An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
I know a maiden fair to see, take care1868
Artist: Charles Edward Perugini
British (born Italy), 1839 - 1918
head, shoulders and arms of a woman with blonde wavy hair, leaning on a white cushion; woman wears brown, black and white dress, gold chain bracelet, pearl earrings, gold and pearl rings and holds a fan
21 9/16 x 21 3/16 in. (54.77 x 53.82 cm) (sight)
28 1/2 x 28 3/4 in. (72.39 x 73.03 cm) (outer frame)
Oil on paper laid down on canvas
Painting
Italy
19th century
The Ethel Morrison Van Derlip Fund, The William Hood Dunwoody Fund, and gift of funds from Ruth and Bruce Dayton, Darwin and Geri Reedy, Kevin and Polly Hart, and Ford Bell
In the quiet, dim-lit gallery, an artwork hangs on the wall, a glimpse into another time, welcoming onlookers like an old friend. The piece draws its essence from an ancient German ballad, a haunting echo first translated by the celebrated poet Henry Wadsworth Longfellow in the year 1843. The words slip through the mind like a gentle breeze:
"I know a maiden fair to see, / Take care! / She can both false and friendly be, / Beware! Beware! / Trust her not / She is fooling thee."
These lines serve as a soft warning, cautioning those who dare to understand the complexity of beauty and trust. They wrap around the image, weaving a rich tapestry of intrigue and caution—a reminder that appearances can be deceiving.
The artist behind this masterpiece, the Italian-born Perugini, arrived in London in 1863, eagerness sparkling in his eyes. He found himself apprenticed to Frederic Leighton, a mentor whose strokes of genius would forever change his artistic trajectory. In this bustling city, where creativity flowed like the Thames, Perugini began to carve his space.
His muse appeared frequently in Leighton's oils, and whispers suggest that she was none other than Fanny Cornforth, a woman whose beauty could subtly hypnotize. She had been Rosetti's model and mistress, adding layers of complexity to the painting's story. The canvas captured her spirit, a reflection of both allure and caution, echoing the ballad’s warning.
In 1868, Perugini brought his creation to the Royal Academy, an illustrious stage where artists clashed with their talent, competing for recognition and admiration. On the same platform, Leighton unveiled his own piece, Jonathan's Token to David, while Perugini's work caught the discerning eye of John Everett Millais, the great master of the Pre-Raphaelite Brotherhood, who acquired it—an honor that whispered of promise.
Years rolled on; in 1873, fortune smiled upon Perugini, leading him to marry Kate Dickens, the daughter of the beloved Charles Dickens, weaving his narrative further into the rich fabric of artistic and literary history. He moved forward, becoming a fashionable painter of neo-classical subjects, his brush dancing across canvases with elegance.
Yet even as he flourished, the mesmerizing quality of this early masterwork continued to shimmer brighter than the many pieces that would follow. It serves as a reminder that every artwork carries not just the skill of its creator, but also echoes of stories untold, filled with both beauty and forewarning, inviting us all to look deeper.
About the artist
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