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User:Artemisiahistory/Aglaia Coronio

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Family Life

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The Ionides family opened their home, 1 Holland Park, to London's artistic and intellectual circles. Aglaia had a friendly personality and kept correspondence with many of these family friends, including Alma Tadema, John Stuart Mill, Ford Maddox Brown, Samuel Butler, Thomas Hood, Ellen Terry, Frederic Leighton, George Sand, William Wordsworth, Sir Edwin Landseer, John Ruskin, Beerbohm Tree, George du Maurier, and Fantin Latour, among others.[1]

Family connection with artists[2] [3]

Aglaia Coronio's daughter, Calliope (Opie) Despina (1856-1906), died 19 August 1906.[4] Consumed with grief, the next day Coronio took her own life by stabbing herself in the neck and chest with a pair of scissors.

Influence within Artistic Movements

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Pre-Raphaelite Brotherhood

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Within artistic circles, Aglaia Coronio and her two cousins (Maria Zambaco and Marie Spartali Stillman) were known as the "three graces".[5] Along with her cousins, Coronio modeled for many of the Pre-Raphaelite artists including Dante Gabriel Rossetti, Edward Burne-Jones, Holman Hunt, and John Millais. All three cousins are featured in Edward Burne-Jones' The Mill.[6] Being friends with Burne-Jones, Coronio would consult him regarding fashion designs, and he would send her sketches.[7]

"The three graces" (left to right: Maria Zambaco, Marie Spartali Stillman, and Aglaia Coronio) featured in Edward Burne-Jones' The Mill, 1882.

Friendship with William Morris

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Aglaia Coronio had a close, platonic friendship with William Morris, an artist closely connected with the Arts and Craft movement. They wrote many correspondences to each other throughout their lives. Coronio became a confidante to Morris on personal and artistic matters.[8] Morris sought her comfort and sympathy during the most turbulent times in his marriage when his wife, Jane Morris, and Dante Gabriel Rossetti had an affair.[4]

Artistic Creator

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Bookbinder

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Through her acquaintance with Morris, Coronio learned how to bind books. While none of her books have been recovered, Morris recorded her progress within his letters.[9] Due to accounts of women like Jane Morris and Georgiana Burne-Jones occasionally working at the Kelmscott Press, it could be assumed that Aglaia Coronio, with her background in bookbinding, might have assisted as well.[10]

Embroiderer

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Aglaia Coronio was recognized for her skill as an embroiderer.[4] Coming from a family of textile traders, she was intrigued with Morris' textiles.[11] In partnership with Morris, Coronio worked not only as an artistic consultant but also as an embroiderer of some of his patterns. She contributed to the embroidery of “mediaeval-like curtains which [Morris] designed for the intention of Alexander Ionides’s wife”.[12] Although her embroidery has not been easily located, records report that her work was displayed during the Arts and Craft Exhibition on October 4, 1888 in the New Gallery.[12] Coronio understood and most likely helped with the processes of dying thread, a method described by Morris in various letters.[13] Through her family's textile trade, Coronio occasionally provided Morris with rarer wools or dyes. [14][15]

Art Collector

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In similar fashion to her older brother and father, Aglaia Coronio participated as a patron of the arts while she grew her collection of artwork.[12] She possessed several paintings created by her acquaintance James McNeill Whistler.[16] She was listed as a collector lender for the 1885 Arab and Persian exhibition. Some scholars attribute William Morris' interest of the Oriental motifs and colors to Coronio's influence.[12]

