Beschreibung:

Edward Robert Hughes R.W.S. (British, 1851-1914): 'Jill, a study', coloured chalks on paper, signed lower left 'E R Hughes' & dated 1904, H 61 x W 47 cm, original handwritten artist's label verso inscribed 'No 2, Jill - a study, E R Hughes RWS, 9 Edith Villas, West Kensington.' Exhibited: The Royal Watercolour Society, Winter Exhibition, 1904. Note: The present picture represents an important addition to the oeuvre of Edward Robert Hughes The nephew & pupil of renowned fairy painter Arthur Hughes (1832-1915), E R Hughes was absorbed into the Pre-Raphaelite circle & assisted William Holman-Hunt-(helping to complete the St Paul's version of The Light of the World, as Hunt's eyesight weakened). Beginning his career among the Pre-Raphaelites, his earlier subjects were often based in Shakespearian or other literary themes which became increasingly Symbolist in nature under the influence of Edward Burne-Jones However, Hughes also executed many portraits, predominantly, as in the present example, in coloured chalks. His use of red chalk in particular greatly impressed Burne-Jones, who, in a letter to Hughes in 1897 wrote: 'Your method of using (it) reads admirably, and since you have generously imparted it to me, I shall assuredly use it' (Georgiana Burne-Jones Memorials of Edward Burne-Jones London, 1904, vol. 2, p. 322.). Indeed, it has recently been noted that E R Hughes' 'critical reputation during his own lifetime was built on his portraits & finished studies in pencil, chalk or silverpoint' (Victoria Osbourne, E R Hughes: A British Symbolist In Pre-Raphaelite Circles, M.Phil thesis, University of Birmingham, 2009). 'Jill - a study' is one of the most significant examples of Hughes' portraiture to come to the market in recent years. The picture was exhibited at the R.W.S. Winter Exhibition in 1904, shortly after the artist had served as the Society's Vice President. The work has an unsentimental directness typical of Hughes & 'Jill', in her posture & gaze, seems slightly mysterious, displaying an almost otherworldly detachment reminiscent of the females in some of artist's Symbolist compositions. Whilst many of Hughes' portraits were formal commissions, he often undertook works as tokens of friendship & gave them as gifts - the intimate nature of the present portrait is indicative of the latter. The picture also suggests the influence of Old Master drawing which had sparked a renewed interest & admiration of draughtsmanship in the Victorian era. In the summer of 1913, Hughes & his wife, Emily Eliza, moved from London to Romeland Cottage, St Albans, which adjoined the Abbey close. Less than a year later he tragically died from appendicitis & was buried in Hatfield Road Cemetery. His funeral in St Albans Cathedral, a stone's throw from where he had lived, was the largest ever held there, attended by many friends, fellow artists, & pupils. A memorial exhibition was held at the RWS & critics judged Hughes' 'careful & masterly' drawings, not his elaborate watercolours, as his best work: 'It is when he applies his pre-Raphaelite precision to portrait drawings... that Hughes commands most admiration...These are things of lasting value, and no fluctuations in taste can affect their appreciation' (The Observer, November, 1914).