Who painted The Choice of Paris: An Idyll?

The Choice of Paris: An Idyll was painted by Florence Claxton in 1860.

Where can I see The Choice of Paris: An Idyll?

The Choice of Paris: An Idyll is held by Victoria and Albert Museum.

What movement is The Choice of Paris: An Idyll?

The Choice of Paris: An Idyll is associated with Impressionism.

Can I buy a print of The Choice of Paris: An Idyll?

Museum-quality prints of The Choice of Paris: An Idyll are available made-to-order from Artifact World Gallery.

Artwork

The Choice of Paris: An Idyll

Florence Claxton , 1860

The Choice of Paris: An Idyll is a watercolor work on paper by the Impressionist artist Florence Claxton. It dates from 1860 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

Florence Anne Claxton's watercolour, The Choice of Paris: An Idyll, is a satirical work targeting the Pre-Raphaelite Brotherhood, a group of painters active from 1848 to 1853. Exhibited at the Portland Gallery in London, it garnered significant attention and was widely reproduced in The Illustrated London News.

Subject & Meaning

The piece satirically reimagines the mythological 'Choice of Paris' with John Everett Millais, a key Pre-Raphaelite figure, awarding a golden apple to a medieval-style, angular female embodying the Pre-Raphaelite aesthetic ideal. This contrasts with the classical 'Three Graces' myth, highlighting Claxton's critique.

Technique & Style

As a watercolour, the work's technique is not explicitly satirical in method, but its subject matter and character depictions serve as the primary vehicles for Claxton's satire, particularly in the exaggerated representation of Pre-Raphaelite preferences.

History & Provenance

Originally exhibited at the Portland Gallery in London, a venue previously used by the Pre-Raphaelites, the watercolour was later disseminated broadly through a full-page feature in The Illustrated London News, amplifying its satirical impact on a national scale.

Context

Created in response to the Pre-Raphaelite Brotherhood's 'truth-to-nature' principle, the work includes a figure using opera glasses to inspect a wall's surface, parodying the movement's meticulous attention to natural detail.