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Carol B
THE KING ARTHUR EXHIBITION AT FALMOUTH ART GALLERY
Falmouth Art Gallery的点评
点评：Thursday 24th August 2023, My husband and I drove to Falmouth, to go to visit the King Arthur Exhibition at Falmouth Art Gallery. We parked our car in the car park at the top of the hill and walked down Warren Hill, a 1/20 hill, it was fine going down, but coming back was a nightmare. We were both out of breath.
The Legend of King Arthur Exhibition is a Pre-Raphaelite Love Story, which has been touring around the country first in London, the Cumbria and concluding in Falmouth in Cornwall. The exhibition depicted the triangular interdependency that exists between Arthurian legend, Pre-Raphaelite artists and locations linked to the Arthurian legend, with a focus on Cornwall. The exhibition introduced people to the story of King Arthur and combined arts and heritage to increase the rich cultural heritage of Cornwall locally, nationally and internationally.
The exhibition brought together over 60 iconic works of art and major loans from public and private collections of Pre-Raphaelite art both in the UK and overseas. All the artworks selected were specific to the King Arthur story as told by Thomas Malory in ‘Le Morte d’Arthur’, and Tennyson’s ‘The Lady of Shalott’ both of which inspired the Pre-Raphaelite brotherhood and their followers as source material for their paintings.
This incredible line-up of Pre-Raphaelite artists includes: Eleanor Fortescue-Brickdale, Edward Burne-Jones, William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, Emma Sandys and Elizabeth Siddal.
The exhibition provided an opportunity to bring together large, ornately framed, oil paintings, sketches and oil studies, illustrated books, sketchbooks and etchings which all explore some aspect of the King Arthur legend through the reactionary lens of the Pre-Raphaelite artists and their followers who from 1848 onwards banded together to challenge what they saw as dull history painting exhibited annually at the Royal Academy.
The art gallery had John William Waterhouse’s, ‘The Lady of Shalott’ – from the poem by Tennyson, oil on canvas. This had been presented to the Corporation of Falmouth in 1923 by Alfred A. de Pass, in memory of his sons.
William Morris and subsequently Sir Edward Coley Burne Jones had a mutual obsession with the King Arthur legend. The latter wrote Nothing was ever like Morte d’Arthur – I don’t mean any book or any one poem – something that can never be written, I mean, and can never go out of the heart. This romantic sincerity of vision was also reflected by many other Pre- Raphaelite artists.
The curator of the Falmouth art gallery even managed to secure the entire ‘Lady of Shalott’ series of paintings by John William Waterhouse painted over a twenty year period. These have never been exhibited together in the UK and provided a unique opportunity to see a great artist re-interpreting a popular theme
A fully illustrated book of essays by internationally recognised Arthurian specialists exploring the legend and its influence on the Victorian period accompanied the exhibition. My husband and I purchased a copy of the book as we are both Pre-Raphaelite fans.
We spent nearly all the day in Falmouth Art Gallery as it was wonderful and so inspiring. There were even two of ‘The Grail Tapestry’s’ from Birmingham Art Gallery there. my husbandand I took lots of photos of the wonderful artwork. I found it so inspiring that I wrote two poems whilst I was here called ‘Transcendence’ and ‘Entanglement’.
If you are a Pre-Raphaelite Fan Then Visit Here While You Have The Chance.
The Legend of King Arthur Exhibition is a Pre-Raphaelite Love Story, which has been touring around the country first in London, the Cumbria and concluding in Falmouth in Cornwall. The exhibition depicted the triangular interdependency that exists between Arthurian legend, Pre-Raphaelite artists and locations linked to the Arthurian legend, with a focus on Cornwall. The exhibition introduced people to the story of King Arthur and combined arts and heritage to increase the rich cultural heritage of Cornwall locally, nationally and internationally.
The exhibition brought together over 60 iconic works of art and major loans from public and private collections of Pre-Raphaelite art both in the UK and overseas. All the artworks selected were specific to the King Arthur story as told by Thomas Malory in ‘Le Morte d’Arthur’, and Tennyson’s ‘The Lady of Shalott’ both of which inspired the Pre-Raphaelite brotherhood and their followers as source material for their paintings.
This incredible line-up of Pre-Raphaelite artists includes: Eleanor Fortescue-Brickdale, Edward Burne-Jones, William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, Emma Sandys and Elizabeth Siddal.
