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By Shapley H.

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Yet, further examination of this painting surfaces an inner concrete tension, that of the physical and the spiritual dimensions, both in regard to love and art, which infuse many elements of the painting. The figures, with regard to the viewer, exist in a very shallow and intimate space. The spatial depth that does exist is towards the background landscape. Each of the figures seems to occupy its own separate space within the landscape, despite slight overlap. Positioned in a pyramidal composition, each figure holds its own strong pole of interest and activity.

All four images—The Heart Desires, The Hand Refrains, The Godhead Fires, and The Soul Attains—are set in characteristic Burne-Jones style that uses archways, stairs, windows, and passages to divide the space. Focusing on the final painting of the series, The Soul Attains, we see Pygmalion kneeling at the newly alive female image’s feet, looking up at her with adoration. The female now has translucent flesh rather than a stone surface; her eyes look out toward Pygmalion but are not quite connecting.

Sargisson would further assert that these symbolic, perhaps ‘utopian,’ spaces have transgressed the realistic ones (146). It is as if these compositions speak to their contrasting images—those that depict women’s restrictions and offer no alternatives—and take that extra step. If imaginative space is difficult for Victorian women to come by, these canvases provide some outlets. I begin with another work by a female artist of the period, Marie Spartali Stillman, who came from an Anglo-Greek family and is linked personally and professionally with the Pre-Raphaelite movement.

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A Contribution to the Study of Galactic Dimensions by Shapley H.

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