215:
them to her fell embrace, and drags them shrieking beneath the engulphing waves. The "Fisherman and Syren" of Mr. Leighton has something of this unreal, legendary fatality pervading it throughout. There is irresistible seductiveness on the one side, pusillanimous fondness on the other. That it is all over with the
Fisherman, and that the Syren will have her wicked will of him to his destruction, is palpable. But it is not alone for the admirable manner in which the story is told that we commend this picture. The drawing is eruditely correct, most graceful, and most symmetrical. The Syren is a model of form in its most charming undulations. The Fisherman is a type of manly elegance. That Mr. Leighton understands, to its remotest substructure, the vital principle of the line of beauty, is pleasurably manifest. But there is evidence here even more pleasing that the painter, in the gift of a glowing imagination, and a refined ideality, in his mastery of the nobler parts of pictorial manipulation, is worthy to be reckoned among the glorious brotherhood of disciples of the Italian masters—of the Grand Old Men whose pictures, faded and time-worn as they are, in the National Gallery hard by, laugh to scorn the futile fripperies that depend for half their sheen on gilt frames and copal varnish. This young artist is one of
31:
172:
472:
448:
214:
tinge, and with a shadowy semblance in it to that strange legend, current among the peasants of
Southern Russia, of the "white Lady" with the long hair, who, with loving and languishing gestures, decoys the unwary into her fantastic skiff, then, pressing her baleful lips to theirs, folds
116:
The painting is a composition of two figures with rocks and the sea. A young
Sicilian fisherman slipping asleep down a rock into the tide is grasped round the neck by a water-nymph. He is swarthy in complexion, with dark curly hair, and nude save only for a crimson loin-cloth, his purple drapery
566:
200:, which was painted for Signor Mario, the famous singer, initially received little friendly criticism, and the reception was generally lukewarm. However, a positive review appeared in
843:
104:, first exhibited in 1858. It is a composition of two small full-length figures, a mermaid clasping a fisherman round the neck. The picture is in the collection of the
429:
418:
409:
396:
504:
440:
823:
848:
163:. In 1861, in a letter to his father, Leighton explained that the picture was "as little naturalistic as anything could be".
742:
117:
being cast aside upon the grey rocks. The nymph is nude and blonde; her long, wavy brown hair is laced with pearls.
707:
668:
210:
The picture is not of any commanding size, nor does it relate any very exciting legend. The story is of the mystic
528:
497:
105:
83:
676:
582:
715:
590:
574:
459:
251:
The picture was shown again in the 1897 retrospective exhibition of
Leighton's art. It was first entitled
622:
614:
786:
551:
490:
125:
191:
The County Paris, accompanied by Friar
Lawrence, comes to the house of the Capulets to claim his bride
30:
838:
171:
818:
240:
232:
833:
760:
182:
227:: the fount of beauty and of grace that assuaged the thirst of those who painted the "
236:
121:
8:
781:
660:
645:
464:
367:
202:
149:., Leighton's literary pictures "suggest a preoccupation with women as destroyers", and
699:
691:
828:
630:
606:
598:
513:
101:
41:
244:
224:
160:
422:. Royal Academy of Arts, London: Harry N. Abrams, Inc. pp. 74, 110, 122, 165.
220:
75:
66.3 cm × 48.7 cm (26.1 in × 19.2 in)
812:
776:
567:
The
Syracusan Bride leading Wild Animals in Procession to the Temple of Diana
476:
452:
406:
The Life, Letters and Work of
Frederic Leighton
791:
723:
159:
archetype that became popular in
Victorian art, notably in the work of the
155:
97:
65:
216:
153:
represents that theme "quite unequivocally". Leighton here explores the
796:
228:
482:
223:'s men. He has plainly drunk long and eagerly at the Painter's
430:
Frederic Lord
Leighton: An Illustrated Record of his Life and Work
475:
This article incorporates text from this source, which is in the
451:
This article incorporates text from this source, which is in the
444:. London: The Walter Scott Publishing Co., Ltd. pp. 53–54.
211:
460:"Exhibition of the Royal Academy [Second Notice.]"
433:. London: George Bell & Sons. pp. 16, 107, 122.
415:
412:. London: George Allen, Ruskin House. pp. 36–37, 62.
193:, both small canvases painted in Rome and in Paris.
