Edward Fellowes Prynne

Love and Labour

Edward Fellowes Prynne, an original oil painting on canvas, "Love and Labour": Strong moral conviction is a key element to Pre-Raphaelite art and it is often relayed symbolically. Here, the man clearly is representative of labour while the woman with her child symbolizes love. Above them is the Cross, to which the man fixes his gaze. On this level the 'meaning' of the painting is self-evident; God the Father stands over all. The women's eyes, however, are directed downwards and the baby seems to gaze mysteriously at something beyond our vision in space. "Love and Labour" is a fine, original example of the famous Victorian art created by the British painter, Edward A. Fellowes Prynne.

Original Oil Painting on Canvas by Edward Fellowes Prynne.

Love and Labour

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Title:	Love and Labour
Artist:	Prynne, Edward A. Fellowes (Plymouth, 1854 - Ealing, 1921)
Date:	1904
Medium:	Original Oil Painting on Canvas
Note:	Edward A. Fellowes Prynne 'Edward Fellowes Prynne': An important late nineteenth and early twentieth century British painter, Edward Fellowes Prynne was the third son of George Rundle Prynne, Reverend of St. Peter's, Plymouth. He is known to have studied art in London, Antwerp, Florence and Paris. Edward Fellowes Prynne established his home and studio in London shortly after 1880 and began exhibiting there. During his career his paintings were shown at such locations as the prestigious Royal Academy, London, and at major galleries in Liverpool, Manchester and Glasgow. Edward Fellowes Prynne was also a full member of the Royal Society of British Artists (R.B.A.), and exhibited his art at their annual exhibitions. Today examples of his paintings are included at the Church of St. Peter's, Plymouth, and at the Russell-Cotes Art Gallery and Museum, Bournemouth.
	During his career, Edward Fellowes Prynne excelled at portraits, figure studies and allegorical scenes. Many of his works in this latter category depict fairies and other supernatural forces. Fairy painting was a major genre in Britain during the latter nineteenth century. Besides Prynne, such well known artists as John Everett Millais, Richard Dadd, Noel Paton, Daniel Maclise, Richard Doyle, Edward Burne-Jones and William Etty contributed numerous works to this genre. One scholar writes, "Fairy painting was close to the centre of the Victorian subconscious. No other type of painting concentrates so many of the opposing elements in the Victorian psyche: the desire to escape the drear hardships of daily existence; the stirrings of new attitudes towards sex, stifled by religious dogma; a passion for the unseen; psychological retreat from scientific discoveries; the birth of psychoanalysis; the latent revulsion against the exactitude of the new invention of photography. It was the collision of these elements with the securely held beliefs of former generations which resulted in paintings which are peopled by creatures of the old mythology in fantastic settings, visualized in the obsessive reality demanded by the newly propagated doctrine of 'Truth to Nature'." *
	Some of Prynne's best known paintings -- "A Sylph Distributing the Early Morning Dew" and "O Ye Mountains and Hills" (1899) -- clearly belong to this genre. Many of his other great works, however, combine elements of the supernatural with a distinct 'Pre-Raphaelite' influence. Such is the case with Love and Labour. Briefly, Pre-Raphaelite painters (Millais, Hunt and Dante Gabriel Rossetti being the most famous) strove to recapture the sincerity and simplicity of early Italian Renaissance art, while completely rejecting the often trivial genre scenes which then dominated contemporary British art.
	Strong moral conviction is a key element to Pre-Raphaelite art and is often relayed symbolically. In Love and Labour the man clearly is representative of labour while the woman with her child symbolizes love. Above them (to the upper right) is the Cross, to which the man fixes his gaze. On this level the 'meaning' of the painting is self-evident; God the Father stands over all. The women's eyes, however, are directed downwards and the baby seems to gaze mysteriously at something beyond our vision in space.
	The wonderful portrayal of the mother and child, in fact, in many ways stands in opposition to that of the husband and father. Labour has made him strong and practical. His skin has darkened from many hours of work in the sun. His feet are firmly planted on the earth. On the other hand, the beautiful flesh and features of the mother are so compelling, sensual and almost other-worldly that we find ourselves once again in the supernatural genre of fairy painting. Furthermore, what so transfixes the eyes of the baby that neither we nor the father can see it? What is sure is that the mother and child are representative of an almost purely spiritual world and that this magnificent work of art with its superb colouration and modeling stands at the centre of Pre-Raphaelite painting.
Reference:	* Jeremy Maas, Victorian Painters, New York, Harrison House, 1978, p. 148.
	E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris, Librairie Grund, 1966, Vol. 4, p. 565 & Vol. 7, p. 45.
	Christopher Wood, The Dictionary of Victorian Painters, Woodbridge, Suffolk, Antique Collector's Club, 1989, p. 382.
Size:	36 X 28 1/2 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Original English Antique Oak Frame
Buy Now	Price: $7,500.00 US
Condition:	Painted on stretched canvas and signed, titled and dated on the verso by the artist. Faintly signed with the artist's monogramme and dated within the painting to the lower right corner. This large and magnificent painting is in excellent condition throughout without a trace of fading or discolouration and represents a superb, original example of the famous Victorian art of Edward A. Fellowes Prynne 'Edward Fellowes Prynne'.
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