MARY EVELINA KINDON(British, 1849-1919) Elaine of Astolat, Lady of Shalott oil on canvas signed lower left: M. E. Kindon 92 x 62cm (120 x 89cm framed) OTHER NOTES: Elaine the fair, Elaine the loveable, Elaine, the lily maid of Astolat, High in her chamber up a tower to the east Guarded the sacred shield of Lancelot Which first she placed where morning's earliest ray Might strike it, and awake her with the gleam Alfred Lord Tennyson, 'Lancelot and Elaine', Idylls of the King (1859-1885). In 1138 Geoffrey of Monmouth finally put down his quill after completing his magnum opus 'Historia Regum Britanniae (History of the Kings of Britain)' which launched an enduring legend based on King Arthur and served as inspiration for numerous writers, poets and artists throughout the centuries that followed. Prominent Arthurian writings went on to include those of 12th century Frenchman Chretien de Troyes, Sir Thomas Malory's 'Le Morte d'Arthur' (1485) and Alfred Lord Tennyson's poems 'The Lady of Shalott' (1832) and 'Idylls of the King' (1859-1885). In all these legends we are introduced to differing versions of the same character; Elaine of Astolat, also known as the Lady of Shalott. In Malory's depiction Elaine meets Sir Lancelot when he takes part in a jousting tournament organised by her father Bernard, the Lord of Astolat. Elaine becomes enamored of him and looks after his shield while he competes with another. After Lancelot wins the tournament he is wounded and tended to by Elaine but when he recovers he leaves the castle never to return, ten days later Elaine dies of heartbreak. In accordance with her wishes her body is placed in a small boat, clutching a lily in one hand and her final letter in the other, floating down the river to Camelot. Mary Evelina Kindon's beautiful depiction of Elaine shows her sat by the window, full of hope, with the shield of Sir Lancelot in front of her and her hands clasped waiting for his return. Her soft and delicate features and white dress convey a sense of innocence and naivety with her dreamy gaze full of love and adoration. The dappled light from sunrise casts an elegant glow across her face and reflects on to the shield of Lancelot perfectly illustrating Tennyson's poem. Elaine has captured the minds of many artists, becoming one of the most recognisable tertiary characters from Arthurian legend, others who have depicted her story include Dante Gabriel Rossetti, John William Waterhouse and John Atkinson Grimshaw. In fact, Kindon and Waterhouse were contemporaries, both beginning their studies at the Royal Academy (RA) in the same year, 1871. Prior to studying at the RA Kindon gained recognition as an accomplished copyist and was commissioned by Prince Leopold, Duke of Albany, to copy Turner's 'Old Temersire' which was sent to Windsor Castle (1). In 1879 she exhibited her first picture at the Royal Academy, a study of a head called 'An English Girl'. She went on to exhibit several times at the RA and also at many of the other principal London exhibition venues such as Burlington House, Guildhall Art Gallery, Society of British Artists and the Institute of Painters in Watercolours, not to mention those in Birmingham, Southport, Liverpool, and Paris. Her work is held in the collection of the Bushey Museum and Art Gallery, Hertfordshire, UK. Madeleine Norton | Decorative Arts and Fine Art Specialist (1) "Miss Mary Evelina Kindon", The Queen, The Lady's Newspaper, June 22 1889, page 887 (with thanks to Allan Willingham for his assistance with research) Dimensions 92 x 62cm (120 x 89cm framed) Artist or Maker MARY EVELINA KINDON (British, 1849-1919) Medium oil on canvas Notes Elaine the fair, Elaine the loveable, Elaine, the lily maid of Astolat, High in her chamber up a tower to the east Guarded the sacred shield of Lancelot Which first she placed where morning's earliest ray Might strike it, and awake her with the gleam Alfred Lord Tennyson, 'Lancelot and Elaine', Idylls of the King (1859-1885). In 1138 Geoffrey of Monmouth finally put down his quill after completing his magnum opus 'Historia Regum Britanniae (History of the Kings of Britain)' which launched an enduring legend based on King Arthur and served as inspiration for numerous writers, poets and artists throughout the centuries that followed. Prominent Arthurian writings went on to include those of 12th century Frenchman Chretien de Troyes, Sir Thomas Malory's 'Le Morte d'Arthur' (1485) and Alfred Lord Tennyson's poems 'The Lady of Shalott' (1832) and 'Idylls of the King' (1859-1885). In all these legends we are introduced to differing versions of the same character; Elaine of Astolat, also known as the Lady of Shalott. In Malory's depiction Elaine meets Sir Lancelot when he takes part in a jousting tournament organised by her father Bernard, the Lord of Astolat. Elaine becomes enamored of him and looks after his shield while he competes with another. After Lancelot wins the tournament he is wounded and tended to by Elaine but when he recovers he leaves the castle never to return, ten days later Elaine dies of heartbreak. In accordance with her wishes her body is placed in a small boat, clutching a lily in one hand and her final letter in the other, floating down the river to Camelot. Mary Evelina Kindon's beautiful depiction of Elaine shows her sat by the window, full of hope, with the shield of Sir Lancelot in front of her and her hands clasped waiting for his return. Her soft and delicate features and white dress convey a sense of innocence and naivety with her dreamy gaze full of love and adoration. The dappled light from sunrise casts an elegant glow across her face and reflects on to the shield of Lancelot perfectly illustrating Tennyson's poem. Elaine has captured the minds of many artists, becoming one of the most recognisable tertiary characters from Arthurian legend, others who have depicted her story include Dante Gabriel Rossetti, John William Waterhouse and John Atkinson Grimshaw. In fact, Kindon and Waterhouse were contemporaries, both beginning their studies at the Royal Academy (RA) in the same year, 1871. Prior to studying at the RA Kindon gained recognition as an accomplished copyist and was commissioned by Prince Leopold, Duke of Albany, to copy Turner's 'Old Temersire' which was sent to Windsor Castle (1). In 1879 she exhibited her first picture at the Royal Academy, a study of a head called 'An English Girl'. She went on to exhibit several times at the RA and also at many of the other principal London exhibition venues such as Burlington House, Guildhall Art Gallery, Society of British Artists and the Institute of Painters in Watercolours, not to mention those in Birmingham, Southport, Liverpool, and Paris. Her work is held in the collection of the Bushey Museum and Art Gallery, Hertfordshire, UK. Madeleine Norton | Decorative Arts and Fine Art Specialist (1) "Miss Mary Evelina Kindon", The Queen, The Lady's Newspaper, June 22 1889, page 887 (with thanks to Allan Willingham for his assistance with research)