844:Adaptations of works by Johann Wolfgang von Goethe
810:
498:
400:. London: Pavilion Books Limited. p. 10.
505:
491:
29:
181:In 1858, Leighton was represented on the
607:The Arts of Industry as Applied to Peace
170:
811:
599:The Arts of Industry as Applied to War
437:
512:
486:
426:
416:Jones, Stephen; et al. (1996).
312:
310:
287:
285:
275:
273:
271:
393:
13:
743:An Athlete Wrestling with a Python
14:
860:
307:
282:
268:
669:Crenaia, the Nymph of the Dargle
470:
446:
239:" and the "Slave;" who designed
106:Bristol Museum & Art Gallery
84:Bristol Museum & Art Gallery
381:Barrington 1906, p. 36–37.
375:
824:Paintings by Frederic Leighton
583:Actaea, the Nymph of the Shore
359:
350:
341:
332:
319:
294:
111:
1:
849:Paintings based on literature
681:
650:
635:
556:
541:
262:
51:
16:Painting by Frederic Leighton
575:Venus Disrobing for the Bath
529:Cimabue's Celebrated Madonna
419:Frederic Leighton, 1830–1896
404:Barrington, Russell (1906).
347:Barrington 1906, p. 36.
338:Barrington 1906, p. 62.
7:
537:The Fisherman and the Syren
468:. 3 May 1858. pp. 5–6.
187:The Fisherman and the Syren
176:The Fisherman and the Syren
151:The Fisherman and the Syren
140:
120:The subject is taken from "
93:The Fisherman and the Syren
24:The Fisherman and the Syren
10:
865:
787:Pre-Raphaelite Brotherhood
387:
235:;" who modelled the "
166:
769:
753:
734:
520:
441:Lord Leighton of Stretton
438:Staley, Edgcumbe (1906).
79:
71:
61:
47:
37:
28:
23:
371:. 3 May 1858. p. 6.
291:Staley 1906, p. 53.
136:And never more was seen.
552:The Painter's Honeymoon
356:Rhys 1900, p. 107.
253:The Fisherman and Syren
198:Fisherman and the Syren
185:walls by two pictures:
777:Alexandra Orr (sister)
279:Rhys 1900, p. 16.
249:
241:Peter's great Basilica
178:
138:
761:Leighton House Museum
708:Perseus and Andromeda
427:Rhys, Ernest (1900).
394:Ash, Russell (1995).
316:Ash 1995, p. 10.
208:
174:
130:
792:Dorothy Dene (model)
329:. 1996, p. 122.
145:According to Jones,
782:Holland Park Circle
677:Cymon and Iphigenia
465:The Daily Telegraph
368:The Daily Telegraph
304:. 1996, p. 74.
203:The Daily Telegraph
700:The Bath of Psyche
692:Captive Andromache
591:Acme and Septimius
179:
132:Half drew she him,
806:
805:
631:Winding the Skein
514:Frederic Leighton
255:, and afterwards
237:Horned Moses
128:written in 1779:
102:Frederic Leighton
89:
88:
42:Frederic Leighton
856:
686:
683:
655:
652:
640:
637:
623:The Music Lesson
615:The Daphnephoria
561:
558:
546:
543:
507:
500:
493:
484:
483:
474:
473:
469:
450:
449:
445:
434:
423:
401:
382:
379:
373:
372:
363:
357:
354:
348:
345:
339:
336:
330:
323:
317:
314:
305:
298:
292:
289:
280:
277:
233:Belle Gardinière
134:Half sunk he in,
56:
53:
33:
21:
20:
864:
863:
859:
858:
857:
855:
854:
853:
839:Mermaids in art
809:
808:
807:
802:
765:
749:
730:
684:
653:
638:
559:
544:
516:
511:
471:
458:
447:
390:
385:
380:
376:
365:
364:
360:
355:
351:
346:
342:
337:
333:
324:
320:
315:
308:
299:
295:
290:
283:
278:
269:
265:
169:
143:
135:
133:
124:", a ballad by
114:
54:
17:
12:
11:
5:
862:
852:
851:
846:
841:
836:
831:
826:
821:
819:1858 paintings
