約翰·梅爾休什·斯特魯德威克

1849-1937 English

嚴謹的前拉斐爾派畫家

約翰·梅爾休伊斯·斯特拉德威克是一位英國前拉斐爾派畫家，是威廉·斯特拉德威克（1808–1861）和莎拉·梅爾休伊斯（1800–1862）的兒子。 斯特拉德威克就讀於南華克的聖救主文法學校。由於不喜歡從商的想法，他在南肯辛頓的皇家藝術學院學校上課，但並未被視為有前途的學生。 In the 1860s he was encouraged by a visitor, the Scottish genre painter, John Pettie, whose style he subsequently emulated. His depiction of the ballad of 'Auld Robin Gray', which was exhibited at the Royal Society of British Artists in 1873, is an example of this period. His art style, however, developed in a new direction in the 1870s when he worked first as studio assistant to his uncle Spencer Stanhope and then to Edward Burne-Jones. In keeping with artists in his circle, he exhibited at the Grosvenor and New Galleries. Strudwick's studio was in Hammersmith, close to that of Burne-Jones and Thomas Matthews Rooke, who had also been an assistant to Burne-Jones. He married Harriet Reed and had a single daughter, Ethel (1880–1954), who later became High Mistress of St Paul's Girls' School from 1927 to 1948, and was appointed a CBE. 當利物浦船東威廉·伊姆里和喬治·霍爾特等富有且有影響力的贊助者撤回支持時，他作為畫家的初期成功便告終結。他的畫作《當悲傷在夏日來臨，玫瑰徒然綻放》被故意留作半完成狀態，以抗議其職業生涯看似被精心策劃的崩潰。 斯特拉德威克的繪畫融合了文藝復興和中世紀風格，對細節一絲不苟，尤其在處理褶皺和配飾方面，導致其作品產量極少。他約有三十幅畫作描繪傳奇和象徵性題材，有時採用義大利十五世紀的寶石雕刻技法。他運用濃郁深沉的色彩，人物面容明顯受伯恩-瓊斯啟發，並配以華麗的褶皺布料。弗雷德里克·喬治·斯蒂芬斯經常批評他的作品；斯蒂芬斯是一位未能成功的畫家，後成為《雅典娜神廟》雜誌的評論家，幾乎找不出什麼可稱讚之處。