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Roger Macdivitt .

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RE: G F Watts, Victorian Artist and Sculptor
11/8/2010 11:31:00 PM

John Stuart Mill by G F Watts

John Stuart Mill (20 May 1806 – 8 May 1873), British philosopher, political economist, civil servant and Member of Parliament, was an influential liberal thinker of the 19th century. He was an exponent of utilitarianism, an ethical theory developed by Jeremy Bentham.
On Liberty:

“ The sole end for which mankind are warranted, individually or collectively, in interfering with the liberty of action of any of their number, is self-protection. That the only purpose for which power can be rightfully exercised over any member of a civilized community, against his will, is to prevent harm to others. His own good, either physical or moral, is not sufficient warrant. He cannot rightfully be compelled to do or forbear because it will be better for him to do so, because it will make him happier, because, in the opinion of others, to do so would be wise, or even right...The only part of the conduct of anyone, for which he is amenable to society, is that which concerns others. In the part which merely concerns himself, his independence is, of right, absolute. Over himself, over his own body and mind, the individual is sovereign. ”

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Roger Macdivitt .

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RE: G F Watts, Victorian Artist and Sculptor
4/9/2011 5:37:55 PM

GREAT NEWS

WOOOOOOHOOOOO

History of Watts Gallery's Collection


G.F. Watts, Self Portrait in old age, Watts Gallery CollectionEver since its foundation in 1904, Watts Gallery has continued to be the chief repository of G. F. Watts’s work. When Watts Gallery first opened, the collection included 109 core works, primarily finished oil paintings and a few sketches, all by G.F. Watts, donated by the artist from his London studio in Kensington. The collection was subsequently enriched by gifts from Mary Seton Watts and Lilian Chapman (née Macintosh, Watts’s adopted daughter), and has been expanding through other bequests and donations as well as new acquisitions.

Scope of Watts Gallery Collection

G.F. Watts, Violet Lindsay, Watts Gallery CollectionToday the Gallery houses over 6000 diverse objects including over 250 oil paintings, 800 drawings and watercolours, some 130 prints, 200 sculptures, and 240 pieces of pottery as well as unique ephemera and memorabilia related to G. F. Watts, Mary Seton Watts and the history of Watts Gallery. The Gallery also has two rare photographic collections-over 300 photographic reproductions of Watts’s untraced paintings by Frederick Hollyer, as well as The Rob Dickins Collection of over 4000 Victorian photographs. The artworks range from finished masterpieces to sketches, studies, sculptural maquettes and purely experimental works never intended for public display. The nature and scope of the Watts Gallery collection make it a fascinating resource for the study of Watts’s working methods and techniques. It demonstrates Watts’s remarkable evolution as an artist in terms of style and subject matter over the seven decades of his active career, as well as his responses and contribution to the development of British and European art of the nineteenth and early twentieth century.

Watts Gallery Archive


Alfred Lord Tennyson, The Rob Dickins Collection at Watts GalleryWatts Gallery Archive comprises unique material on the life and art of G. F. Watts and his two wives, Ellen Terry and Mary Seton Watts, recorded in the wider context of the Victorian times. It complements Watts Gallery’s fine arts and decorative arts collections and is a rich resource at our Study Centre for the Exploration of Victorian Art, Social History and Craft. Watts Gallery archival collections consist of the G. F. Watts Papers (comprising original letters to and from fellow artists and important historic figures, memorabilia, photographs and material relating to the artist’s social interests), the Mary Seton Watts Papers (including diaries, personal notebooks and exercise books, Chapel and Compton Pottery material) as well as the Watts Gallery Papers (ranging from trustees minutes, through accounts, registers of pictures, and architectural plans to news

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Roger Macdivitt .

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RE: G F Watts, Victorian Artist and Sculptor
4/9/2011 5:43:16 PM

Watts Memorial Chapel, Compton Surrey England

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The Late Victorian painter G.F. Watts (1817-1904) lived at Compton ... His wife designed this burial chapel in 1896 ... The outside of the chapel is a mixture of Italian Romanesque motifs, ornament derived from Celtic manuscripts, and the heavy symbolism so dear to Late Victorian England: 'the ground plan symbolic of Eternity (a circle) through which runs the Cross of Faith'. So the plan outside is a Greek cross with four curved walls between the arms, with many bands of terracotta ornament delicately and crisply cut, all with an elaborate symbolic intention ... The obvious natural style for this would have been Art Nouveau, and had the artistic climate been homogeneous Mrs Watts would naturally have used it. But in England each small advanced group was working separately, and so the chapel desperately attempts Art Nouveau effects from the outlandish standpoint of the Celtic Revival.


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The inside was designed in 1901, and this is Art Nouveau. It is a very startling and effective room, though not a pleasant one because of the intolerable torpor and weariness of the motifs. There is nothing like Mackintosh here - it is one of the most soporific rooms in England. It is not architecturally great either, because ornament and structure are not really related to one another. The plan has become a circle with four deep embrasures representing the arms of the cross, oddly vaulted by pairs of thick parallel ribs, like the Monk's Kitchen at Durham. This vigorous structure is completely covered by writhing decoration carried out entirely in gesso, i.e. fibre soaked in plaster of Paris. Elongated angels hold cameos in ornate frames looped downwards and linked to form a chain; more angels above, cherubs' heads on the vaulting ribs, any bare space filled with Art Nouveau curves. Heavy colours - dull gold, dark reds and greens - and again a completely symbolic interpretation almost impossible to describe and certainly impossible to infer from the room itself. ...


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Watts ... is buried in the churchyard in a cloister designed by Mrs Watts in a semi-Moorish Monreale way, one more attempt at finding a style.

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