Agent Triple P was saddened to learn of the death of iconic actress Farrah Fawcett after a long battle with cancer. He is of the generation that knew her as Farrah Fawcett-Majors (as the then wife of Six Million Dollar Man actor Lee Majors) from the first series of pioneering "jiggly" show Charlie's Angels (1976) (see also: Charmed).
Texan born Farrah (actually Ferrah Leni Fawcett) was talent spotted by a Hollywood publicist who urged her to go to Los Angeles. Modelling and TV adverts followed plus some minor parts in TV shows.
Then she posed for a poster in a red swimsuit and her fame was assured, neatly coinciding with her time on Charlie's Angels. In fact she earned more money from the poster than she did for the TV series but it was, at that point, the best selling poster of all time selling somwhere between 5 and 12 million copies.
With her white teeth, long legs and much copied hair she was the mid-seventies personification of the all-American girl.
Later on she posed for Playboy, but not at the beginning of her carreer; she waited until she was 48 and returned at the age of 50 for a literally arty pictorial where she was covered in gold paint.
She was never our favourite Angel (that was Jaclyn Smith) and we felt that there more attractive photographs of her than her famous red swimsuit one but she was an instantly recognisable part of our teenage years and we never missed Charlies Angels.
This is Agent Triple P's favourite shot of her
One thing her Playboy shoot revealed was the secret of her well stretched tops. She had what Agent DVD would refer to as "bullet" nipples. Literally outstanding.
From forty years ago we bring you the superbly sculpted Helen Antonaccio, Playboy's Miss June 1969. Pocket sized Helen (5'3" and 35.5-24-34) was a Bunny girl in Playboy's New York club before being selected as Playmate of the Month.
Helen in 2006 age 56 (really!)
Amazingly, at the age of sixty, she is stil doing nude modelling and recently published a book entitled "What's Your Secret?" How one centerfold stayed alluring and fit past 50. Whatever the secret is, it clearly works!
Dr Frederic Septimus Leighton, Lord Leighton's father, tended to think of art as an accomplishment rather than a career. Nevertheless he was proud enough of his son's skill, during their time in Florence in the mid 1840s, to show some of young Frederic's drawings to American sculptor Hiram Powers. When asked if Leighton should be allowed to follow a career as an artist Powers reputedly answered, "Sir you cannot help yourself, nature has made him one already." Powers support was important in acclimatising Leighton's family to the idea that he should be a full-time artist. Leighton also developed an interest in sculpting, producing a number of sculptures alongside his paintings.
The established sculptor and the budding artist could not have had more differing backgrounds, however. Leighton's family were very wealthy, to the extent that Leighton himself never had to support himself financially wheras Power's family were dirt poor farmers from Woodstock Vermont.
Powers was born on June 29th 1805 moving, with his family, to Ohio at the age of 13. After a year of school he did a number of jobs before being employed at Luman Watson's clock factory. Luman also owned an organ factory and Powers started to model some of the figures used on organs at that time. He showed an immediate aptitude and by 1826 he was frequenting the studio of German born sculptor Frederick Eckstein. He studied informally under the sculptor whilst working at a local museum where he created figures for the exhibits. Lacking any real formal training his natural talent was such that by 1835 he visited Washington where he produced a sculpture of Andrew Jackson that was so successful it led to many society commissions. Financially secure at last he left the United States in 1837, with his wife Elizabeth and their two young children, to settle in Florence where he lived for the rest of his life, producing portrait and display busts as well as full-length figures.
Eve Tempted was his first full length female nude and Agent Triple P took this picture of it at the Smithsonian American Museum in Washington this March. Powers died in Florence on June 27, 1873. The entire contents of his studio, including all his plaster models, about 20 marble sculptures, and his tools, casts, and manuscripts, were all acquired by the Smithsonian. Given that he was regarded as one of the finest sculptors of the nineteenth century it is odd that there is no biography of him. This may be explained by the fact that whilst nineteenth century neo-classical painting has been rehabilitated in the minds of the critics and public this has not happened to the same extent with sculpture.
