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TheWorldBeforetheFlood
FromWikipedia,thefreeencyclopedia

TheWorldBeforetheFloodisanoilpaintingon
canvasbyEnglishartistWilliamEtty,firstexhibitedin
1828andcurrentlyintheSouthamptonCityArt
Gallery.ItdepictsascenefromParadiseLostinwhich,
amongaseriesofvisionsofthefutureshowntoAdam,
heseestheworldimmediatelybeforetheGreatFlood.
Thepaintingillustratesthestagesofcourtshipas
describedbyMiltonagroupofmenselectwivesfrom
agroupofdancingwomen,dragtheirchosenwoman
fromthegroup,andsettledowntomarriedlife.Behind
thecourtinggroup,anoncomingstormlooms,asymbol
ofthedestructionwhichthedancersandloversare
abouttobringuponthemselves.

TheWorldBeforetheFlood,1828,140by
202.3cm(55.1by79.6in)

Whenfirstexhibitedatthe1828RoyalAcademy
SummerExhibitionthepaintingattractedlargecrowds,
andstronglydividedcriticalopinion.Itwasgreatlypraisedbymanycritics,whocounteditamongthe
finestworksofartinthecountry.Otherreviewerscondemneditascrude,tasteless,offensiveandpoorly
executed.
ThepaintingwasboughtattheSummerExhibitionbytheMarquessofStafford,whichgreatlypleased
Etty.Itwassoldin1908,longafterEttyhadfallenoutoffashion,forasubstantialloss,andsoldagainin
1937forafurthersubstantiallosstotheSouthamptonCityArtGallery,whereitremains.Anotherworkby
Etty,soldasABacchanalianScenein1830andlaterrenamedLandscapewithFigures,wasidentifiedin
1953asapreliminaryoilsketchforTheWorldBeforetheFloodandpurchasedbytheYorkArtGallery.
ThetwopaintingswereexhibitedtogetheraspartofamajorretrospectiveofEtty'sworkin201112.

Contents
1Background
2Subject
3Composition
4Reception
5Legacy
6Footnotes
7References
7.1Notes
7.2Bibliography

Background
https://en.wikipedia.org/wiki/The_World_Before_the_Flood

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WilliamEttywasbornin1787,thesonofaYorkbakerandmiller.[1]He
beganasanapprenticeprinterinHull.[2]Oncompletinghissevenyear
apprenticeshiphemovedattheageof18toLondon"withafewpiecesof
chalkcrayons",[3]withtheintentionofbecomingahistorypainterinthe
traditionoftheOldMasters.[4]StronglyinfluencedbytheworksofTitian
andRubens,hesubmittedpaintingstotheRoyalAcademyofArtsandthe
BritishInstitution,allofwhichwereeitherrejectedorreceivedscant
attentionwhenexhibited.[5]
In1821theRoyalAcademyacceptedandexhibitedoneofEtty'sworks,The
ArrivalofCleopatrainCilicia(alsoknownasTheTriumphof
Cleopatra).[5]Thepaintingwasextremelywellreceived,andmanyofEtty's
fellowartistsgreatlyadmiredhim.HewaselectedafullRoyalAcademician
SelfportraitofWilliam
in1828,[6]atthattimethemostprestigioushonouravailabletoan
Etty,1823
artist.[7][A]Hebecamewellrespectedforhisabilitytocapturefleshtones
accuratelyinpainting,andforhisfascinationwithcontrastsinskintones.[8]
FollowingtheexhibitionofCleopatra,overthenextdecadeEttytriedtoreplicateitssuccessbypainting
nudefiguresinbiblical,literaryandmythologicalsettings.[9]
WhilesomenudesbyforeignartistswereheldinprivateEnglishcollections,thecountryhadnotraditionof
nudepaintingandthedisplayanddistributionofnudematerialtothepublichadbeensuppressedsincethe
1787ProclamationfortheDiscouragementofVice.[10]EttywasthefirstBritishartisttospecialiseinthe
nude,andthereactionofthelowerclassestothesepaintingscausedconcernthroughoutthe19th
century.[11]Manycriticscondemnedhisrepeateddepictionsoffemalenudityasindecent,althoughhis
portraitsofmalenudesweregenerallywellreceived.[12][B]

