Herbert Schmalz

I first became aware of, and interested in, Herbert Schmalz when I saw the painting below, Rabboni, which can be seen along with a few more of his works in Bramhall Hall, Stockport. I thought it was rather Pre-Raphaelite but nicely different, so decided to research into the artist. My searches resulted in finding not a great amount of work, but work of exceptional talent and beauty.

Rabboni

Herbert Gustave Schmalz was born in Ryton, Tyne and Wear, in 1856; the son of a German father and English mother. He studied at the South Kensington Art School, then at the Royal Academy with Frank Dicksee, Arthur hacker and Stanhope Forbes. He was friends with William Holman Hunt, Frederic Leighton and Val Prinsep.
Schmalz's best known works at the time were historical in theme, with strong influences from the Pre-Raphaelites, an influence which he retained throughout his life. After a trip to Jeruselam, a fashionable trip of the time and probably inspired by Holman Hunt, he produced many Biblical themed paintings, such as Return From Calvary, below.

Return From Calvary 1891

During the 1890's Schmalz turned increasingly to painting portraits and works of classical themes. He had his own solo exhibition in 1900 entitled 'A Dream Of Fair Women', at the Fine Art Society on Bond Street. After the First World War Schmalz changed his name to John Wilson Carmichael. He died in London in 1935.

Denise 1883

Too Late c.1884-6

The Great Awakening

Iphigenia

The Daughter of Jairus

The Awakening of Galatea 

The Story of Daphne and Apollo

The myth of Daphne and Apollo has been a favourite story to depict in art for hundreds of years. The story is that the god Apollo falls in love with a young maiden, Daphne, who flees from his advances. When caught, Daphne calls to the gods for help, and is consequently turned into a laurel tree. This extract is taken from Ovid's Metamorphoses, and I have included a small selection of art depicting the myth, from different periods of history.

'He would have said more, but the frightened maiden fled from him, leaving him with his words unfinished; even then, she was graceful to see, as the wind bared her limbs and its gusts stirred her garments, blowing them out behind her. Her hair streamed in the light breeze, and her beauty was enhanced by her flight. But the youthful god could not endure to waste his time on further blandishments and, as love itself prompted, sped swiftly after her. Even so, when a Gallic hound spies a hare in some open meadow he tries by his swiftness to secure his prey, while the hare, by her swiftness, seeks safety: the dog, seeming just about to fasten on his quarry, hopes at every moment that he has her, and grazes her hindquarters with outstretched muzzle, but the hare, uncertain whether she has not already been caught, snatches herself out of his very jaws, and escapes the teeth which almost touch her.
Thus the god and the nymph sped on, one made swift by hope and one by fear; but he who pursued was swifter, for he was assisted by love's wings. He gave the fleeing maiden no respite, but followed close on  her heels, and his breath touched the locks that lay scattered on her neck, till Daphne's strength was spent, and she grew pale and weary with the effort of her swift flight. Then she aw the waters of the Peneus; 'O father,' she cried, 'help me! If you rivers really have divine powers, work some transformation, and destroy this beauty which makes me please all too well!' Her prayer was scarcely ended when a deep languor took hold of her limbs, her soft breath was enclosed in thin bark, her hair grew into leaves, her arms into branches, and her feet that were lately so swift were held fast by sluggish roots, while her face became the treetop. Nothing of her was left, except her shining loveliness.
Even as a tree, Phoebus loved her. He placed his hand against the trunk, and felt her heart still beating under the new bark. Embracing the branches as if they were limbs he kissed the wood: but, even as a tree, she shrank from his kisses. Then the god said: 'Since you cannot be my bride, surely you will at least be my tree. My hair, my lyre, my quivers will always display the laurel. You will accompany the generals of Rome, when the Capitol beholds their long triumphal processions, when joyful voices raise the song of victory. You will stand by Augustus' gateposts too, faithfully guarding his doors, and will hang there. Further, as my head is ever young, my tresses never shorn, so do you also, at all times, wear the crowning glory of never-fading foliage.' Paean, the healer, had done: the laurel tree inclined her newmade branches, and seemed to nod her leafy top, as if it were a head, in consent.'

John William Waterhouse

Bernini

Antonio del Pollaiolo

Arthur Hacker

Hubert von Herkomer

Not art, but an amazing photo nonetheless - the tree actually looks like a dancer...Daphne?!?