Morgan le Fay
Oil on Panel, completed in 1864. Original dimensions: 17.5in x 24.8in
Original Painting held in City Museum and Art Gallery , Birmingham England
Original Painting held in City Museum and Art Gallery , Birmingham England
Anthony Frederick Augustus Sandys (May 1,1829 - June 25, 1904),
born in Norwich England, usually known as "Frederick Sandys", was a British
Pre-Raphaelite painter, illustrator and draughtsman, of the Victorian era.
He received his earliest lessons in art from his father, who was himself a painter. His
early studies show that he had a natural gift for careful and beautiful drawing. In 1846
Sandys attended the Norwich School of Design. In the same and next year his talent
was recognized by the Society of Arts. He displayed great skills as a draughtsman,
achieving recognition with his print parodying John Everett Millais's Sir Isumbras at the
Ford in 1857. The caricaturist turned the horse of Sir Isumbras into a donkey
born in Norwich England, usually known as "Frederick Sandys", was a British
Pre-Raphaelite painter, illustrator and draughtsman, of the Victorian era.
He received his earliest lessons in art from his father, who was himself a painter. His
early studies show that he had a natural gift for careful and beautiful drawing. In 1846
Sandys attended the Norwich School of Design. In the same and next year his talent
was recognized by the Society of Arts. He displayed great skills as a draughtsman,
achieving recognition with his print parodying John Everett Millais's Sir Isumbras at the
Ford in 1857. The caricaturist turned the horse of Sir Isumbras into a donkey
labelled J. R., Oxon. (John Ruskin). Upon it were seated Millais himself, in the character of the knight, with
Rossetti and William Holman Hunt as the two children, one before and one behind. Rossetti and Sandys became
intimate friends, and for about a year and a quarter, ending in the summer of 1867, Sandys lived with Rossetti at
Tudor House (now called Queens House) in Cheyne Walk, Chelsea. His own works were profoundly influenced
by those of Rossetti. He focused mainly on mythological subjects and portraits.
Rossetti and William Holman Hunt as the two children, one before and one behind. Rossetti and Sandys became
intimate friends, and for about a year and a quarter, ending in the summer of 1867, Sandys lived with Rossetti at
Tudor House (now called Queens House) in Cheyne Walk, Chelsea. His own works were profoundly influenced
by those of Rossetti. He focused mainly on mythological subjects and portraits.
By this time Sandys was known as a painter of remarkable gifts. He had begun by drawing for Once a Week,
the Cornhill Magazine, Good Words and other periodicals. He drew only in the magazines. No books illustrated
by him can be traced. So his exquisite draughtsmanship has to be sought for in the old bound-up periodical
volumes which are now hunted by collectors, or in publications such as Dalziels' Bible Gallery and the Cornhill
Gallery and books of drawings, with verses attached to them, made to lie upon the drawing-room tables of those
who had for the most part no idea of their merits. Every drawing Sandys made was a work of art, and many of
them were so faithfully engraved that they are worthy of the collectors portfolio. Early in the sixties he began to
exhibit the paintings which set the seal upon his fame. The best known of these are Vivien (1863), Morgan le
Fay (1864), Cassandra and Medea. Sandys never became a popular painter. He painted little, and the
dominant influence upon his art was the influence exercised by lofty conceptions of tragic power. There was in it
a sombre intensity and an almost stern beauty which lifted it far above the ideals of the crowd. The
Scandinavian Sagas and the Morte d'Art/fur gave him subjects after his own heart. The Valkyrie and Morgan Ie
Fay represent his work at its very best. He made a number of chalk drawings of famous men of letters, including
Tennyson, Browning, Matthew Arnold, and James Russell Lowell.
the Cornhill Magazine, Good Words and other periodicals. He drew only in the magazines. No books illustrated
by him can be traced. So his exquisite draughtsmanship has to be sought for in the old bound-up periodical
volumes which are now hunted by collectors, or in publications such as Dalziels' Bible Gallery and the Cornhill
Gallery and books of drawings, with verses attached to them, made to lie upon the drawing-room tables of those
who had for the most part no idea of their merits. Every drawing Sandys made was a work of art, and many of
them were so faithfully engraved that they are worthy of the collectors portfolio. Early in the sixties he began to
exhibit the paintings which set the seal upon his fame. The best known of these are Vivien (1863), Morgan le
Fay (1864), Cassandra and Medea. Sandys never became a popular painter. He painted little, and the
dominant influence upon his art was the influence exercised by lofty conceptions of tragic power. There was in it
a sombre intensity and an almost stern beauty which lifted it far above the ideals of the crowd. The
Scandinavian Sagas and the Morte d'Art/fur gave him subjects after his own heart. The Valkyrie and Morgan Ie
Fay represent his work at its very best. He made a number of chalk drawings of famous men of letters, including
Tennyson, Browning, Matthew Arnold, and James Russell Lowell.
Reference:
http://en.wikipedia.org/wiki/Anthony_Frederick_Augustus_Sandys
http://en.wikipedia.org/wiki/Anthony_Frederick_Augustus_Sandys
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