The gamecock. (Columbia, S.C.) 1908-2006, September 12, 1979, Page Page 11, Image 11
1 ?/ o
Pre-Raj
It was to Aestfietica's pleasant
surprise to discover two PreRaphaelite
paintings in the
Columbia Museum of Arts' permanent
collection. Although both
of the works were executed considerably
later than the bulk of
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an artist of no great significance
historically or otherwise, they
remain pleasing to both the eye
and the mind.
The artist I speak of is Evelyn de
Morgan, an English artist who in
her time attained moderate success
in terms of both selling and
exhibiting her work yet remains
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history. Had she been active fifty
years earlier, she might at least
have gained the association and
thus the scorn so lavished upon the
Pre-Raphaelites.
The Pre-Raphaelite
Brotherhood, as it was first known,
was formed in 1848 in London by a
small group of seven artists and
writers which included Dante
Gabriel Rossetti and John Everett
win*.:*. m.? I?J ?
miuaia. mc uup cajj^iiiucu as
other artists began to rally to
Raphaelite ideals,. which were
fundamentally of a romantic and
moralistic nature yet were also
directed towards the increasing
Movies from page 9
South Carolina. When Alan
Rudolph's award-winning
Remember My Name and Marjoe
Gortner's When You Comin' Back,
Red Ryder failed to generate boxoffice
heat in their New York
engagements, Columbia gave the
distribution rights back to their
respective producers. Remember
My Name has received a few
playdates in the area (it played a
week in Atlanta and Charlotte, and
it opens Friday in Greenville), so it
conceivably could play here before
the end of the year.
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v/iiij Knv t wvi*v i? vm mvmi
Century Fox have failed to receive
a national release: Sunday
Woman, starring Jacqueline
Bisset, and The Devil Is A Woman,
starring Glenda Jackson. Both
were made in 1975 and played
nowhere, to my knowledge, except
New York.
Two other Jackson films, Stevie
and Hedda, have not been released
here, nor have two films based on r
ten plays of Henrik Ibsen: An
Enemy of the People, starring
Steve McQueen, and A Doll's
House, starring Jane Fonda. Two
of the past three winners of the
Academy Award for Best Foreign
Language Film, Black and White
in Color, and Get Out Your Handkerchiefs,
have also avoided
Columbia.
American International's
Sunrtyside, a gang movie starring
Joey Travolta, played at a drive-in
in Anderson but hasn't been seen
1 9 At A _ A ?? *mm
eisewnere in u?e siaie. me snout,
starring Alan Bates, and Once in
Paris, starring Wayne Rogers,
have played Atlanta, as have
Luchino Visconti's The Innocent,
starring Giancarlo Giannini and
Jennifer O'Neill, and Claude
Chabrol'8 Violette, starring
Isabelle Huppert and Stephane
Audran, but none of the four are
scheduled to be released here.
Peter Weir's The Last Wave and
Peter Bogdanovich's Saint Jack
were supposed to have opened in
Columbia over the summer, but
both were canceled and neither has
been rescheduled.
With a total of 24 first-run
theatres now operating in
Columbia, many of them showing
such Karba&e as House of Crailea.
Beyond the Door, Part Two, and
the umpteenth reissue of Up In
Smoke, is it too much to ask that
some of the films I've mentioned
be given a chance to prove
themselves?
Dhaelites
academia of expression and instruction.
Because of such concerns, the
group found itself pressed between
what the critic saw as regressive in
form and style. The groups' shortlived
existence was completely
finished by 1860, yet the PreRahpaelite
"style" continued to re
emerge periodically.
Which brings us back to Evelyn
de Morgan and her two paintings
at the Columbia Museum entitled
"The Flower Goddess" and "The
City of Light". The paintings are
on display in the large Trustees
Gallery along with numerous other
collection pieces, and they unmistakeably
stand out as possecive
of a totally different sensibility.
The fine delination of line, the
flowing majestic treatment of the
human form, the extreme
exaggeration of detail; all
characteristics of PreRahpaelitism
in general, and all
working towards the poetic and
visual ideal personified of each
given subject.
Yet nnmistflkMhlv th#? mrvet
striking thing about the two works
is their utterly contemporary feel.
Not so much in a specific "high
art" context, but more in a graphic
illustrative fashion, in an
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almost commercial way, they are
instantly seductive. The
exageration of detail, for instance,
undermines spacial depth, yet
rather than destroying the realistic
effect, the work is enhanced by
making obvious the concerns for
surface composition, illusionistic
texture and bold colored areas.
Pre-Raphaelitism has and will i
continue to outlive critical and
scholarly debasement, for it
utilities such fundamentally
human concerns for its appeal. The
beautiful forms and colors, the
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aiiegoricai suDject matter, tne ,
expressive faces, and above all
else, the essence of mystery.
If you enjoy these two de Morgan j
paintings and wish to know more, I j
suggest you pick-up James Har- I
ding's The Pre-Raphaelites. It's |
full of good reproductions and has |
short essays on each of the major :
artists involved in the movement. |
I
OTHER INTICEMENTS
1
Also offered from the permanent
collection is a fine array of prints
:?1?1 _ 1? -
wmen mciuue a small oui gooa
example of the graphic work of
German artist Albrecht Durer.
"The Great Horse" is as refined
and as strikingly accurate as
Durer's larger engravings and is
worthy of your attention.
There are also two nice prints by
Russian artist Marc Chagall, and
three very sensitive etchings by
sweoisn artist Anders zorn. j
n; 'Dream of Passion'
1111 "
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ay 10a.m-6p.rrv
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