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John Roddam Spencer Stanhope〔The hyphenated form “Spencer-Stanhope” is used more often by British writers; American art historians are likely to omit the hyphen and to alphabetize the artist by “Stanhope.”〕 (20 January 1829 — 2 August 1908) is an English artist associated with Edward Burne-Jones and George Frederic Watts and often regarded as a second-wave pre-Raphaelite. His work is also studied within the context of Aestheticism and British Symbolism.〔Simon Poë, “Mythology and Symbolism in Two Works of Roddam Spencer Stanhope’s Maturity,” ''Journal of Pre-Raphaelite Studies'' 12 (2003) 35–61.〕 As a painter, Stanhope worked in oil, watercolor, fresco, and mixed media. His subject matter was mythological, allegorical, biblical, and contemporary. Stanhope was born in Yorkshire, England, and died in Florence, Italy. He was the uncle and teacher of the painter Evelyn De Morgan. ==Life and career== Stanhope was the son of John Spencer Stanhope of Horsforth and Cannon Hall, a classical antiquarian who in his youth explored Greece. The artist’s mother was Elizabeth Wilhemina Coke, third and youngest daughter of Thomas William Coke of Norfolk, first Earl of Leicester; she and her sisters had studied art with Thomas Gainsborough.〔A.M.W. Stirling, "The Life of Roddam Spencer Stanhope, Pre-Raphaelite, a Painter of Dreams,” in ''A Painter of Dreams and Other Biographical Studies'' (London: Lane, 1916). p. 288. Stirling was the daughter of Spencer-Stanhope’s sister Anna; although she is a unique and valuable source of information, her reliability is sometimes questioned. See Elise Lawton Smith, “The Art of Evelyn De Morgan,” ''Woman’s Art Journal'' 18 (1997–98) 3–10 and ''Evelyn Pickering De Morgan and the Allegorical Body'' (Fairleigh Dickinson University Press, 2002).〕 Stanhope had one older brother, Walter, who inherited Cannon Hall, and four sisters, Anna Maria Wilhelmina, Eliza Anne, Anne Alicia, and Louisa Elizabeth.〔A.M.W. Stirling, ''A Painter of Dreams'', p. 287; Bernard Burke, ''A Genealogical and Heraldic Dictionary of the Landed Gentry of Great Britain and Ireland'' (London 1863) part 2, 4th edition, (p. 1417. )〕 Anna married Percival Pickering and became the mother of Evelyn.〔“About Evelyn De Morgan née Pickering,” (The De Morgan Centre. )〕 Not inheriting the family estates left Stanhope free to make a commitment to art. While a student at Oxford, he sought out Watts as a teacher and was Watts’ assistant for some of his architectural paintings.〔Caroline Dakers, ''The Holland Park Circle'' (Yale University Press, 1999), p. 20.〕 Spencer-Stanhope traveled with Watts to Italy in 1853 and to Asia Minor in 1856–57. Upon his return, he was invited by Dante Gabriel Rossetti to participate in the Oxford murals project, painting ''Sir Gawaine and the Damsels''.〔Jane A. Munro, “‘This Hateful Letter-Writing’: Selected Correspondence of Sir Edward Burne-Jones in the Huntington Library” ''Huntington Library Quarterly'' 55 (1992), p. 98, note 28. Vera Schuster, “The Pre-Raphaelites in Oxford,” ''Oxford Art Journal'' 1 (1978), p. 9, considered the work “unfinished.”〕 On 10 January 1859 he married Elizabeth King, the daughter of John James King, granddaughter of the third Earl of Egremont, and the widow of George Frederick Dawson. They settled in Hillhouse, Cawthorne, and had one daughter, Mary, in 1860.〔''Coke of Norfolk and His Friends'', vol. 2 (New York 1908), p. 531.〕 That same year, Spencer-Stanhope’s house Sandroyd (now part of Reed's School), near Cobham in Surrey, was commissioned from the architect Philip Webb. Finished by 1861, Sandroyd was only Webb’s second house, the first having been built for William Morris.〔Sheila Kirk, (“Philip Webb,” ) citing Grove Art Online; Caroline Dakers, ''Clouds” The Biography of a Country House'' (Yale University Press, 1993), (p. 30; ) Henry-Russell Hitchcock, “High Victorian Gothic,” ''Victorian Studies'' 1 (1957), p. 54.〕 The house was designed to accommodate Stanhope’s work as a painter, with two second-floor studios connected by double doors, a waiting room, and a dressing room for models.〔Caroline Dakers, ''The Holland Park Circle'' (Yale University Press), (pp. 48–49 ).〕 The fireplace featured figurative tiles designed by Burne-Jones based on Chaucer’s dream-vision poem ''The Legend of Good Women''.〔William Morris Gallery, “Morris & Co Hand Painted Tiles: Alcestis,” (online exhibition. )〕 For a person of Stanhope’s social standing, the house was considered “a modest artist’s dwelling.”