威廉·马尔雷迪

1786-1863 English

浪漫化乡村风俗画

威廉·穆尔雷迪（William Mulready），皇家艺术学院院士，是一位居住在伦敦的爱尔兰风俗画家。他最为人所知的是其对乡村场景的浪漫化描绘，以及创作了与"黑便士"邮票同时发行的穆尔雷迪信纸。 威廉·穆尔雷迪出生于克莱尔郡的恩尼斯。早年，即1792年，全家搬到了伦敦，在那里他得以接受教育，并接受了良好的绘画训练，以至于他在十四岁时被皇家艺术学院录取。 1802年，他娶了风景画家伊丽莎白·瓦利（1784–1864）。她出身于一个著名的艺术家家庭；她的兄弟包括威廉·布莱克的朋友约翰·瓦利、科尼利厄斯·瓦利和威廉·弗利特伍德·瓦利。 Their three children, Paul Augustus (1805–1864), William (1805–1878), and Michael (1807–1889) also became artists. His relationship with his wife however deteriorated gradually over the years, which is detailed in papers stored at the library of the Victoria and Albert Museum. His strong Catholic beliefs prevented any chance of a divorce but they separated. He accused her of "bad conduct" but shied from providing details. In a letter to him in 1827 she blamed him entirely for the collapse of their marriage, suggesting cruelty, pederastic activities and adultery were the reasons, writing that one of his pupils, Harriet Gouldsmith, had told her Malready "preferred her little finger" to his wife and children, and accusing him having "had taken a low boy to your bed, and turned one adrift at midnight, to seek one at the house of an unmarried man." 他的儿子威廉·穆尔雷迪二世（1805–1878）居住在伦敦，从事肖像画家和画作修复师的职业。他有五个孩子（艾伦、玛丽、奥古斯都·埃德温、亨利·威廉和约翰）。他们也接受过艺术训练，但并非所有人都从事艺术职业：亨利·威廉和约翰自称是"房屋油漆工"。奥古斯都·埃德温·穆尔雷迪（1844–1904）是其中最为成功的一位，并作为克兰布鲁克艺术家团体的成员而闻名。 他的许多早期作品都是风景画，直到1808年起，他开始以风俗画家的身份建立声誉，主要描绘乡村生活的日常场景。他还为儿童书籍绘制插图，包括1807年出版的查尔斯·兰姆和玛丽·兰姆合著的《莎士比亚戏剧故事》第一版；同年出版的威廉·罗斯科的趣味诗歌《蝴蝶的舞会与蚱蜢的盛宴》；以及凯瑟琳·安·多塞特为该诗所作的续篇。其中一些作品是为威廉·戈德温和玛丽·简·克莱尔蒙特的"青少年图书馆"系列创作的；戈德温随后以笔名撰写了一本适合儿童阅读的穆雷迪早年生平记述。 穆尔雷迪的画作在维多利亚时代很受欢迎。他的第一幅重要作品《从酒馆归来》现藏于伦敦泰特美术馆，题为《集市时光》，于1809年问世。 1815年，他成为皇家艺术学院的准会员（A.R.A.），并于1816年成为皇家艺术学院院士（R.A.）。同年，他还被授予法国"荣誉军团勋章"。穆尔雷迪最重要的画作收藏于维多利亚和阿尔伯特博物馆以及泰特美术馆。前者藏有33幅作品，其中包括《汉普斯特德荒野》（1806年）、《咬一口》（1836年）、《初恋》（1839年）、《十四行诗》（1839年）、《挑选婚纱》（1846年）和《靶子（射樱桃）》（1848年）。后者藏有五幅作品，包括一幅《雪景》。都柏林国家美术馆藏有《年轻的兄弟》和《玩具商贩》。他的《狼与羔羊》为英国王室收藏。 In 1840, Mulready designed the illustrations for the postal stationery, known as Mulready stationery were introduced by the Royal Mail at the same time as the Penny Black in May 1840. They were issued in two forms; one variant was precut to a diamond or lozenge shape and folded to form an envelope that could be held together by seal at the apex of the topmost flap; and lettersheets that were cut in rectangles, folded over and sealed or tucked in. Stationery manufacturers, whose livelihood was threatened by the new lettersheet, produced many caricatures (or lampoons) of Mulready's design. Only six days after their introduction, on May 12, Rowland Hill wrote that; I fear we shall have to substitute some other stamp for that design by Mulready ... the public have shown their disregard and even distaste for beauty, and within two months a decision had been made to replace the Mulready designed stationery. Essentially Mulready's designs were a folly. 他在伦敦贝斯沃特去世，享年77岁，安葬于附近的肯萨尔绿苑公墓，那里竖立了一座纪念他的纪念碑。该纪念碑位于主路北侧，介于入口与主礼拜堂之间，虽不在墓穴的前排，但因其独特的造型而易于辨认。这座墓碑由戈弗雷·赛克斯设计。