They also had on display several of his classical busts including this one of Clytie. She was a water nymph who fell in love with Apollo and was unable to take her eyes off him as he flew across the sky. Eventually she turned into a sunflower, her face forever following the sun. Powers probably based his sculpture on a Roman original which he saw in the British Museum although the sunflower motif in her hair is his own.
More on Powers and his most famous sculpture, The Greek Slave another time.
Appropriately enough, given the month, we present Frederic, Lord Leighton's Flaming June, very much his most famous painting.
Frederic Leighton was born in Scarborough in 1830 to a well to do medical family (his grandfather had been the main physician to the Russian Royal Family in St Petersburg). Although concerned about his desire to be an artist, his family enabled him to carry out his studies by supporting him financially. His mother, who suffered from ill health and disliked the British climate, made sure that the family travelled extensively in Europe and North Africa in search of better weather and cures. Leighton spent very little time in Britain as a boy and was a fine linguist; learning French, German, Italian, Spanish and Romanian.
Self Portrait of Lord Leighton
All of his artistic training took place in Europe and, as a result, later in life, critics questioned his Britishness, concluding that he must have foreign or Jewish blood (he was a great supporter of Jewish causes in Britain). He began his studies at the Berlin School of Art at the age of 12 (he lied about his age to get a place!) and then carried on his studies in Frankfurt and then at the Academia Delle Belle Arti in Florence. There he came to the attention of expatriate American sculptor Hiram Powers who helped to persuade his doubting family of the worth of his art. After Florence the Leightons returned to Frankfurt where Leighton studied at the Städelsches Kunstinstitut. Students at the Institut painted scenes from German legends and this sparked an interest in mythological subjects which would become extant in the future.
In 1848 disturbances in Frankfurt forced the Leightons to flee to Brussels and Paris before returning to Frankfurt the following year. Leighton didn't stay put for long, returning to London for a visit before travelling through Italy and settling in Rome, where his friends included Alfred Waterhouse, and William Makepeace Thackeray, who almost certainly based the character of Clive Newcome in his novel The Newcomes on Leighton.
At the age of 26 he was wondering where to submit his first major work for exhibition; London or Paris. He chose London, although he subsequently set up his studio in Paris. So in 1855 he sent his vast (seven feet high and 17 feet long!) canvas Cimabue's Celebrated Madonna is Carried in Procession through the Streets of Florence, to the Royal Academy Exhibition. His reputation was made when Prince Albert, on the first day of the exhibition, persuaded Queen Victoria to buy it for 600 guineas.
He was unable to follow up this success, at least in London, and his Academy submission the following year, The Triumph of Music (1856), received disastrous reviews, ("one of the worst pictures at the exhibition", said the Athenaeum) although some acknowledged that it had been very badly hung. The original is now lost and we only have a sketch on which to comment. Certainly it is a very different picture than the Cimabue. Part of this frosty reception was probably down to the fact that he had settled in Paris and had adopted certain European tendencies (such as the grandiose"history" style) in his painting (influenced, perhaps, by Bougereau, who he knew in Paris).
The Triumph of Music (sketch). Classicists decried the fact that Orpheus was depicted with a violin rather than a lyre.
As a result Leighton didn't exhibit in 1857 but worked on several paintings which he exhibited in 1858, again, to a lukewarm reception. However, his reputation gradually built, particularly after he moved back to London in 1859, although he was always a great traveller, visiting North Africa, Europe and Asia Minor to sketch and paint. By the 1860s he was earning £4,000 a year at a time when a labourer's annual income was £30 a year. His paintings were selling for hundreds, even thousands, of pounds with the record going to Captive Andromache which went for £6,000. He became an associate of the Royal Academy in 1864, a full RA in 1868 and, ultimately, President of the Royal Academy in 1878.
