J.W. Waterhouse: The Modern Pre-Raphaelite
Royal Academy, until 13 September
Supported by Champagne Perrier-Jouet
Just what is it that makes John William Waterhouse (1849–1917) so different, so appealing? (As Richard Hamilton might put it.) And in what way is he so modern? It certainly isn’t an off-putting or radical modernity, for the exhibition in the Sackler Galleries has been doing brisk business, and the day I visited it was scarcely possible to view the pictures for the crowds. The shires must be empty these days, and indeed I hear that the only place to recapture the old peaceful museum experience of actually being able to see art in a public gallery without being jostled and shunted is outside London. I’m off on a research trip next week to the north and will report back in due course with my findings…
Of course, currently the Pre-Raphaelites are immensely popular — though it’s salutary to remember that just half-a-century ago you could buy them for what today amounts to loose change — and any show with that magic tag is guaranteed to attract the punters.
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