April Love Behind the Paint

Arthur Hughes ( ) Pre-Raphaelitism “advocated a return to the sincerity and authenticity of the art prior to Raphael (101)” A non-member Only sixteen when the PRB was established in 1848

Arthur Hughes Influenced by: The Germ John Everett Millais “His works are noted for their magical, glowing colouring and delicate draughtsmanship (Wikipedia).” Never painted fallen women Other prominent works The Long Engagement

A Work in Progress A pencil and ink wash of April Love

April Love Oil on canvas Setting The garden of a Mr. Cutbush at Maidstone, Kent The subjects Tryphena Foord Alexander Munro

Completed in 1855 Married Tryphena Foord Exhibited at the Royal Academy in 1856 The battle John Ruskin vs. William Morris John Ruskin William Morris

First Impressions A quick glance… We find “delight in the fresh vulnerable beauty of this girl, this slender spring flower; sheer aesthetic delight in the colours of the composition (101).”

The Miller’s Daughter Alfred, Lord Tennyson Accompanied the painting in its premiere in 1856 Love is hurt with jar and fret, Love is made a vague regret; Eyes with idle tears are set, Idle habit links us yet; What is Love? For we forget. Ah no, no.

A Closer Look

The Background In the background “One of them standing paramount, a bright virginal presence, the other one dark, disquieting and hardly to be descried at all – make passion appear…(105).” Suitor Aurora Leigh’s Dismissal of Romney

The Face John Ruskin – ‘…most subtle in the quivering expression of the lips and the sweetness of the tender face shaken like a leaf by winds upon the dew and hesitating back into peace (103).’ ‘The girl is just between joy and pain – of course her face in unintelligible, all a-quiver – like an April sky when you do not know whether the dart of it is blue – or raincloud (sic) (106).’

The Rose Placement In suitor’s hand Strewn on the floor Symbolism Female virginity

The Dress Out of the ordinary Contemporary Victorian dress “Hughes meant and achieved more than a mere period piece, more than yet another illustration of the Victorian tryst; the language of colors, the striking use of light and shade impress the conviction upon the viewer without the need of any biographical hint (106).”

Color Cerulean blue – evocative of all unattainable horizons (111) Green of vegetation – repeatedly doomed to die as Persephone is yearly ravished from the earth (111) Grasping and abandoned hand, desperate begging and half- hearted granting – the elements of Water and Air fighting against Earth and Fire (111) Parasitic ivy – a warning not to let oneself weigh down and fasten by sordid cares alien to man’s true nature, an entreaty not to forget one’s heavenly origin (107) Man in the background – vampire-like; blot out and drink up and sweep away (107)

The Conflict Experience life’s brilliance and accept the cycle of death Denial of self, which may be the only way to immortality – this is synonymous to death

Sources Wikipedia.org Persyn, Catherine. “‘Sic Luceat Lux Vestra’: A Study of Arthur Hughes’s April Love.” Religion and the Arts 9, no. 1-2 (2005):

Index of Pictures Arthur Hughes The Germ The Long Engagement painting April Love ink wash April Love painting The Royal Academy John Ruskin William Morris Aurora Leigh’s Dismissal of Romney bview=image bview=image The Orange Rose