Midsummer
Midsummer is one of the most iconic works of the Aesthetic movement of the late 19th century and Albert Moore was one of its leading artists, creating ‘art for art’s sake’.
Midsummer generates a powerful visual impact. The three female figures forming the focus of the painting are almost life size. The mood of midsummer heat is clearly expressed through the colour orange, light, fans, tranquillity and the languid pose of the central figure. Like much of his work, the devotion to strong design is evident in its symmetry and adornment. The fine detail patterning, such as on the mother-of-pearl cabinet, is reflective of Moore’s love of beauty. The influence of the Elgin marbles that Moore studied is shown in the graceful, classical poses of the models. The green Japanese fans show Moore’s awareness of ‘Japonisme’. ‘Japonisme’ is a French term that refers to the influence of Japanese art and design among Western European artists in the 19th century, following its reopening to foreign trade after 200 years of isolation.
Instead of a signature, Moore used the mark of an anthemion, consisting of radiating petals, developed by the ancient Greeks. It is carved into the centre of the platform base of the chair and above the head of the sleeping figure.
The painting was exhibited at the Royal Academy in 1887 and bought by the Russell-Cotes Art Gallery and Museum in 1936.