Flaming June was painted late in his life in, 1895. It is 47" x 47" and is particularly appropriate for this blog as it is believed to deliberately echo the sleeping Venus pictures produced by Titian and Giorgione. The poisonous oleander branch visible in the top right of the painting symbolises the close link between sleep and death in some Romantic Victorian minds (John Keats, for example) and this theme was an important one for Leighton. Also, at this time, the significance of dreams (particularly their sexual significance) was being much discussed, seriously, for the first time, with dreams being considered a window to the soul. Albert Moore, around this time, also painted sleeping, female figures in classical costume.
Flaming June sketch (1894)
Some critics have said that the rendition of the orange drapery is not particularly good; that it appears transparent where draped over the figure but opaque when not. This may be because Leighton may have followed popular practice in drawing the model naked and then adding the drapery afterwards. More likely it was a deliberate artifice to draw attention to the nakedness of the female form underneath. In this sketch and the one below the folds of drapery on the subject's thigh are more prominent than in the finished painting.
Of the distinctive pose itself, Leighton claimed that it came from the subject. "The design was not a deliberate one, but was suggested by the chance attitude of a weary model who had a peculiarly supple figure".
There is a sketch showing an alternate pose, although the arrangements of the legs are the same. It has been said that the pose may have been suggested by studies Leighton had made of Michelangelo's Night in Rome and from GF Watts Hope.
Hope (1886) by GF Watts
However, the viewpoint is far less conventional, using a low angle which gives prominence to the girl's shimmering thigh at the expense of other parts of her body.
Other critics have also said that the pose is a physically impossible one (like Ingres Odalisque) but that is hardly relevant. Anyway, this recreation by American photographer Angela McAllister shows that Leighton was certainly working within the bounds of possibility, with perhaps only some exaggeration on the tucked-under left leg.
The painting now hangs in the Ponce Museum of Art, Ponce, Puerto Rico (famous, of course, for being a cartographical error: Puerto Rico was supposed to be the name of the city, San Juan the Island!), although it was, until February this year on show at Tate Britain (from April 2008) whilst the gallery in Puerto Rico was being renovated. Agent Triple P saw it at an exhibition in London in 1996, during it's previous visit.
The story of how the painting ended up in Puerto Rico is intriguing and there seem to be some alternative versions.
In 1895 it was owned by Mrs James Watney who left it to her grand-daughter, Mrs Charles Lyell, in 1915 who loaned it to the Ashmolean Museum in Oxford. There it remained until 1930 when it was returned to Mrs Lyell who sold it sometime in the 1930s. It then disappeared from view until 1962 when some workmen demolishing a house in Clapham Common in 1962 claimed to have found the picture hidden behind a false panel. Whether this is true or not, and they somehow "liberated" it from elsewhere in the house and needed a convincing cover story, it ended up in a picture framing shop in Lavender Hill. Victorian Art expert Professor Bernard Nevill spotted it there whilst looking for Pre-Raphaelite paintings; which were equally unfashionable at the time. Picture framers were a good source of bargains for Victorian art speculators at the time. Paintings by artists like Leighton and Alma-Tadema were often sold just for the value of their frames in the early 1960s. It was this market that enabled a collector like Allen Funt (creator of Candid Camera) to build up a huge collection of Alma-Tadema paintings in the 1960s. The price label on it was £60 but Nevill didn't have the money at that time.
Shortly afterwards the picture had been removed from the frame, which was then put on sale for £65 with the picture being offered at £50. It was spotted by a 14 year old schoolboy who rushed to his father to borrow the cash. His father, a professor of music, decided that their South Kensington flat was too small to display it, much to the boy's (one Andrew Lloyd-Webber) disappointment (although he did later acquire a Leighton: Dante in Exile (1864)).
It was eventually bought by a hairdresser who then sold it to Colonel Freddy Beddington, who had been a student of Leighton's friend, Sir Edward Poynter. He then sold it on to art dealer Jeremy Maas for £1,000. It was whilst in Maas' gallery that it was spotted by either a Mr Taylor, an agent of Luis Ferre, or Mr Ferre himself. Ferre (1904-2003) was a Puerto Rican industrialist and politician who was in Europe looking for paintings for the gallery he had just founded in Ponce.