The exhibition provided an opportunity to bring together large, ornately framed, oil paintings, sketches and oil studies, illustrated books, sketchbooks and etchings which all explore some aspect of the King Arthur legend through the reactionary lens of the Pre-Raphaelite artists and their followers who from 1848 onwards banded together to challenge what they saw as dull history painting exhibited annually at the Royal Academy.
The art gallery had John William Waterhouse’s, ‘The Lady of Shalott’ – from the poem by Tennyson, oil on canvas. This had been presented to the Corporation of Falmouth in 1923 by Alfred A. de Pass, in memory of his sons.
William Morris and subsequently Sir Edward Coley Burne Jones had a mutual obsession with the King Arthur legend. The latter wrote Nothing was ever like Morte d’Arthur – I don’t mean any book or any one poem – something that can never be written, I mean, and can never go out of the heart. This romantic sincerity of vision was also reflected by many other Pre- Raphaelite artists.
The curator of the Falmouth art gallery even managed to secure the entire ‘Lady of Shalott’ series of paintings by John William Waterhouse painted over a twenty year period. These have never been exhibited together in the UK and provided a unique opportunity to see a great artist re-interpreting a popular theme
A fully illustrated book of essays by internationally recognised Arthurian specialists exploring the legend and its influence on the Victorian period accompanied the exhibition. My husband and I purchased a copy of the book as we are both Pre-Raphaelite fans.
We spent nearly all the day in Falmouth Art Gallery as it was wonderful and so inspiring. There were even two of ‘The Grail Tapestry’s’ from Birmingham Art Gallery there. my husbandand I took lots of photos of the wonderful artwork. I found it so inspiring that I wrote two poems whilst I was here called ‘Transcendence’ and ‘Entanglement’.
If you are a Pre-Raphaelite Fan Then Visit Here While You Have The Chance.
翻译：2023年8月24日星期四，我和丈夫开车前往法尔茅斯，去法尔茅斯美术馆参观亚瑟王展览。我们把车停在山顶的停车场，沿着1/20的Warren Hill往下走，下山还好，但回来就是一场噩梦。我们都气喘吁吁。