Subject
TheWorldBeforetheFloodillustrateslines580
97fromBookXIofJohnMilton'sParadiseLost.
AmongthevisionsofthefutureshowntoAdam
bytheArchangelMichael,MichaelshowsAdam
theworldaftertheexpulsionfromtheGardenof
EdenbutbeforetheGreatFlood.Thissectionof
ParadiseLostreflectsapassagefromthesixth
chapteroftheBookofGenesis:"Thatthesonsof
Godsawthedaughtersofmenthattheywerefair
andtheytookthemwivesofallwhichthey
chose",anactwhichwouldshortlycauseGodto
regretcreatinghumanityandtocleansetheearth
intheGreatFlood.[14][C]
TheWorldBeforetheFloodshowsthestagesof
courtshipasdescribedbyMilton,asmenare
seducedbywomenandpassfromenjoyingthe
https://en.wikipedia.org/wiki/The_World_Before_the_Flood

TheyonthePlain
Longhadnotwalkt,whenfromtheTentsbehold
ABeavieoffairWomen,richlygay
InGemsandwantondresstotheHarptheysung
SoftamorousDitties,andindancecameon:
TheMenthoughgrave,ey'dthem,andletthireyes
Rovewithoutrein,tillintheamorousNet
Fastcaught,theylik'd,andeachhislikingchose
Andnowoflovetheytreattillth'EevningStar
LovesHarbingerappeerdthenallinheat
TheylighttheNuptialTorch,andbidinvoke
Hymen,thenfirsttomarriageRitesinvok't
WithFeastandMusickalltheTentsresound.
Suchhappyinterviewandfairevent
Ofloveandyouthnotlost,Songs,Garlands,Flours,
AndcharmingSymphoniesattach'dtheheart
OfAdam,soonenclin'dtoadmitdelight,
ThebentofNaturewhichhethusexpress'd.
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ParadiseLost,BookXI,lines58097
companyofothermenintomarriedlife.[15]Etty
workedthroughanumberofvarious
configurationsforthecharactersinthepaintingbeforesettlingonhisfinaldesign.[16]

Composition
TheWorldBeforetheFloodisstronglyinfluencedbyABacchanalianRevelBeforeaStatueofPan(1632
33)byNicolasPoussin,[17]whomEttygreatlyadmiredandofwhoseworkshehadpreviouslymadeseveral
copies.[18][19]AdamandMichaelarenotvisibleinthepainting.Instead,theviewerseesthescenefrom
Adam'spointofview.[14]ThepaintingisaBacchanalianscene,[20]centredonagroupofsixscantilyclad
womendancing,whileagroupofmenwatch.Thewomen'scheeksareflushedbothwiththeexertionof
theirdancingandwiththeirlustfulattemptstoseducethewatchingmen.[14]Themen"lettheireyesrove
withoutrein",eachchoosingthewomanhewantstobewith.[14]
Attheleft,fivemeneyethesixdancingwomen,[18]with"grave"expressionsasdescribedbyMilton.[14]
Threeofthemendiscusstheirchoiceofwomen,whiletheothertwowatchthedancinggroupalone.[18]A
sixthmanhasmadehischoice,andlungesforwardtograbthearmsofabarebreasteddancingwoman.[18]
Inthecentre,thewomendance.Theirinterlockedarmsandhandscreateapatternatthecentreofthe
canvas,whichactsasthefocusofthepainting.[18]Totherightofthecentralgroupofdancersayoungman
dragsanotherwomanawayfromthegroupofdancers,[18]tojoinapairofloverswholiedowntogetherat
therightofthepainting.[16]
Acrosstheentirewidthofthebackground,adarkeningskyandoncomingstormcloudspresagethe
destructionthatthedancersareunwittinglyabouttobringuponthemselves.[14]

Preliminaryoilsketch,c.1828

TheWorldBeforetheFlood,1828

Thefinishedworkshowssubtlebutimportantchangesfrompreparatorysketches,changingfroma
focusonthecentralgroupofwomeninearlyversionstoanarrativeacrossthecanvasinthefinished
work.