804:
803:
801:
800:
794:
789:
784:
779:
773:
771:
767:
766:
764:
763:
757:
755:
751:
750:
748:
747:
738:
736:
732:
731:
729:
728:
720:
712:
704:
696:
688:
673:
665:
657:
642:
627:
619:
611:
603:
595:
587:
579:
571:
563:
548:
533:
524:
522:
518:
517:
510:
509:
502:
495:
487:
481:
480:
456:
435:
424:
413:
402:
389:
386:
384:
383:
374:
358:
349:
340:
331:
318:
306:
293:
281:
266:
264:
261:
245:Ghiberti Gates
168:
165:
142:
139:
113:
110:
87:
86:
81:
77:
76:
73:
69:
68:
63:
59:
58:
49:
45:
44:
39:
35:
34:
26:
25:
15:
9:
6:
4:
3:
2:
861:
850:
847:
845:
842:
840:
837:
835:
832:
830:
827:
825:
822:
820:
817:
816:
814:
798:
795:
793:
790:
788:
785:
783:
780:
778:
775:
774:
772:
768:
762:
759:
758:
756:
752:
745:
744:
740:
739:
737:
733:
726:
725:
721:
718:
717:
713:
710:
709:
705:
702:
701:
697:
694:
693:
689:
679:
678:
674:
671:
670:
666:
663:
662:
658:
648:
647:
643:
633:
632:
628:
625:
624:
620:
617:
616:
612:
609:
608:
604:
601:
600:
596:
593:
592:
588:
585:
584:
580:
577:
576:
572:
569:
568:
564:
554:
553:
549:
539:
538:
534:
531:
530:
526:
525:
523:
519:
515:
508:
503:
501:
496:
494:
489:
488:
485:
478:
477:public domain
467:
466:
461:
457:
454:
453:public domain
443:
442:
436:
432:
431:
425:
421:
420:
414:
411:
407:
403:
399:
398:
397:Lord Leighton
392:
391:
378:
370:
369:
362:
353:
344:
335:
328:
322:
313:
311:
303:
297:
288:
286:
276:
274:
272:
267:
260:
258:
254:
248:
246:
242:
238:
234:
230:
226:
222:
218:
213:
207:
205:
204:
199:
194:
192:
188:
184:
183:Royal Academy
177:
173:
164:
162:
158:
157:
152:
148:
137:
129:
127:
123:
118:
109:
107:
103:
99:
95:
94:
85:
82:
78:
74:
70:
67:
66:Oil on canvas
64:
60:
50:
46:
43:
40:
36:
32:
27:
22:
19:
834:Women in art
741:
724:Flaming June
722:
714:
706:
698:
690:
675:
667:
659:
644:
629:
621:
613:
605:
597:
589:
581:
573:
565:
550:
536:
535:
527:
463:
439:
428:
417:
405:
395:
377:
366:
361:
352:
343:
334:
326:
321:
301:
296:
256:
252:
250:
247:at Florence.
209:
201:
197:
195:
190:
186:
180:
175:
156:femme fatale
154:
150:
146:
144:
131:
119:
115:
98:oil painting
92:
91:
90:
18:
685: 1884
654: 1878
639: 1878
560: 1864
545: 1858
257:The Mermaid
231:" and the "
122:Der Fischer
112:Description
55: 1856
813:Categories
735:Sculptures
263:References
243:, and the
229:Monna Lisa
161:Symbolists
72:Dimensions
797:Anna Risi
716:Lachrymae
664:(1879–80)
610:(1870–72)
602:(1870–72)
532:(1853–55)
521:Paintings
829:Nude art
661:Psamathe
646:Nausicaa
141:Analysis
80:Location
799:(model)
770:Related
388:Sources
325:Jones,
300:Jones,
225:Castaly
219:'s and
167:History
754:Museum
746:(1877)
727:(1895)
719:(1895)
711:(1891)
703:(1890)
695:(1888)
672:(1880)
626:(1877)
618:(1876)
594:(1868)
586:(1868)
578:(1867)
570:(1866)
410:Vol. 2
221:Vasari
212:Undine
189:, and
126:Goethe
96:is an
62:Medium
38:Artist
327:et al
302:et al
217:Lanzi
147:et al
57:–1858
196:The
48:Year
100:by
815::
682:c.
651:c.
636:c.
557:c.
542:c.
462:.
408:.
309:^
284:^
270:^
259:.
206::
108:.
52:c.
687:)
680:(
656:)
649:(
641:)
634:(
562:)
555:(
547:)
540:(
506:e
499:t
492:v
479:.
455:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
