No, said Aziraphale, it's ineffable.

chubbycattumbling perolyne

perolyne

A cara da riqueza.

viridian-e

this…is a thing that I made

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historicalbeauties jeannepompadour

jeannepompadour

Portraits of Fanny Eaton, popular 19th century artist's model;

"Mrs Fanny Eaton" c. 1859–1860, black, red & white chalk on cream woven paper by Walter Fryer Stocks

"Study for the Head of Morgan le Fay" c. 1862, pencil drawing on paper with touches of red chalk by Frederick Sandys

"Study of the head of a young mulatto woman, full face", circa 1859 by Frederick Sandys

historicalbeauties

“When we think of Pre-Raphaelite women, the first vision that comes to mind is probably porcelain skin and flaming auburn hair, the angular face of Jane Morris and the ethereal beauty of Elizabeth ‘Lizzie’ Siddal.

“Mirroring Victorian attitudes and demographics, representations of idealised beauty in Britain (and western art in general) were typically 'white’. However, you may be surprised to learn that one of the most influential muses to the Pre-Raphaelites during the mid-nineteenth century was Fanny Eaton (1835–1924), a Jamaican-born woman who came to London as an infant – shortly after the abolition of slavery in British colonies.

“Eaton’s presence in Pre-Raphaelite art encourages us to reconsider nineteenth-century perceptions about both race and beauty. For the artists affiliated with the Pre-Raphaelite Brotherhood, Eaton’s beauty was virtually unparalleled. Through their paintings, it could be argued that they empowered Eaton, showing her beauty in a dignified and socially conscious manner. Alternatively, some art historians argue that certain artists fetishised Eaton as an exotic 'Other’. Whether you agree with the former or latter, it is clear that Eaton had a profound influence on painters of her era, though only in the past few years has she attracted scholarly research.” (source)

^Mrs Fanny Eaton 1859. Simeon Solomon (1840–1905). The Fitzwilliam Museum

^Mrs Fanny Eaton (Profile Left) 1859. Simeon Solomon (1840–1905). The Fitzwilliam Museum

^The Mother of Moses1860, oil on canvas by Simeon Solomon (1840–1905). The children who appear in paintings alongside Eaton may have been her own.

“Simeon Solomon used Eaton again as a model for the painting The Mother of Moses, first exhibited at the Royal Academy in 1860, which marked the public debut of Eaton’s modelling career for the Pre-Raphaelites. The work, which now belongs to The Delaware Art Museum, shows the maternal figure of Jochebed holding her child, and is compositionally reminiscent of depictions of the Madonna and Christ. Ferrari has argued that the painting is possibly a visual representation of Eaton’s own family, as at the age of 19, she had just given birth to her son James and had a two-year-old daughter, also called Fanny. According to the Delaware Museum, Solomon was concerned with what he thought was 'historical authenticity’ and deliberately chose models with darker, Semitic features. This perhaps explains why he had chosen to use Eaton as his model. Ferrari believes Solomon also used Eaton in the paintings Judith and Her Attendant (1863) and Habet! (1865). Eaton certainly does look like the woman standing behind the others, wearing a pale headscarf.”