[Skip to Content]
Access to paid content on this site is currently suspended due to excessive activity being detected from your IP address 184.73.122.162. Please contact the publisher to request reinstatement.
[Skip to Content Landing]
Citations 0
The Cover
July 21, 1999

Midsummer

JAMA. 1999;282(3):214. doi:10.1001/jama.282.3.214

His paintings were quintessentially Victorian: fussy, florid as a midsummer garden, stuffed with detail; also exotic, erotic, and always entirely proper. His name was Albert Joseph Moore (1841-1893). He was the youngest of 15 children of a provincial (York) portrait painter, precocious, and one of the four who followed his father's profession. At age 17 he entered the Royal Academy Schools in London. For a time, he designed tiles and wallpaper for the firm of Morris, Marshall, Faulkner & Co and painted murals in the churches and country homes of England. He was a friend of James Abbott McNeill Whistler, whose works he influenced, and supported him in the infamous "farthing libel suit" against the powerful critic John Ruskin. He went abroad twice: the first time at age 18, when he went to France with the architect William Eden Nesfield, the second time at age 21, when he went to Rome with his artist brother John Collingham, some 12 years his senior. He belonged to the "Art for Art's Sake" school of aesthetics: the sole purpose of art was beauty; form, composition, and color were only the means of getting there. His style was Classical, his mentor the art of ancient Greece, his models the Parthenon sculptures brought to Britain by Lord Elgin in the early 1800s. The so-called Elgin Marbles, they now resided in the British Museum, where he studied them intensively.

First Page Preview View Large
First page PDF preview
First page PDF preview
×