The story behind Beata Beatrix

By Imogen 

Hello everyone! Today we are going to talk about Dante Gabriel Rossetti's painting Beata Beatrix and the story behind how this piece of art was created.

                               

Beata Beatrix was painted by Dante Gabriel Rossetti. He started it around 1864 and finished it around 1870. Rossetti was one of the founders of the Pre-Raphaelite Brotherhood, a group of painters who were inspired by things such as pre-renaissance art and the medieval ages. Some other famous Pre-Raphaelite painters include John Everett Millais and William Holman Hunt. 

You may recognize the woman in this painting. Her name is Elizabeth Siddal. She is a famous pre-Raphaelite model and is most commonly known for being the model in John Everett Milliais’s Ophelia, but there is much more to her story. For one, she was a poet and painter herself, as well as the wife of Rossetti. In this painting, Siddal is depicted as Beatrice Portinari from Dante Alighieri's 1294 poem "La Vita Nuova" and from his novel The Divine Comedy. Rossetti seems to be drawing a comparison between the two Dantes and their lovers. He compares his and Elizabeth’s love to that of the love between Dante and Beatrice. 

Elizabeth looks to be in a trance-like state, her eyes closed, and her face stretched towards the sun. The colors and lighting are warm and deep, and a feeling of peace seems to wash over the painting, but there seems to be another emotion lingering beneath the painting. When I look at this painting, I feel a sense of sadness as well as peace. This may be because by the time Rossetti started to paint this piece, his wife had already passed away. Siddal passed away in 1862, and the painting was begun in 1864. To me, this painting seems to be a tribute to Elizabeth and their love. The dove in the painting delivers a white poppy into the arms of Siddal. The poppy represents laudanum, which is a derivative of opium. This detail is quite poignant as Siddal died due to an overdose. To the upper left of the painting is a man in red cloth. He is the personification of love. On the other side of the painting is Dante himself (the painter). A sundial rests in a pool of light, pointing to the time of Beatrice's death in La Vita Nuova. As can be seen through the details of this painting, it is truly a very personal piece. This could be why Rossetti at first refused to paint a copy. Eventually though, he did make a copy of the painting and changed a few things in the new version. The most notable change that he made to his second copy was adding a panel at the bottom of the painting. The painted scene depicted Dante and Beatrice reunited, allowing for a happy ending. 

Just like with most art, Beata Beatrix is beautiful to look at but even more interesting when the story behind it is learned. When I think about Rossetti and Siddal, I think about their complicated relationship. Rossetti was known to cheat on Siddal with multiple women and was very hesitant to marry her. After she married Rossetti, Siddal suffered a miscarriage that left her depressed. Siddal was not in good health throughout her life, which contributed to her eventual laudanum addiction. She suffered so much tragedy throughout her life but was also able to achieve so much. Not only was she one of the most famous models for the Pre-Raphaelite Brotherhood, but she was also a part of the group, as well. She was the only woman to exhibit at a Pre-Raphaelite exhibition in 1857. She was an artist and a poet all in her own right. She passed away in 1862 from an overdose. When Dante found her, he at first refused to believe she was dead, instead insisting that she was simply in a coma. There was a suggestion that he found a suicide note from Elizabeth, but suicide was considered illegal, so it was said that Dante asked a friend to burn it.

I think this story truly amplifies the feelings that come with looking at this painting. Suddenly, when we know the story behind it, we tend to linger a little longer, tend to think over the painting even more. I think this story makes the painting Beta Beatrix even more moving as we consider the tragic life of Elizabeth and the love that was shared between both painter and model; when you look at this painting, you cannot deny that Rossetti must have cared for Siddal (even if he did treat her horribly). People can be complicated, strange, nuanced creatures and I think stories like those of Dante and Elizabeth are examples of this. While Rossetti did not always treat Siddal with kindness, he decided to paint Beata Beatrix to honor her, to have her last image be that of her in a peaceful state, not concerned with death, not ravaged with sickness. We see no sadness written on her face. All we see is a beautiful woman who has finally found peace. Maybe that is why so many people love this painting, because as complicated as the relationship between Rossetti and Siddal was, at its core, this painting was created out of love. This painting was made so we could see Siddal as Rossetti did: beautiful, loved, and finally at peace.And with all that being said, I would like to leave you with one last thing, a poem that Elizabeth Siddal herself wrote:

Lord May I Come?

Life and night are falling from me,

Death and day are opening on me,

Wherever my footsteps come and go,

Life is a stony way of woe.

Lord, have I long to go?

Hallow hearts are ever near me,

Soulless eyes have ceased to cheer me:

Lord may I come to thee?

Life and youth and summer weather

To my heart no joy can gather.

Lord, lift me from life’s stony way!

Loved eyes long closed in death watch for me:

Holy death is waiting for me – 

Lord, may I come to-day?

My outward life feels sad and still

Like lilies in a frozen rill;

I am gazing upwards to the sun,

Lord, Lord, remembering my lost one.

