaries for its union of social realism and spiritual symbolism.
September 21, 2025 at 6:53 PM
snapperlee.bsky.social
Victorian Radicals (From the Pre-Raphaelites to the Arts and Crafts Movement. Superbly curated exhibition at #BirminghamMuseums #artgallery @BM_AG William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, Edward Burne-Jones, William Morris, John William Waterhouse, Ford Madox Brown etc 👌🏽
November 16, 2024 at 6:42 PM