Prince Albert Victor Christian Edward aged eighteen or so. Notice the precise developing shape of his lovely face, the arch of his eyebrows and the shape of the nose in particular.
Below, 'Tete a tete in the garden' (a spring garden) by James McNeill Whistler, c1881/2 :-)
An etching apparently of Prince Eddy, seen behind the wine on the right of the painting, with a strap over his left shoulder, evidently with Marie Jeanette, 'La Belle du Jour'. The boy and girl look barely eighteen years old. Perhaps about eighteen. This seems to be a litho of Prince Eddy and Marie in their introduction days as adults after having met in childhood?
Zoom in:
Prince Eddy and his 'Belle du Jour' Marie in a Chelsea garden in 1881/2 fits perfectly with the testimonies that emerged in the 1970's, to the effect that in the early 1880s the Prince of wales ( later Edward VII) and his wife Princess Alexandra gave permission for Prince Eddy to go to town ( Chelsea and the West End) for experience in art and socialising ( and all that went with that.) Prince Eddy does look timid in the Whistler litho above, and a bit as if he has never seen himself start! :-) A meeting between the son of Bertie (later Edward VII) and the pretty Stuart girl at this stage, the early 1880s. Edward VII was constantly showing other Royal youths (such as Gustav of Sweden) photo cards of his mistresses and encouraging them to behave in a similar manner, putting about the idea that any self respecting prince who did not have an adoring harem to show about the place was not up to much.
Above, Prince Eddy in a Hanoverian Uniform. Left, Prince Eddy in his White Stuart rose with his father Bertie, then the Prince of Wales. ( Later Edward VII). Bertie, the Prince of Wales incumbent in the early 1880s, had long adored pretty Irish mistresses, and will not have objected to encouraging his son in behaviours similar to his own. On the contrary, he promoted his influence. Often as generous to others as he was with himself, he did not concern himself with the consequences of the encouragements he was giving Prince Eddy and other young gentry. As for political consequences, he appears to have had a deal of naivety, natural authority and charisma. He frequently, at times naively, trusted in his perceived ability to influence all manner of personalities in almost any circumstance. He does not seem to have given much for a passe, restricted and repressed society wherein women had been deemed wise to shy away from artistic exigences and inquisitive early camera lenses.
For people who've been writing emails suggesting ( two people have been insisting) that 'Jo' was Bertie's , ( Bertie also signed 'ALBERT EDWARD') you can see that he was not; but as to whether Bertie had everything to do with how it all came about, well. If 'Jo' had been Bertie's, even as a Stuart boy of a Stuart mother with serious Fenian connections, the situation would not have presented as an immediate political problem to the powers that were (though it would have been a vintage threat to their position).
As Prince Eddy's son, the lost Prince 'Jo' was instantly in line for the Empire throne in conjunction with an automatic, complete overhaul of the Hanoverian interpretation of the Act of Succession and all the powers that were. (A 'proper payout of the dues of Culloden Moor!').
Below, Manet's painting 'Woman in a negligee, 1882'. You can compare this painting with the newspaper artist's picture of Marie Jeanette in 1888 'A lost woman in Millers' Court' and Walter Sickert's 'The Iron Bedstead' painting ( 'Found in London Lamplight') This may be Manet's own rendition of the 1881-2 ' Belle du Jour' ( Marie Jeanette Stuart/'Marie Jeanette Kelly'.) Manet seems to have focused specifically on the full eyelids and the lengthy eyelashes in the fact that you can at times see in aristocratic Stuart descendants.There are slight creases under the eyes as with the artist's rendition of 'Mary Kelly, a lost woman in Miller's Court'. This lady is unnamed, and the breast are not painted in, only overtly suggested.
Below, Jimmy Whistler's rendition of 'Le Belle du Jour', ( one 'Marie Jeanette' apparently).
A good article here, 'Manet and Whistler against the world', outlining some of the artistic premises through which the two artists developed their close association.
One thing all these items of artistic and historic record relating to this era have poignantly in common, whether they be photo cards of mistresses or touching artist renditions of individuals in the setting of their private and personal lives, is that they were all beautifully recorded without anyone expressing indignance or moralistic prurience and with the subjects' full permission. This 'lost epoque' was an artists' epoque, one of subtelty, seduction and adventure. Poise and beauty were sought after.
I think the loveliest picture of La Belle 'Marie Jeanette' ( "the woman Kelly") is the one below, Walter Sickert's picture of her topless/ nude and pregnant with the little boy and his horse-whip superimposed on her tummy, and the nun meandering beside her knees. They have all captured Irish / Jacobite beauty, of course.
No comments:
Post a Comment