〔Henry-Russell Hitchcock, ''Architecture: Nineteenth and Twentieth Centuries'' (Yale University Press, 1987), (p. 359 ).〕 Burne-Jones was a frequent visitor to Sandroyd in the 1860s, and the landscape furnished the background for his painting ''The Merciful Knight'' (1864), the design of which Stanhope’s ''I Have Trod the Winepress Alone'' is said to resemble.〔Caroline Dakers, ''The Holland Park Circle: Artists and Victorian Society'' (Yale University Press, 1999), p. 49.〕 The move was intended to offer an improved environment for Stanhope’s chronic asthma. When his condition was not alleviated, he turned to wintering in Florence. In the summers, he at first stayed at Burne-Jones’s house in London and later at the Elms, the western half of Little Campden House on Campden Hill, the eastern half of which was occupied by Augustus Egg.〔Caroline Dakers, ''The Holland Park Circle: Artists and Victorian Society'' (Yale University Press, 1999), pp. 49 and 53.〕 In 1867, at the age of seven, Mary died of scarlet fever and was buried in at the English Cemetery in Florence. Her father designed her headstone.〔Nic Peeters and Judy Oberhausen, “L’Arte della memoria: John Roddam Spencer Stanhope and the Tomb of His Daughter Mary,” from ''Marble Silence, Words on Stone: Florence’s English Cemetery'', The City and the Book III International Conference 3–5 June 2004, (online. )〕 Though his family accepted his occupation as a painter〔Caroline Dakers, ''Clouds'' (Yale University Press, 1993), p. 213.〕 and took a great interest in art, Evelyn’s parents disparaged the achievements of “poor Roddy” and regarded the painters with whom he associated as “unconventional.”〔Elise Lawton Smith, ''Evelyn Pickering de Morgan and the Allegorical Body'' (Fairleigh Dickinson University Press, 2002), p. 18.〕 Considered among the avant-garde of the 1870s, Stanhope became a regular exhibitor at the Grosvenor Gallery, the alternative to the Royal Academy.〔Susan P. Casteras, Colleen Denney ''et al.'', ''The Grosvenor Gallery: A Palace of Art in Victorian England'' (Yale University Press, 1996); “About Evelyn De Morgan née Pickering,” (The De Morgan Centre. )〕 Stanhope moved permanently to Florence in 1880.〔Jane A. Munro, “‘This Hateful Letter-Writing’: Selected Correspondence of Sir Edward Burne-Jones in the Huntington Library” ''Huntington Library Quarterly'' 55 (1992), p. 98, note 28.〕 There he painted the reredos of the English Church, and other work in the Chapel of Marlborough College.〔Obituary, ''The Annual Register: A Review of Public Events at Home and Abroad 1908'' (London 1909), (p. 133. )〕 In 1873, he bought the Villa Nuti in Florence, where he was visited frequently by de Morgan and where he lived until his death.〔Elise Lawton Smith, ''Evelyn Pickering de Morgan and the Allegorical Body'' (Fairleigh Dickinson University Press, 2002), p. 18; Delia Gaze, Maja Mihajilovic, Leanda Shrimpton, ''Dictionary of Women Artists'' (Taylor & Francis, 1997), p. 450.〕 De Morgan’s sister, A.M.W. Stirling, wrote a collection of biographical essays called ''A Painter of Dreams,'' including reminiscences of her uncle, “the Idealist, the seer of exquisite visions.”〔A.M.W. Stirling, ''A Painter of Dreams'' (John Lane, 1916), pp. viii and x.〕 During the 19th and early 20th century, the extended Spencer-Stanhope family included several artists, whose ties were the theme of a 2007 exhibition, ''Painters of Dreams'', part of the 50th anniversary celebration of the opening of Cannon Hall to the public as a museum. Featured were paintings by Stanhope and de Morgan, along with ceramics by her husband, William de Morgan; bronzes by Gertrude Spencer-Stanhope;〔Gertrude is sometimes identified erroneously as the sister of John Roddam; she is in fact another niece, the eldest child of his brother, Sir Walter. See “New acquisitions at Cannon Hall Museum: Bronzes by Gertrude Spencer-Stanhope Barnsley,” (Metropolitan Borough Council; ) Charles Tiplady Pratt, ''A History of Cawthorne'' (Barnsley 1882), (p.36; ) and article on Gertrude Spencer-Stanhope.〕 and the ballroom at Cannon Hall and “Fairyland” in the pleasure grounds, which were designed by Sir Walter and his daughter Cecily.〔(ArtMagick Exhibition Listings ), retrieved August 21, 2008.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「John Roddam Spencer Stanhope」の詳細全文を読む スポンサード リンク
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