The wily gallery owner asked for and got $10,000 for the picture and Ferre took it back (along with Burne-Jones' last work The Sleep of Arthur at Avalon (1898) ) to form the centrepiece of his new gallery. The picture is iconic in Puerto Rico where it is known as 'The Mona Lisa of the Western Hemisphere' and there is a feeling that they rescued a masterpiece from obscurity (or at least from Andrew Lloyd-Webber).
The painting in its tabernacle style frame on display in its home Ponce, Puerto Rico
Latterly, of course, Victorian Classical painting has been rehabilitated and the Puerto Ricans have loaned the painting to other galleries in Europe and North America. Currently it is on loan to the Prado in Madrid where it will be on display for the next two weeks.
Leighton died the year after Flaming June was painted, the day after he was ennobled as Lord Leighton of Stretton: the only British artist so honoured. He was also, consequently, the shortest serving peer of the realm. His death was probably accelerated by the frantic pace he led his life: constantly painting and travelling and not slowing down despite heart problems. His last words were "Give my love to all at the Academy".
For many years the model for the painting was believed to have been Dorothy Dene (real name Ada Alice Pullen (1859-1899) a tall, long-limbed actress who Leighton used a lot as his model (notably in the Bath of Psyche). We will look at Dorothy Dene in another post. Over the last ten years or so, however, it has been suggested that the model for Flaming June was Mary Lloyd, the daughter of a country squire, who had fallen on hard times and had to take to the then very disreputable job of modelling.
She also posed for Sir Frank Dicksee, Sir John Millais, Sir Lawrence Alma-Tadema, Sir Edward Burne-Jones, Ford Madox Brown, John William Waterhouse and William Holman Hunt. We know that Mary Lloyd was the model for Leighton's painting Lachrymae painted the same year as Flaming June.
Lachrymae is the large picture on the left. Flaming June on the right.
A photograph of his studio taken shortly after his death shows his unsold works, including Flaming June and Lachrymae. Lloyd herself was interviewed about her work modelling for Leighton in 1933. She did not specifically mention Flaming June but at this time it was not a famous work and so she probably felt that it wasn't worthy of comment.
L to R: Mary Lloyd by Millais, Flaming June and a photograph from 1933.
She died shortly afterwards virtually destitute, as her artistic patrons had all been elderly when she modelled for them; soon leaving her with no further work.
Agent Triple P thinks that Flaming June is one of the great masterpieces of high Victorian art and would urge anyone to see it if they have the chance. The sheer luminosity of the painting has never been adequately captured in reproductions and, in real life, the effect of it is truly stunning.
Unbelievably it's June already and in looking to see what has been most popular with readers around the world we have realised that we have hardly put anyting up on the site for a month. This is partly because we were in Canada but we must get some more Venuses up this month!
For May the top 15 items were as follows (last month in brackets):
1 (1) Melodye Prentiss. Recently deceased Playmate hangs on to number one (just)
2 (5) Elizabeth Ann Roberts. Jailbait Playmate continues to climb.
3 (4) The Pubic Wars. We are currently re-wrting episode two.
5 (7) Gloria Root. Back into the top 5 for Playmate and top urban planner Gloria.
6 (3) Venus Observations. Looks like more people are bookmarking it!
7 (2) Mary-Louise O'Murphy by Boucher. Mary-Louise's plump behind continues to be the arty favourite.
8 (-) Claire Rambeau. Playboy's Miss October 1971 scores well considering we only have one picture of her on the site.
9 (8) Liv Lindeland. We recently acquired a copy of the taboo breaking Playboy from 1971. More on her soon.
11 (9) Stephanie McLean. Flashed her fur nine months before Liv.
12 (-) Syrinx by Arthur Hacker. A re-entry for the nymph who ended up chopped into bits and blown through.
13 (6) Lady Godiva by John Collier. Still a favourite.
14 (-) Giselle Bundchen on a horse. Naked girl plus horse hits all sorts of buttons, obviously!
15 (-) Ursula Andress. Makes an appearance even though we have no pictures of her. Must remedy that!