birmingham museums

Lady Helen Vincent, Viscountess of d’Abernon (1904). John Singer Sargent (American, 1856-1925). Oil on canvas. Birmingham Museum of Art.

Sargent elongated Lady Helen’s arms to accentuate her gracefulness. Correspondence reveals that near the end he repainted the color of her dress, changing it from white to black. In so doing, he accentuated her milky-white skin, a signifier of her noble status. The darker dress also lifts the viewer’s eye upwards to her renowned face. Lady Helen’s deep gaze refers to her reputed intellect.

Jacob Epstein, The Rock Drill, 1913–15 (reconstruction by Ken Cook and Ann Christopher RA after the dismantled original, 1973–74), polyester resin, metal and wood, 205 × 142 cm. Birmingham Museums and Art Gallery, 1982 P42. Photo: © Birmingham Museums and Art Gallery. © The estate of Sir Jacob Epstein.

François Hubert Drouais, 1727–1775, Les Portraits de MM. de Béthune jouant avec un chien (Children of the Marquis de Béthune Playing with a Dog), 1761, oil on canvas, Collection of the Birmingham Museum of Art


Sir Edward Burne-Jones “Palace Green Murals of Cupid and Psyche - Cupid Flying away from Psyche” 1872-81 by Plum leaves
Via Flickr:
Sir Edward Coley Burne-Jones,(1833–1898) British Pre-Raphaelite artist and designer. Oil on canvas Birmingham Museum and Art Gallery, UK ___ From the series of twelve panels, based on ‘The Story of Cupid and Psyche’ from William Morris’s epic poem, 'The Earthly Paradise’, commissioned by the 9th Earl of Carlisle for his newly-built home in No 1 Palace Green, Kensington.