《亚瑟王传奇》展览是一个拉斐尔前派的爱情故事，已在全国各地巡演，首先在伦敦、坎布里亚郡，最后在康沃尔郡的法尔茅斯结束。该展览描绘了亚瑟王传奇、拉斐尔前派艺术家和与亚瑟王传奇相关的地点之间存在的三角相互依存关系，重点关注康沃尔郡。该展览向人们介绍了亚瑟王的故事，并将艺术与遗产结合起来，增加了康沃尔郡当地、全国和国际的丰富文化遗产。
该展览汇集了 60 多件标志性艺术作品以及来自英国和海外公共和私人收藏的拉斐尔前派艺术的主要借展作品。所有选定的艺术品都专门针对托马斯·马洛里在《亚瑟王之死》中讲述的亚瑟王故事以及丁尼生的《夏洛特夫人》，这两部作品都启发了拉斐尔前派兄弟会及其追随者，作为其创作的素材。绘画。
这个令人难以置信的前拉斐尔派艺术家阵容包括：埃莉诺·福蒂斯丘·布里克代尔、爱德华·伯恩·琼斯、威廉·霍尔曼·亨特、约翰·埃弗雷特·米莱斯、但丁·加布里埃尔·罗塞蒂、艾玛·桑迪斯和伊丽莎白·西达尔。
该展览提供了一个机会，汇集了大型、装框华丽的油画、素描和油画研究、插图书、素描本和蚀刻画，这些都通过拉斐尔前派艺术家及其追随者的反动视角探索了亚瑟王传奇的某些方面从 1848 年起，他们就联合起来挑战皇家学院每年展出的他们认为乏味的历史画。
艺术画廊里有约翰·威廉·沃特豪斯的《夏洛特夫人》——取自丁尼生的诗，布面油画。 1923 年，阿尔弗雷德·A·德帕斯 (Alfred A. de Pass) 将其赠送给法尔茅斯公司，以纪念他的儿子们。
威廉·莫里斯和后来的爱德华·科利·伯恩·琼斯爵士都对亚瑟王的传说有着共同的痴迷。后者写的《亚瑟王之死》是独一无二的——我不是指任何一本书或任何一首诗——我的意思是，它永远无法被书写，也永远无法走出内心。这种浪漫而真诚的视觉也被许多其他拉斐尔前派艺术家所体现。
法尔茅斯艺术画廊的馆长甚至设法获得了约翰·威廉·沃特豪斯在二十年间创作的整个“夏洛特夫人”系列画作。这些作品从未在英国同时展出，并提供了一个独特的机会来观看一位伟大的艺术家重新诠释流行主题
展览还附有一本由国际知名的亚瑟王专家撰写的插图完整的论文集，探讨了这个传说及其对维多利亚时期的影响。我和我丈夫买了一本这本书，因为我们都是拉斐尔前派的粉丝。
我们几乎一整天都在法尔茅斯美术馆度过，因为它太棒了，太鼓舞人心了。那里甚至还有两幅来自伯明翰美术馆的“圣杯挂毯”。我和我丈夫为这些精美的艺术品拍了很多照片。我发现它非常鼓舞人心，所以我在这里写了两首诗，名为“超越”和“纠缠”。
如果您是拉斐尔前派的粉丝，请趁有机会来这里参观。
《亚瑟王传奇》展览是一个拉斐尔前派的爱情故事，已在全国各地巡演，首先在伦敦、坎布里亚郡，最后在康沃尔郡的法尔茅斯结束。该展览描绘了亚瑟王传奇、拉斐尔前派艺术家和与亚瑟王传奇相关的地点之间存在的三角相互依存关系，重点关注康沃尔郡。该展览向人们介绍了亚瑟王的故事，并将艺术与遗产结合起来，增加了康沃尔郡当地、全国和国际的丰富文化遗产。
该展览汇集了 60 多件标志性艺术作品以及来自英国和海外公共和私人收藏的拉斐尔前派艺术的主要借展作品。所有选定的艺术品都专门针对托马斯·马洛里在《亚瑟王之死》中讲述的亚瑟王故事以及丁尼生的《夏洛特夫人》，这两部作品都启发了拉斐尔前派兄弟会及其追随者，作为其创作的素材。绘画。
这个令人难以置信的前拉斐尔派艺术家阵容包括：埃莉诺·福蒂斯丘·布里克代尔、爱德华·伯恩·琼斯、威廉·霍尔曼·亨特、约翰·埃弗雷特·米莱斯、但丁·加布里埃尔·罗塞蒂、艾玛·桑迪斯和伊丽莎白·西达尔。
该展览提供了一个机会，汇集了大型、装框华丽的油画、素描和油画研究、插图书、素描本和蚀刻画，这些都通过拉斐尔前派艺术家及其追随者的反动视角探索了亚瑟王传奇的某些方面从 1848 年起，他们就联合起来挑战皇家学院每年展出的他们认为乏味的历史画。
艺术画廊里有约翰·威廉·沃特豪斯的《夏洛特夫人》——取自丁尼生的诗，布面油画。 1923 年，阿尔弗雷德·A·德帕斯 (Alfred A. de Pass) 将其赠送给法尔茅斯公司，以纪念他的儿子们。
威廉·莫里斯和后来的爱德华·科利·伯恩·琼斯爵士都对亚瑟王的传说有着共同的痴迷。后者写的《亚瑟王之死》是独一无二的——我不是指任何一本书或任何一首诗——我的意思是，它永远无法被书写，也永远无法走出内心。这种浪漫而真诚的视觉也被许多其他拉斐尔前派艺术家所体现。
法尔茅斯艺术画廊的馆长甚至设法获得了约翰·威廉·沃特豪斯在二十年间创作的整个“夏洛特夫人”系列画作。这些作品从未在英国同时展出，并提供了一个独特的机会来观看一位伟大的艺术家重新诠释流行主题
展览还附有一本由国际知名的亚瑟王专家撰写的插图完整的论文集，探讨了这个传说及其对维多利亚时期的影响。我和我丈夫买了一本这本书，因为我们都是拉斐尔前派的粉丝。
我们几乎一整天都在法尔茅斯美术馆度过，因为它太棒了，太鼓舞人心了。那里甚至还有两幅来自伯明翰美术馆的“圣杯挂毯”。我和我丈夫为这些精美的艺术品拍了很多照片。我发现它非常鼓舞人心，所以我在这里写了两首诗，名为“超越”和“纠缠”。
如果您是拉斐尔前派的粉丝，请趁有机会来这里参观。
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