[1] See entry dated 12 January 1990 for the Tate’s Catalogue File on Fantaisie en Folie.
[2] Kenneth McConkey, Edwardian Portraits: Images of Opulence (Woodbridge, Suffolk: Antique Collectors Club, 1987).
[3] Edward Pinnington claims ‘the pictures are of similar arrangement’, in Edward Pinnington, ‘Robert Brough, Painter’, The Art Journal (May 1898), 148. Despite their mirroring compositions, however, B. Kendell claims that ‘The girl is more real – less visionary than her companion in the Fantaisie.’ in B. Kendell, ‘Robert Brough’, in Artist: An Illustrated Monthly Record of Arts, Crafts and Industries (31 May 1901), 67.
[4] Pinnington, 148.
[5] Robert Brough, ARSA: 1872-1905 (City of Aberdeen: Aberdeen City Council, Arts & Recreation Division, 1995), 30; McConkey (1987), 110.
[6] McConkey (1987), 110; Kenneth McConkey, Memory and Desire: Painting in Britain and Ireland at the Turn of the Twentieth Century (Aldershot: Ashgate, 2002), 54.
[7] McConkey (2002), 54.
[8] Quoted in McConkey (2002), 55.
[9] Kate Flint, The Victorians and the Visual Imagination (Cambridge: Cambridge University Press, 2000), 2.
[10] Caroline Corbeau-Parsons, ‘Forgotten Faces’, Tate (Published n.d., Accessed: 29/03/17, https://www.tate.org.uk/whats-on/tate-britain/display/bp-spotlight-forgotten-faces/essay).
[11] ‘Royal Scottish Academy Exhibition’, The Dundee Courier & Argus (18 February 1898), 4.
[12] Kendell, 65; ‘Art’, The Academy (15 May 1897), 527; Pinnington, 148.
[13] Dario Gamboni, The Listening Eye: Taking Notes after Gauguin (Ostfildern: Hatje Cantz, 2011), 16.
[14] Gamboni, 87.
[15] Robert Brough: ARSA, 16.
[16] Pinnington, 148.
[17] Benjamin Morgan, The Outward Mind: Materialist Aesthetics in Victorian Science and Literature (Chicago and London: The University of Chicago Press, 2017), 9-19.
[18] Morgan, 9, 11.
[19] Morgan, 134, 136.
[20] ‘The Royal Academy’, London Daily News (22 July 1897), 6.
[21] Jonathan Shirland, ‘Embryonic Phantoms: materiality, marginality and modernity in Whistler’s Black Portraits’, Art History: Journal of the Association of Art Historians, 1, 34 (2011), 80-101, 82; Pinnington, 148.
[22] Shirland, 82.
[23] George Percy Jacomb-Hood, With Brush and Pencil (London: John Murray, 1925), 61-62.
[24] See Evan Charteris, John Sargent (London: William Heinemann, 1927); Richard Ormond and Elaine Kilmurray (eds.), John Singer Sargent: The Late Portraits (New Haven and London: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2003); and Devon Cox, The Street of Wonderful Possibilities: Whistler, Wilde and Sargent in Tite Street (London: Frances Lincoln, 2015).
[25] Charteris, 200.
[26] Ormond and Kilmurray, 10.
[27] There are several versions of the Eve trilogy, the last of which (ca. 1865-1897) are now in the Tate and are the examples I am referring to here.
[28] Andrew Wilton and Robert Upstone (eds.), The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain, 1860-1910 (London: Tate Gallery Publishing, 1997), 265. These dates account for Watts’ reworking of the painting, which may have been altered even after 1892; as noted in Wilton and Upstone (267), the painting ‘was largely a product of the 1890s’.
[29] Wilton and Upstone, 267.
[30] Mary Watts, The Diary of Mary Watts, 1887-1904: Victorian Progressive and Artistic Visionary, ed. by Desna Greenhow (London: Lund Humphries in association with Watts Gallery, 2016), 162.
[31] Watts, 162.
[32] Veronica Gould, G. F. Watts: The Last Great Victorian (New Haven and London: Yale University Press, 2004), 69.
[33] Edward Carpenter, Civilisation: Its Cause and Cure (London: George Allen & Unwin, 1889), 129.
[34] Carpenter (1889), 129-130.
[35] Edward Carpenter (ed.), Light from the East: being letters on Gñanam, the divine knowledge… (London: G. Allen & Unwin, 1927), 21.
[36] William James, The Principles of Psychology (New York: Henry Holt & Co., 1890), 292.
[37] James, 293-294.
[38] James, 296.
[39] James, 297-298.
[40] Carpenter (1927), 21-23.
[41] For more on Watts and Theosophy, see David Stewart, ‘Theosophy and Abstraction in the Victorian Era: The Paintings of G. F. Watts.’, Apollo, 3, 138 (1993), 298-302.
[42] William Q. Judge, Echoes from The Orient: A Broad Outline of Theosophical Doctrines (New York: The Aryan Press, 1890), 1.
[43] Henry Steel Olcott, ‘The Genesis of Theosophy’, The National Review (October 1889), 208-210.
[44] Olcott, 210.
[45] Judge, 10-11.
[46] Edward Carpenter, My Days and Dreams, Being Autobiographical Notes (London: George Allen & Unwin, 1927), 240.
[47] Quoted in Judge, 15.
[48] Gould, 258.
[49] Edwin Arnold, The Light of Asia (London: Trübner & Co., 1879).
[50] Philip C. Arnold, The British discovery of Buddhism (Cambridge: Cambridge University Press, 1988), 3.
[51] Arnold (1988), 84.
[52] Arnold (1988), 85.
[53] Arnold (1988), 88.