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InapreliminarystudyfortheTheWorldBeforetheFloodnowintheYorkArtGallery,whilethebroad
structureofthepieceissimilartothatofthefinishedworkthefocusismorestronglyonthecentralgroup
ofwomen.[16]Inearlyversionstherightmostofthedancingfigures,wearingagreenskirt,facesoutward
withherarmsbehindherback,formingaclosedcircletogetherwiththecentralgroupofdancers.[16]Inthe
finishedwork,shegesturesoutwardsfromthecircle,creatingaclearnarrativeflowinthepositionsofthe
figures:fromthesinglemenontheleft,tothemanchoosingawife,tothegroupofdancingwomen,tothe
coupleleavingthecircleofdancerstojointherecliningloversonthefarright.[16]
Aswasthecasewithmostofhisworks,Ettydidnotgivethepaintingatitle.ItwasinitiallyexhibitedasA
Composition,takenfromtheEleventhBookofMilton'sParadiseLost,[21]andwasreferredtobyEtty
himselfasTheBevyofFairWomenandTheOriginofMarriage.[22]

Reception
CriticalopinionconcerningTheWorldBeforetheFloodwas
dividedwhenthepainting,alongwithtwootherofEtty's
works,[23][D]wasexhibitedatthe1828RoyalAcademySummer
Exhibition.[18][25]Somereviewerswereintenselycriticalofthe
piece.AwriterintheLiteraryGazettecalledthepaintinga"deadly
sinagainstgoodtaste",describingthebackgroundas"unnecessarily
harshandcrude"with"muchtoblameandlament"andthedancing
figures"outrageous",complainingthatthewomenremindedhimnot
ofParadiseLost,butofthescantilycladwitchesinRobertBurns's
ABacchanalianRevelBeforea
Tamo'Shanter.[26]AnanonymouscriticintheMonthlyMagazine
StatueofPan,NicolasPoussin,
disparagedthe"writhingsandtwinings"ofthepainting'ssubjects,
163233.Ettywasagreatadmirerof
describingthemas"asclosetotheunpardonablelimitsasanything
Poussin,andTheWorldBeforethe
[18]
thathaslatelyappealedtothepubliceye". Thissamewriter
Floodisheavilyinfluencedbyhis
disapprovedofthedarkskintonesofsomeofthefigures,arguing
work.
that"thebrownvisageofthegipseygivesbutadingyimageofthe
rosesandliliesthat,fromtimeimmemorial,havemadethecharmof
Britishbeauty".[27]ThecorrespondentforTheLondonMagazinefeltthatwhilethepaintingwas"inmany
respectsworthyofadmiration...[there]isaspirit,aboldness,andastartlingeffect",theworkwaspoorly
executedoverall.Itsdepictionofwomendrewparticularire:"theexpressionofthefacesisvapidthe
featuresratherhomelythelimbs,thoughnotilldrawn,havenotthatfinishandplayofthemuscles,which
alonegivelightnessandelasticity.Theyseemliftedupwithdifficulty,andreadytofall."Thereview
upbraidedEttyasanartistwhohad"advancedhalfwayonhisroadtoclassicexcellenceandthere,when
heshouldhaveproceededwithincreasedardourandmorecarefulexactnessfrombeinginviewofhis
object,hehasstoppedshort."[28]Etty'sfellowartistJohnConstableprivatelydescribedtheworkas"arevel
routofSatyrsandladybumsasusual."[29]
Othercriticsofferedamorepositiveimpression
ofthepiece.TheExaminercelebratedEtty's
having"outdonehisformerself,andmostofhis
contemporaries".[18]AreviewerinTheMirrorof
Literature,Amusement,andInstructionsaidthat
https://en.wikipedia.org/wiki/The_World_Before_the_Flood

