Leighton was born in Scarborough to a family in the import and export business. He was educated at University College School, London. He then received his artistic training on the European continent, first from Eduard Von Steinle and then from Giovanni Costa. When in Florence, aged 24, where he studied at the Accademia di Belle Arti, he painted the procession of the Cimabue Madonna through the Borgo Allegri. He lived in Paris from 1855 to 1859, where he met Ingres, Delacroix, Corot and Millet.
In 1860, he moved to London, where he associated with the Pre-Raphaelites. He designed Elizabeth Barrett Browning's tomb for Robert Browning in the English Cemetery, Florence in 1861. In 1864 he became an associate of the Royal Academy and in 1878 he became its President (1878–96). His 1877 sculpture, Athlete Wrestling with a Python, was considered at its time to inaugurate a renaissance in contemporary British sculpture, referred to as the New Sculpture. His paintings represented Britain at the great 1900 Paris Exhibition.
Leighton was knighted at Windsor in 1878, and was created a baronet, of Holland Park Road in the Parish of St Mary Abbots, Kensington, in the County of Middlesex, eight years later. He was the first painter to be given a peerage, in the New Year Honours List of 1896. The patent creating him Baron Leighton, of Stretton in the County of Shropshire, was issued on 24 January 1896; Leighton died the next day of angina pectoris.
Flaming June (1895), oil on canvas, Museo de Arte de Ponce, Puerto Rico (120.6 x 120.6 cm)
Leighton remained a bachelor and rumours of his having an illegitimate child with one of his models in addition to the supposition that Leighton may have been homosexual continue to be debated today. He certainly involved a close relationship with Henry Greville, but Leighton left no diaries and his letters are telling in their lack of reference to his personal circumstances. No definite primary evidence has yet come to light that effectively dispels the secrecy that Leighton built up around himself. After his death his Barony was extinguished after existing for only a day; this is a record in the Peerage. His house in Holland Park, London has been turned into a museum, the Leighton House Museum. It contains a number of his drawings and paintings, as well as some of his sculptures (including Athlete Wrestling with a Python). The house also features many of Leighton's inspirations, including his collection of Iznik tiles. Its centrepiece is the magnificent Arab Hall. The Hall is featured in issue ten of Cornucopia.
A blue plaque commemorates Leighton at Leighton House Museum.
Leighton was an enthusiastic volunteer soldier, enrolling with the first group to join the 38th Middlesex (Artists) Rifle Volunteers (later to be known as The Artists Rifles) on 5th October 1860. His qualities of leadership were immediately identified and he was promoted to command A Company within a few months. On 6th January 1869 Captain Leighton was elected to command The Artists Rifles by a general meeting of the Corps. In the same year he was promoted to Major and in 1875 to Lieutenant Colonel. Leighton resigned as Commanding Officer in 1883. The painter James Whistler famously described the then, Sir Frederic Leighton, the Commanding Officer of The Artists Rifles, as the: “Colonel of the Royal Academy and the President of the Artists Rifles – aye, and he paints a little!" At his funeral, on 3rd February 1896, his coffin was carried into St Paul's Cathedral, past a guard of honour formed by The Artists Rifles.
Death of Brunelleschi (1852), oil on canvas
The Fisherman and the Siren, c. 1856–1858 (66.3 x 48.7 cm)
Cimabue's Celebrated Madonna is carried in Procession through the Streets of Florence (1853–5), oil on canvas. This was his first major work and was exhibited at the Royal Academy. Queen Victoria was so taken with it that she bought it for 600 guineas on the opening day of the exhibition.
The Villa Malta, Rome (1860s), oil on canvas
The Painter's Honeymoon, c. 1864 (83.8 x 77.5 cm)
Mother and Child, c. 1865, (48.2 x 82 cm)
Actaea, the Nymph of the Shore (1868), oil on canvas, (57.2 x 102.2 cm) National Gallery of Canada, Ottawa.
Daedalus and Icarus, c. 1869, (138.2 x 106.5 cm)
Hercules Wrestling with Death for the Body of Alcestis (1869–71) (132.4 x 265.4 cm)
Greek Girls Picking up Pebbles by the Sea, 1871 (84 x 129.5 cm)
Teresina (circa 1874) Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand
Music Lesson, c. 1877, (92.8 x 118.1 cm)
Nausicaa, c. 1878 (145 x 67 cm)
Winding the Skein, c. 1878, (100.3 x 161.3 cm)
Light of the Harem, c. 1880, (152.4 x 83.8 cm)
Idyll, c. 1880–81
Wedded, (c. 1881–1882) (145.4 x 81 cm)
Captive Andromache, c. 1888 (197 x 406.5 cm)
The Bath of Psyche, (c. 1889–90) (189.2 x 62.2 cm) Tate Gallery
The Garden of the Hesperides, c. 1892, (169 x 169 cm)
Phoebe (55.88 x 60.96 cm)
Frederic, Lord Leighton: A Princely Painter of the Victorian Age by Margot Th Brandlhuber & Michael Buhrs
Hardcover: 191 pages
Publisher: Prestel Pub (May 2009)
Amazon: Frederic, Lord Leighton: A Princely Painter of the Victorian Age
Painter and sculptor Frederic, Lord Leighton is one of the foremost artists of the Victorian classical school. His masterpieces featuring mythological subjects are thought to be the inspiration behind the nineteenth-century craze for all things Greek. This monograph includes more than one hundred beautiful reproductions of Leighton's work along with an exploration of the role that classicism played in his paintings. In addition to his art, the book examines the architectural wonders of Leighton House, the artist's opulent Victorian residence in London.
More Artists at my website: http://www.elisarolle.com/, My Ramblings/Art
This journal is friends only. This entry was originally posted at http://reviews-and-ramblings.dreamwidth.org/3432914.html. If you are not friends on this journal, Please comment there using OpenID.