Portrait of a Red Haired Lady

The orange palette of this work is instantly striking - from the lady’s auburn hair to her deep chestnut eyes, to the reddy blush on her cheeks, there is a true sense of warmth to the painting. The lady gazes matches the eye-contact of the viewer without recoiling, but this gesture is more inviting than challenging. Her round face and plump lips connote abundance, as well as the wealth of fiery red curls that cascade from her head, each strand of hair painted in excruciating detail. Her fair skin, rendered so well that it is almost tangible, creates a sense of youthfulness to the sitter. Around the lady’s neck hangs a simple golden chain with a cameo locket, perhaps containing a lock of hair from her lover. The way the light reflects off of the shiny surface of the gold is masterful and demonstrates the artist’s keen eye for the behaviour of light.

The Pre-Raphaelites were enamored with the idea of representing red-headed women in art, as it was seen as a rejection of the idealised female form coveted by the Royal Academy. Red hair was seen as the sign of a fallen and wanton woman, an image only exacerbated by the fact that loose hair was a sign of sexuality in Victorian England. This portrait is therefore not just a representation of a beautiful lady, but also represents a free-spirited and independent woman.

The Pre-Raphaelites

The Pre-Raphaelite Brotherhood were a group of artists who arose in opposition to the Royal Academy and its privileging of Mannerism. Instead, they favoured the intense colours of early Renaissance works and wished to imitate nature within their paintings. The Pre-Raphaelites often depicted Christian, mythological, and literary themes within their works. Whilst the Brotherhood refers to the seven founding members - Holman Hunt, Millais, Dante Rosetti, Michael Rosetti, Collinson, Stephens and Woolner - their influence was immeasurable and they had a large following amongst other artists.