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Presentation and Context of the Pearls of Aphrodite - Case Study Example

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The paper 'Presentation and Context of the Pearls of Aphrodite' presents art that can be appreciated on many levels and through many different approaches. Some people are able to appreciate art merely on a surface level, determining whether they like an image…
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Presentation and Context of the Pearls of Aphrodite
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Download file to see previous pages This is particularly helpful when the artist is not as well known as, say, Michelangelo or Jason Pollack. To understand more about the historical time period as well as the artist, “The Pearls of Aphrodite” by Herbert James Draper will be examined in terms of its presentation and context in order to determine what Draper might have been trying to communicate regarding his view of the world.
Herbert James Draper was born in 1863 in London. He received his early art education at St. John’s Wood Art School and was accepted into the Royal Academy Schools in 1884 (Morgan & Nahum, 2006). He began exhibiting at the Academy in 1887 and in 1898 his “Lament for Icarus” was purchased by the Chantrey Bequest, which was the country’s most important public fund for purchasing modern art. Draper won the Royal Academy Traveling Scholarship in 1889 with “An Episode of the Deluge” (Lavender & Woodwark, 2000). For the next few years, he studied art in Paris and Rome, supplementing his painting with income from book illustrations and patronage support thanks to his romantic affairs (Lavender & Woodwark, 2000). He married Ida, who helped to settle him down as well as provide a model for some of his works. In 1900, the “Lament for Icarus” won a gold medal at the Paris Exposition Universelle. “At about the same time, the artist received an important mural commission for the ceiling of the Draper’s Hall, headquarters of one of the old London livery companies. His work combined academic figure drawing with an almost Post-Impressionist color range and pointillist technique, designed to retain the works’ brilliancy when seen from a distance and under the artificial lighting of the company’s dinners” (Morgan & Nahum, 2006). From 1901 to 1908, he worked on the mural for the ceiling of Draper’s Hall.  Despite his prolific work and obvious talent, his work was never recognized in his lifetime or afterward, due, it is suspected, to some sort of falling out with the Academy leaders. ...Download file to see next pagesRead More
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