In January 2016 I travelled to an exhibition at this charming
and centrally located museum and art gallery; to attend an exhibition of the
works of Edward Robert Hughes. E.R. Hughes belongs to that second generation of
Pre-Raphaelite artists and was the nephew of Arthur Hughes, an important member
of that first generation.
Like many an artist before him and since, the public are
often familiar with the work but not the name of the creator, this I discovered
for myself, as I recognised the beautiful works on display. Some such as his ‘Midsummer
Eve’ I have seen reproduced on greeting cards and prints, it is said to be his
most reproduced work. Like many others however, I am more familiar with the
works of his famous uncle Arthur, than with Edward himself.
The importance of this exhibition, even when taking into
account the internationally famous collection of Pre-Raphaelite paintings that
Birmingham can boast, is the gathering of so many of works of Edward Robert
Hughes from across the UK and beyond. The museum had gathered not only the fine
examples in house but many works from other galleries and private collections;
including that of Her Majesty Queen Elizabeth II of the United Kingdom. Visitors
to this exhibition were given a rare opportunity of seeing works, not usually
seen together and many had not been shown publicly for a century.
In the nineteenth century two philosophical approaches to
art developed. One argued that art should have meaning and this the Symbolist philosophy,
can perhaps be described as being; ‘Art for Truth’s sake.’ The alternative
viewpoint, oft championed by Oscar Wilde, is that art exists to be beautiful.
That philosophy ‘Art for Art’s sake,’ is perhaps best described as Aesthetics.
Although these two philosophical approaches to art existed
then, exist now and quite possibly, have existed since man first drew on a cave
wall, they have not always existed in harmony. Debates on the nature, place and
function of art have threaded their way through history, often stimulating
talent to even greater heights of exploration.
This exhibition like many, illustrated that perceived subtext
of art and the conflict within the viewer. Are we just looking at a pretty
picture or is there a symbolist meaning? Did the artist deliberately place a
meaning or was it subconscious, perhaps accidental? Are we subscribing a
meaning upon a work of art that the creator never intended? These are questions
that very often, are impossible to answer but that doesn’t mean we should not
try.
The exhibition combined both a chronological and subject
focus approach to the presentation. Hughes earlier works displayed in context
and in comparison with other selected Pre-Raphaelite artists, including his
uncle. Much of his early work showing his more obvious influences from within
the Pre-Raphaelite Brotherhood.
When displayed within the context of the subject matter it
was clear that like many of that school, his choice of subject was often
romantic and mythological. The majority of Hughes works are stunning, simply beautiful
in the composition. Yet there are other works that appear a little too sickly-sweet
in the execution. In this category I personally would include his ‘Midsummer
Eve,’ yet many would strongly disagree with me.
Like another later artist Hughes had a blue period but
unlike that other artist, it was not so much a total presentation of a work in
blue but an alternative exploration of the colour. In the example of Hughes, blue
is the colour of the night and from the subtle shades of the twilight to the
deep midnight blue; he played, toyed and captured the night in a series of
pictures, many of which are perhaps amongst his most famous and should rightfully
be regarded as amongst his masterpieces.
Amongst my personal favourites and in my opinion, one of his
most significant works, is ‘The Valkyrie's Vigil’ depicting a somewhat melancholic
gatherer of the slain, brooding upon the battlements of what could be Valhalla.
My other favourite is that example loaned by Her Majesty; ‘Dream Idyll’ which
captures a puzzling, fairy-tale and dreamlike atmosphere.
One of his most famous and important pictures however, is
that rather intimidating and enigmatic picture; ‘Night with her train of stars.’
Winged night but with more than one pair of wings it seems, comforts a child as
she progresses across the skies in full array and accompaniment.
Inspired by and taking its name from a line in the poem
Margaritae Sorori by Ernest Henley, the painting is a paradox. Does night bring
death, peace or protection? Are the innocent cherubs truly innocent or maleficent?
This work is generally hailed as one of his most significant works, it is a masterpiece
indeed.
Looking at his work, singly, grouped by subject and in comparison
with the other artists included for context, such as Arthur Hughes, Rossetti, Solomon
and Bunce. One realises that in truth, Edward Robert Hughes should be far more well-known
than he is. His chalks and watercolours are magnificent, composed and executed
with refined skill and insight.
Some are somewhat disturbing and amongst these I include,
obviously and predictably, ‘Oh, what's that in the hollow?’ A fascinating painting
of a rather androgynous figure, dead and decomposing in a pool. The air of
death and decay is suggested by the nearby crows and the briar entwining the
figure. The picture is hauntingly beautiful and disquieting, yet still carries with
it a suggestion of life, as the briar is in bloom.
Hughes assisted many famous artists during his career, both
as a model and as an assistant. In this latter role he is often uncredited, even
when much of the finished work is in his hand. Hughes is noteworthy for
assisting William Holman Hunt in his later life, as Hunt became increasingly
frail. This includes completion of ‘The Light of the World,’ that famous
painting on display in Saint Paul’s Cathedral, London.
This suggests to me that Hughes was quite possibly a modest
man, willing to step aside and allow the master, William Holman Hunt full
credit. Perhaps the hand that produced ‘Night with her train of stars,’ did not
need to prove their own genius.
My day in Birmingham was very enjoyable and certainly educational.
I found far more of interest than I could have imagined. The main exhibition was
without doubt worth seeing but the other parts of the museum collection, were
most impressive. The Birmingham Museum and Art Gallery is far larger than I
expected and like the British Museum, one can wander along a labyrinth of
galleries, each one hiding wonders in almost every corner.
It is also worth mentioning the wonderful and very patient museum
staff. They are exceptionally polite individuals, who are not only willing to
share their opinion on their particular favourite items but are also very
helpful when guiding lost tourists.
Enchanted Dreams: The Pre-Raphaelite Art of E.R. Hughes ran
from the 17th of October 2015 to the 21st February 2016.
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