Painters Paintings Augustus Leopold Egg (1816–1863): Past and Present, No. 1, 1858, Oil paint on ca…
Painters Work Augustus Leopold Egg (1816–1863): Previous and Current, No. 1, 1858, Oil paint on canvas, 63,5 × 76,2 cm, Tate Britain, London
Current portray is the primary of a set of three modern-life footage on the theme of the fallen lady. They’re typical of the social moralist footage that have been widespread in Victorian artwork.
The theme of the triptych is the invention of the girl’s infidelity and its penalties.
On this first scene the spouse lies prostrate at her husband’s toes, whereas he sits grimly on the desk and their youngsters play playing cards within the background. The husband is holding a letter, proof of his spouse’s adultery, and concurrently crushes a miniature of her lover below his foot. The setting is an strange middle-class drawing room, however nearer remark reveals that the room is filled with symbols. The home of playing cards is collapsing, signifying the breakdown of the couple’s marriage. The playing cards are supported by a novel by Balzac – a specialist within the theme of adultery. An apple has been lower in two, the one half (representing the spouse) has fallen to the ground, the opposite (representing the husband) has been stabbed to the core. As a parallel, the 2 footage on the wall depict the expulsion of Adam and Eve from the Backyard of Eden (labelled The Fall); and a shipwreck by Clarkson Stanfield (labelled Deserted). The couple’s particular person portraits grasp beneath the suitable picture.
Within the background of the image the mirror displays an open door, denoting the girl’s impending departure from the house. The place of her arms and the bracelets around her wrists give the impression that she is shackled. In Victorian England a person might safely take a mistress with out concern of recrimination, however for a girl to be untrue was an unforgivable crime. As Caroline Norton, an early feminist, wrote, ‘the faults of ladies are visited as sins, the sins of males usually are not even visited as faults’. (Tate)