“Decently veiled” nudes and paintings on biblical themes by artist Herbert Schmalz.

Herbert Gustave Schmalz (1856–1935) — English Pre-Raphaelite painter, not as famous and celebrated as Millais and Dante Gabriel Rossetti, but his work is at least interesting and fully reflects all the features of the Pre-Raphaelite works with their decorativeness, references to some historical events, iconic literary works and English ballads.

Imogen (1888)

Like all Pre-Raphaelites, Schmaltz paid great attention to realism, moving away from academic conventionality and impersonality.

He tried to reconstruct historical events related to the persecution of the first Christians, and painted a whole series of paintings devoted to this theme. However, beauty and aesthetics for the artist were still in first place, so the result was a somewhat “glamorized” view of the events of those years.

Arminius and Tusnelda

However, the paintings of the artist quite met the demands of the audience of the time. Artistic reflections of the events of the New Testament in Victorian England were in great esteem, so the choice of themes was quite logical, and the popularity and innovation of the paintings of the first Pre-Raphaelites gave rise to many imitators.

Zenobia (1888)

Originally from Newcastle, England, Schmalz was born to a German father and an English mother, hence his typically German name and surname. Schmalz received a good artistic education: he graduated from the Kensington School of Art, the Royal Academy of Arts in London, and then went to Antwerp to study at the local Academy of Fine Arts. The Academy in Antwerp was considered more progressive, as it introduced the artistic achievements of the German, Flemish and French schools. But Schmalz, even in the early 20th century, when various avant-garde artists began to set the main trends in painting, remained faithful to the traditional style of the Pre-Raphaelites with a small admixture of Orientalism.

Beautiful beauty

After returning to London, he began to paint historical paintings on the subjects of the New Testament and popular literary works. The painting “Too Late”, which he exhibited in 1884, was a particular success.

Too Late

Six years later, Schmalz traveled to Jerusalem in search of inspiration. Upon his return, he painted one of his major works, The Return from Golgotha, which is dedicated to the events following the execution of Jesus Christ. The foreground depicts the Virgin Mary, who is suffering the death of her son, supported by St. John and Mary Magdalene.

Return from Calvary

A little farther away are two other female figures, probably Christians who are deeply distressed by what has happened. One of the women turns back to the dark clouds in the sky, symbolizing the beginning of terrible times and an irreparable catastrophe. But there is hope - light breaks through the clouds, and the artist makes it clear that everything is not over yet, there will be the resurrection of Christ, and the spread of Christianity in Europe and around the world. Christ sacrificed himself for the salvation of mankind, and it is in our power to do everything to make sure that this sacrifice was not in vain - this is the main moral of the painting.

Nydia, the Blind Girl of Pompeii (1890)

It made a strong impression on Victorian viewers. For example, the critic George More wrote: “near the painting always crowded people, and one enthusiastic lady exclaimed: well, why all the other artists at the exhibition write some trees, landscapes and scenes from everyday life, which I can see in the street. But why do I need them after my soul has been elevated?”. So Schmalz knew well how to paint pictures so that they would please the audience and find rich buyers.

The Prayer of St. Monica

Gradually Schmaltz moved away from the influence of the Pre-Raphaelites and began to paint in the style of neoclassicism. Dramatic events depicted in them were emphasized by light effects, Schmalz often depicted storm clouds, hinting at the tragic nature of the events.

He also willingly painted portraits to order, which was the main income of most artists at the time, including celebrities such as the actress Lillie Langtry.

Lilly Langtry's portrait

But he was not going to give up his favorite biblical motifs, which brought him his first fame. One of the most impressive paintings on this theme - “Faithful to Death”. There he showed a scene of massacre in the gladiatorial arena, presumably the Colosseum over the first Christians.

Faithful unto death (Faithful unto death or Christian Esad Leones)

However, the influence of the Pre-Raphaelites, and academism in general, is particularly strong in this painting. Most of those sent to execution are young and beautiful girls with academically flawless bodies, with only a young man in the foreground.

Faithful unto death. (excerpt)

The result was an impressive nude, but in a situation that could not be criticized even by the strictest champions of morality. For Schmaltz it was an opportunity to sell the painting for more money, because there were always buyers for such “decently veiled” nudes.

Iphigenia

In 1918, upset by Germany's defeat in World War I and wanting nothing to do with it, he changed his name to John Wilson Carmichael. However, he always considered himself an English artist, from childhood lived in England, was friends with William Holman Hunt and Frederick Leighton, was his own in the English creative crowd, even married the sister of Leighton's favorite model, and his paintings have always found their buyers. And what else does an artist need for a happy life?

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