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Love and the Maiden
''Love and the Maiden'' is a tempera on canvas by English Pre-Raphaelite artist John Roddam Spencer Stanhope, executed in 1877 and currently housed at the Fine Arts Museums of San Francisco.〔See (''Art sales: Stanhope's maiden tells a tale'', article on The Telegraph ), 27 January 2003.〕
==History==
Known as one of the "second-generation" of Pre-Raphaelites, Stanhope was among Dante Gabriel Rossetti's mural-painting party at the Oxford Union in 1857, together with Arthur Hughes, John Hungerford Pollen, Valentine Prinsep, ''Ned'' Burne-Jones and William Morris (nicknamed ''Topsy''). He was a founder member of the Hogarth Club, a direct descendant of the Pre-Raphaelite Brotherhood.〔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).〕
This painting is considered one of Stanhope's best, and represents two radically different artistic phases of his life. Although he began as fervently Pre-Raphaelite in outlook, Stanhope was deeply attracted by the Aesthetic movement during the 1860s. ''Love and the Maiden'' is a succinct mingling of these two equally formative phases in his career. Its presence in the 1877 exhibition at the Grosvenor Gallery - Aestheticism's most famous exposé - demonstrates his adherence to the latter movement, whereas the painting's similarity to the work of Edward Burne-Jones and Dante Gabriel Rossetti - the group of dancing women in the background are similar to those portrayed by Rossetti in ''The Bower Meadow'' (1871–72) - betray Stanhope's Pre-Raphaelite background.
During his time in Oxford in 1857, Stanhope wrote that he spent most days painting with Burne-Jones;〔Jane A. Munro, "'This Hateful Letter-Writing': Selected Correspondence of Sir Edward Burne-Jones in the Huntington Library", ''Huntington Library Quarterly'' 55 (1992). Cf. also V. Schuster, "The Pre-Raphaelites in Oxford," ''Oxford Art Journal'' 1 (1978).〕 possibly as a result of this, a great deal of Burne-Jones' influence can be seen in his work - although it could be argued that Burne-Jones also drew ideas from Stanhope's work. The androgynous physiques, Grecian-style draperies and facial expressions depicted in ''Love and the Maiden'' are classic Burne-Jones hallmarks, even though the facial similarities probably also arose from use of the same models.〔T. Hilto, ''The Pre-Raphelites'', Thames and Hudson (1970).〕
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