The Rift Within the Lute, 1861-1862

The Rift Within the Lute, 1961-1862 by Arthur Hughes (1832-1915). Oil on canvas.

Hughes specialised in images of romantic love and this is an excellent example of this subject. A beautiful woman is shown making music which Hughes’ often used to express romantic love. She is wearing a richly coloured blue gown and purple cloak and has a lute at her side. The bunch of bluebells placed on the lute signify constancy in the language of flowers. Hughes used his own wife, Tryphena, as the model. She is shown in one of his favourite natural poses - lying full-length on the ground. Hughes cleverly brings the model in close contact with the viewer by making her fill the picture space. The painting includes Hughes’ favourite woodland setting as the background. Hughes’ accurate depiction of nature and glowing colours are intended to increase the emotional intensity of the painting.

Like many of Hughes’ paintings, The Rift within the Lute, was inspired by poetry. It is set in the Middle Ages and its title is taken from Tennyson’s ‘Merlin & Vivien’ from his ‘Idylls of the King’ published in 1859 which retells the legend of King Arthur. Rather than creating a precise illustration, Hughes used this poem to evoke a mood. Tennyson inspired generations of painters and illustrators and inspired many Pre-Raphaelite pictures.

Arthur Hughes is a major late Pre-Raphaelite painter and The Rift within the Lute is one of the best examples of his work. It captures much that preoccupied him as an artist: his favourite woodland setting, romantic love and a rich colour palette. Hughes also designed the ivy leaf picture frame. It is made from wood with applied moulded ivy leaves made from a putty-like material. Hughes is considered the last Pre-Raphaelite and although never strictly part of the Brotherhood, he shared their ideals. He specialised in images of romantic love which some Pre-Raphaelites considered lightweight. Hughes also had connections with Cumbria. He was a friend of fellow artist, George Howard, Ninth Earl of Carlisle, who lived at Naworth Castle near Brampton. The first owner of the painting was James Leathart, a lead manufacturer from Newcastle who formed an important Pre-Raphaelite collection. He purchased it for 200 guineas. Gordon Bottomley then purchased it in 1920s for his collection.