O Lord, remember me!

How is it in the unknown land?

Do the dead wander hand in hand?

God, give me trust in thee.

Do we clasp dead hands and quiver

With an endless joy for ever?

Do tall white angels gaze and wend

Along the banks where lilies bend?

Lord, we know not how this may be:

Good Lord we put our faith in thee – 

O God, remember me.

-Elizabeth Siddal 

Until next time, sew a dress, paint a masterpiece!

Sources:

-"Beata Beatrix" from the Art Institute of Chicago

-"Beata Beatrix by Dante Gabriel Charles Rossetti" from the Nation Galleries of Scotland

-"Beatrice" from the University of Melbourne

Picture:

-Beata Beatrix by Dante Gabriel Rossetti

Poem: 

"Lord May I Come?" by Elizabeth Siddal

Painting: Portrait of Marie Spartali Stillman at her easel by Ford Madox Brown

About the author: Imogen is a writer and lover of history. She is the founder of Clothing and Canvas, a blog dedicated to fashion and art history. When not writing for her blog, you can find her staring at pretty dresses and paintings, reading, knitting, or playing viola.

What is the hemline theory and is it real?

 

What is the hemline theory and is it real?

Hello everyone! Today we are talking about a very interesting fashion history theory relating to hemlines. First of all, a hemline is the bottom edge of a skirt, dress, coat, etc. The term hemline first started to be used around the 1930s. Ok, now that we have that out of the way, let’s talk about the hemline theory/index. 

The hemline theory/index suggests that hemlines get longer during times of economic disparity/insecurity and rise during time of economic prosperity/security. The most common example of this is probably the 1920s and 1930s. In the 1920s, hemlines became shorter than ever before while countries such as America and Canada experienced economic prosperity. Just a decade later though, America experienced the Great Depression and hemlines became much longer. We can see a similar pattern during the 1960s and 1970s, as well. Hemlines got shorter during the 60s (the miniskirt was invented in the 1960s) when many countries were experiencing economic prosperity. Hemlines started to get longer again in the 1970s as the economic situation of countries started to worsen. While looking at these two examples may make you jump to conclusions, I assure you that there is more to the story.

                                                           

                       Picture of a 1920s dress (The MET)        Picture of a 1930s dress (the MET)

When it comes to fashion there are a lot of factors to consider. It is not enough to just look at economic factors as there are also things like social factors to consider. When we talk about the hemline theory, we need to consider how people reacted to these economic changes because that is what ultimately moves fashion trends. Let’s look back at our example of the 1920s. Yes, while it is true that countries like America were experiencing great economic successes, designers did not look at economic reports and just decide to lower hemlines. This trend came from a variety of different factors. With more money to spend, more women went out to social events such as parties, and dancing became very popular, thus inciting a need for shorter hemlines when it came to evening wear. World War I had also happened, leading to a shift to more practical fashion. It no longer made sense to have floor-length hemlines. These are just a few factors that led to the shorter hemlines of the 1920s. The same can be said for any other decade with a drastic hemline increase or decrease. Economics has a huge impact on fashion, but in order to truly understand the impact, we also have to consider other factors, as well. It is not the economic situation of a country that raises or lowers hemlines, but the fashion industry’s reaction to a country’s economic situation. When people have more money to spend and are in a secure position financially, they are more likely to take risks and be bold, which includes taking risks with fashion such as raising hemlines. When people are financially struggling, they do not want to take risk and instead crave stability, leading to the lowering of hemlines. Of course, there are always exceptions to this kind of “rule.” Sometimes, economics don’t really factor into fashion, like in the 1940s when there were rations on fabric, reducing the lengths of skirts out of necessity.

In conclusion, is the hemline theory true? Yes and no. It is true that economics does factor into fashion, but it is a bit more nuanced than that. It is about how we react to the economic state of a country that can change hemlines. The numbers do not solely drive the rising and falling of hemlines; rather it is a complex web of different factors that the public reacts to that slowly changes fashion.

Until next time, sew a dress, paint a masterpiece!

Sources: 

• "Is the Hemline Index Actually Real?" from InStyle
• "The History of Hemlines" from Women's History Network
• "Hemlines" from Encyclopedia.com

            Pictures: 

Both pictures are from the MET.

Painting: Portrait of Marie Spartali Stillman at her easel by Ford Madox Brown

 

About the author: Imogen is a writer and lover of history. She is the founder of Clothing and Canvas, a blog dedicated to fashion and art history. When not writing for her blog, you can find her staring at pretty dresses and paintings, reading, knitting, or playing viola.

 

 A review of Cheekwood's Gilded Age flower exhibit

By Imogen

Last week I had the privilege of traveling to Cheekwood to see their new Gilded Age flower exhibit. The exhibit was in partnership with Fleurs De Villes and runs from August 1st to August 9th. The exhibit is based on HBO's hit show The Gilded Age. The show currently has three seasons with a fourth on the way. You can still enjoy the exhibit without watching the show, but as someone who did watch the show, it is really fun to see your favorite characters. 

