Элеонора Фортескью Брикдейл - британская художница-иллюстратор (также она обращалась к масляной живописи и акварелям) поздней викторианской эпохи, пусть ее работы и не так хорошо известны, как творчество ее современников-мужчин. Она испытала сильное влияние прерафаэлитов, но более поздние ее работы ближе к Арт Нуво.Художница иллюстрировала детcкие книги, в том числе «Королевские идиллии» Альфреда Теннисона, а позже стала работать с витражами.Элеонора была младшей дочерью адвоката из Lincoln’s Inn. Изучала искусство в Crystal Palace School of Art, затем в школе при Королевской Академии, где в 1896 г выиграла приз за оформление общественного здания. В следующем году её работы впервые появились на Летней выставке Королевской Академии. Там же в последующие годы художница регулярно экспонировала свои работы. Ее картины были также замечены в Королевском Обществе Акварелистов, но из-за присущей работам декоративности художница не была регулярным участником выставок.+++++++++++++++++Eleanor Fortescue-Brickdale was born in 1872 in Upper Norwood, south London, the daughter of a successful lawyer. She studied at the Crystal Palace School of Art and the Royal Academy from 1897-1900. Her exhibition debut at the RA in 1896 was a black and white design, and her earliest work was in illustration. From 1899 she also exhibited large set-piece oils such as The Pale Complexion of True Love in an eye-catching style, frequently with a sharp, almost satirical comment on conventionally romantic themes, recalling the early productions of Millais and Hunt. These became more flamboyant after the turn of the century (eg The Uninvited Guest). From 1902 she had a studio in Kensington and pursued a dual career as painter and illustrator of fine colour-printed editions of literary texts such as Tennyson's Poems (1905) and Palgrave's Golden Treasury (1925); these being accompanied by regular exhibitions at Dowedeswell and Leicester Galleries of the original watercolours. Having personal connections with the aviator Charles Rolls, she took an interest in aeroplane technology, manifested in a large memorial picture to Rolls and The Forerunner (1920) depicting Leonardo da Vinci and his model flying machine. Brickdale was the first female member of the Institute of Painters in Oils, 1902, and a member of the RWS from 1903; she also taught for some years at the Byam Shaw School of Art. In later years her style broadened, and she also designed for stained-glass. Her professional career ended in 1938 when she suffered a stroke. She died in London in 1945.++++++++++++++++++++++Eleanor Fortescue Brickdale (1871-1945) was a well respected illustrator and painter of her day. In 1896, she created a lunette titled Spring, which was used in the Royal Academy Dining Room. In 1902, she had the honor of becoming the first female member of the Institute of Painters in Oils.[5] She illustrated many books such as Poems by Tennyson, 1905, W.M. Canton, Story of St. Elizabeth of Hungry, 1912, and Calthorp, A Diary of an 18th Century Garden, 1926, to name a few. In 1919, Eleanor Fortescue Brickdale's Golden Book of Famous Women was published by Hodder & Stoughton, which was a compilation of stories about some of the most famous women in history and legend as written by some of the most famous authors in history such as William Shakespeare, Lord Tennyson, Charles Dickens, Edgar Allan Poe, and John Keats among others. Although this book contains no introduction to explain whose inspiration it was to put the book together or who chose the content, it seems clear from the title that Brickdale must have been the mastermind behind it.Her works are always styled in the manner of the Pre-Raphaelites such as Dante Gabriel Rossetti or William Holman Hunt, using vibrant jewel like colors and representative 19th century subject matter. Take for example her allegorical painting titled, The Deceitfulness of Riches, which after being first exhibited at the Royal Academy in 1901, was subsequently included in an exhibition titled Such Stuff as Dreams are made of, in 1902, a reference to William Shakespeare's The Tempest. Many classical artists from the 19th century would put to vision what famous writers and poets put to pen. There was a great love of storytelling and without television or other modern day technologies; drawing, painting, and theater, were the only ways to express subject matter in a visual context. The symbolism in this painting was highly debated when it was first put on view, and today, its deeper meaning is still up to interpretation. A princess sits in a stately garden, coddling a sleeping kitten. Her jealous attendant's close in about her, isolating her from the outside world . The child in the upper left of the painting appears to speak, though her voice cannot be heard over the musician which sits between her and the princess. A second attendant motions for silence towards an approaching woman who appears to sneak a vie ...