  • James McNeill Whistler, Grey and Silver - Old Battersea Reach, 1863. By 1892, this painting belonged to Aglaia Coronio.[17]
    James McNeill Whistler, Grey and Silver - Old Battersea Reach, 1863. By 1892, this painting belonged to Aglaia Coronio.[17]
  • Dante Gabriel Rossetti, A Christmas Carol (chalk), 1867. Aglaia Coronio was the first to acquire this piece.[18]
    Dante Gabriel Rossetti, A Christmas Carol (chalk), 1867. Aglaia Coronio was the first to acquire this piece.[18]
  • Edward Burne-Jones, The Madness of Sir Tristram, circa 1892. Aglaia Coronio acquired this painting in 1893.[19]
    Edward Burne-Jones, The Madness of Sir Tristram, circa 1892. Aglaia Coronio acquired this painting in 1893.[19]
  • Dante Gabriel Rossetti, Mariana, 1868. This chalk study was part of Aglaia Coronio's collection.[11]
    Dante Gabriel Rossetti, Mariana, 1868. This chalk study was part of Aglaia Coronio's collection.[11]

References

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  1. ^ Harvey, Charles; Press, Jon (1996). "The Ionides Family and 1 Holland Park". Art, Enterprise and Ethics: Essays on the Life and Work of William Morris (PDF). pp. 2–14.
  2. ^ "History of Art Portal". hoaportal.york.ac.uk.
  3. ^ "Theodore John (Zannis) Coronio & Aglaïa (Alexander) Ionides". www.christopherlong.co.uk.
  4. ^ a b c Garnett, Henrietta (2012). Wives and Stunners: The Pre-Raphaelites and Their Muses. London: Macmillan. ISBN 978-0-230-70940-9.
  5. ^ Elliott, David B. (2006). A Pre-Raphaelite Marriage: The Lives and Works of Marie Spartali Stillman & William James Stillman. Suffolk: Antique Collectors' Club. ISBN 1-85149-495-2.
  6. ^ Burne-Jones, Edward (1870). "The Mill: Girls Dancing to Music by a River". Victoria and Albert Museum.
  7. ^ "Burne-Jones Catalogue Raisonné | Letter from Burne-Jones to Aglaia Coronio with measured drawing of a model from an album of 80 drawings bound in full white pigskin over oak boards by the Doves Bindery set up near Morris's house in Hammersmith by T.J. Cobden-Sanderson in 1893.jpg". Burne-Jones Catalogue Raisonne.
  8. ^ Salmon, Nick; Seaman, Graham (eds.). "The William Morris Internet Archive : Chronology". www.marxists.org.
  9. ^ Tidcombe, Marianne (1996). Women Bookbinders, 1880-1920. London: Oak Knoll Press. ISBN 0712304118.
  10. ^ Callen, Anthea (1979). Angel in the Studio: Women in the Arts and Crafts Movement 1870-1914. London: Astragal Books. ISBN 0-906525-01-2.
  11. ^ a b Gere, Charlotte (2010). Artistic Circles: Design & Decoration in the Aesthetic Movement. London: V&A Publishing. ISBN 978-1-85177-602-3.
  12. ^ a b c d Gadoin, Isabelle (2011). "British Collectors of Persian Art in the 19th Century: From Personal Culture to Oriental Taste?". Res Orientales - Pioneering Figures of Orientalism: European Convergences. 20: 121–134.
  13. ^ Callender, Jane (2009). "Indigo and the Tightening Thread" (PDF). The Journal of Weavers, Spinners and Dyers (231): 1–7.
  14. ^ "The 3 Greek Graces of the British Pre-Raphaelite Art Movement". Greeker than the Greeks. 2021-08-06.
  15. ^ "Aglaia (née Ionides) Coronio: Forgotten Authorship". hoaportal.york.ac.uk.
  16. ^ MacDonald, Margaret F.; Montefort, Patricia de; Thorp, Nigel, eds. (2003). "The Correspondence of James McNeill Whistler". www.whistler.arts.gla.ac.uk/correspondence – via University of Glasgow.
  17. ^ Whistler, James McNeill (1863). "Grey and Silver - Old Battersea Reach". Art Intuitive Chicago.
  18. ^ Rossetti, Dante Gabriel (1867). "A Christmas Carol". www.rossettiarchive.org.
  19. ^ Burne-Jones, Edward (1893). "The Madness of Sir Tristram". Sothebys.com.
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