The show is set during the Gilded Age, which is a historical period from around the 1870s to the 1890s. It is characterized by extreme class disparities but also many technical advancements. In terms of fashion and art, there were many exciting things going on! When I think of Gilded Age fashion, the main thing that I think of is bustles. These were a type of undergarment that allowed the fabric to be bunched up to the back of the waist. There were two different "eras" of bustles. The first was from around 1868-1876. After this, bustles became much smaller until they came back into fashion around 1883-1889.

We see lots of bustles at the Cheekwood exhibit, as each flower sculpture is molded after a dress from the series. In total there were 12 characters represented, with one sculpture for each. Today, I want to share my personal favorites from the collection!

This sculpture is that of the character Gladys Russell. This was probably my favorite sculpture that I saw for several reasons. I love the deep red of her dress and how vibrant it is. I also love all of her accessories. We can see that she is carrying a parasol and a handbag, as well as wearing a hat. Combined with the long sleeves of her gown, this looks like something Gladys might wear to take a stroll around the garden or to go to a garden party. We can also see the illusion of a bustle, putting this dress in the 1880s.

This sculpture is of the character Ada. I love this one because of how well the purples and pinks blend together. I also love the white running down the center to help break up all of the purple. We can see here that the silhouette in the front is quite boxy. This was very common in the 1880s because the skirts were quite narrow in the front. However, we can see that the fabric bunches up and the skirt is fuller in the back. I also love the inclusion of a hat as it was an important piece of daywear in the 1880s.

The last sculpture that I am talking about is the one of Bertha Russell. Unlike the other two sculptures, this one is of evening wear. We can tell by her jewelry and lack of hat. Notice that the silhouette is also different than the two above. This skirt of this gown looks much more like something you would see in maybe the 1850s or 60s. The skirt is very full in the front instead of solely being full in the back. While it is plausible that this dress could have existed in the 1880s, I do find it a bit strange that a very wealthy woman is not wearing the latest fashion. With all of that said, I do truly love this piece, though. It is a magnificent piece of art and I love all of the different shades of yellow throughout the dress. It looks so opulent and luxurious.

 

An example of 1880s evening wear.

In conclusion, I truly did love this exhibition that Cheekwood put on. I thought it was a beautiful intersection of both fashion and art. I deeply admire all the care and work that went into making something like this possible and I love when fashion is treated like the art that it is. While not every single gown was historically accurate, I don't think that it has to be, nor was that the point of the exhibition. The show that it was based off of is not always historically accurate, either. Creative liberties were taken with the design of these flower gowns because that's what they are...gowns made of flowers. They are not made of fabric and therefore should not be treated as such. The creators of this exhibition made the choices they thought would best highlight the beauty of each flower and gown that they worked on, and for that I applaud them. Overall this was such a beautiful thing to get to experience and I am so impressed on how it all came together and the sheer beauty of it.

Until next time, sew a dress, paint a masterpiece!

Picture credits: 

-1-3: pictures were taken by author

-4: From the MET

Painting: Portrait of Marie Spartali Stillman at her easel by Ford Madox Brown

About the author: Imogen is a writer and lover of history. She is the founder of Clothing and Canvas, a blog dedicated to fashion and art history. When not writing for her blog, you can find her staring at pretty dresses and paintings, reading, knitting, or playing viola.

Welcome!

 

Welcome!

By Imogen

Hello! If you are reading this than that means you are probably interested in fashion and art history. Welcome! I am so glad that you are here. First things first, let me introduce myself and my blog. My name is Imogen and I am a girl who loves history and beautiful things. My hobbies include knitting, embroidery, drawing, and reading. 

I started Clothing and Canvas because I wanted to share my love of fashion history with the world. I had recently been looking at some literary magazines and thought, I should do something like that. Thus, C&C was born: a blog dedicated to fashion and art history. I truly love both of these subjects so much and believe a lot can be learned by looking at these two subjects in tandem. With this blog, I want to share how amazing these two subjects are and how we can learn so much about history through them.

You may be asking what C&C will look like in the future. Currently, C&C has this blog, an Instagram page, and a Substack. While I already have some ideas for C&C, I would also love to hear from you guys! There is a form in my Instagram bio that you can fill out asking what you might want to see from this blog. If this blog becomes more popular, I might open it up to submissions. These could be informative essays on fashion and art history or on history in general. They could also be for poetry and historical fiction short stories.

The last thing that I wanted to say was thank you so much for taking a chance on me and Clothing and Canvas! I hope that you follow along for even more and we can continue on this journey together.

Until next time, sew a dress, paint a masterpiece!

Painting: Portrait of Marie Spartali Stillman at her easel by Ford Madox Brown

About the author: Imogen is a writer and lover of history. She is the founder of Clothing and Canvas, a blog dedicated to fashion and art history. When not writing for her blog, you can find her staring at pretty dresses and paintings, reading, knitting, or playing viola.