WereMiltonnowalive,possessedofsight,
Andhisembodiedbeautiesheretoview,
Thisscenehewouldbeholdwithprouddelight,
AndownthatEttyisapoettoo.
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"fewpictureshaveattractedordeservedmore
ButifPoussincouldfromthegravearise,
attentionthanthismasterlyproduction,"
Hisheartatoncewouldfeelanenviousthorn,
describingthefiguresas"gracefuland
Hewouldbeholdtheworkwithjealouseyes,
elegant".[21]TheAthanaeumconsideredit
Andwrithing,wishthatEttyne'erwasborn.
"decidedlythemostattractivepictureinthe
Artist!'tisthinetoreachtheheroicsphere,
wholeExhibition",notingthattheirreviewwas
OrsportwhereGracesandtheLovespreside
delayedbecauseintheopeningweekofthe
Loftyorbeautifulthyformsappear,
exhibition,"thecrowdswhichcontinuallystood
ByGeniuswarm'd,withnaturestillthyguide.
infrontofitrendereditquiteimpossibletoget
OnaPictureinillustrationofsomepassagesinParadise
suchaviewofitaswouldenableustodoit
Lost,paintedbyWilliamEtty,Esq.,R.A.Elect,John
justice".[31]Colburn'sNewMonthlyMagazine
Taylor,September1828[30]
consideredit"anotherinstanceoftherapid
advanceswhichthisrisingartistismaking
towardsperfection."[32]ThemosteffusivepraisewasofferedinpoeticformbyJohnTaylor,whoin
September1828imaginedthatifMiltonandNicolasPoussinwerebothalivetoseethepainting,Milton
wouldviewitwith"prouddelight",whilePoussinwouldsufferan"enviousthorn"withtherealizationthat
Etty'sabilitieshadsurpassedhisown.[30]

Legacy
TheWorldBeforetheFloodwasboughtatits1828exhibitionbyTheMarquessofStaffordfor500guineas
(about38,000in2015terms[33]),[34]toaddtohisprivatecollectionofnudesbyTitian.[35]Ettywas
delightedwithhissuccessattheexhibition,atwhichallthreeofthepaintingshehadexhibitedwere
successfullysoldtoprestigiousbuyers.[7][D]
Iknowyouwillrejoicewithusall,whenItellyouthattheprincipalpartofthecargoofthe
ship"WilliamEtty"(ofwhosearrivalyouhadbeenadvised),nowlandedattheRoyal
AcademyWharf,hasbeenconsignedtotheRightHonourabletheMarquisofStafford,forfive
hundredguineas:therestofthecargobeingalreadyownedbyLordNormantonandDigby
Murray,Esq....Afterclearingout,weshallagainputtoseaandhopeforequallyfavouring
galesnextvoyage.
LetterfromWilliamEttytohiscousinThomasBodleyonthesaleofTheWorldBefore
theFlood.[7]
From1832onwards,needledbyrepeatedattacksfromthepressonhissupposedindecencyand
tastelessness,Ettyoftenmadeaconsciousefforttoprojectamoraldimensionintohiswork,althoughhe
continuedtobeaprominentpainterofnudes.[36]Hediedin1849,[37]workingandexhibitingupuntilhis
death[38]despiteconsistentlybeingregardedbymanyasapornographer.CharlesRobertLeslieobserved
shortlyafterEtty'sdeaththat"[Etty]himself,thinkingandmeaningnoevil,wasnotawareofthemannerin
whichhisworkswereregardedbygrosserminds".[39]Interestinhisworkdeclinedasnewmovements
cametocharacterisepaintinginBritain,andbytheendofthe19thcenturythecostofallhispaintingshad
fallenbelowtheiroriginalprices.[37]
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TheWorldBeforetheFloodwassoldtoF.E.Sidneyin1908for230guineas(about21,000in2015
terms[33]),andsoldontotheSouthamptonCityArtGalleryin1937for195guineas(about11,000in2015
terms[33]),[25]whereasof2015itremains.[40]Inadditiontoitsinitialexhibitionin1828,thepaintingwas
exhibitedatanumberofsignificantexhibitionsthroughoutthe19thcentury.[41]Etty'spreliminaryoil
sketchenteredthecollectionofEtty'sformermentorSirThomasLawrence.FollowingLawrence'sdeathin
1830,itwassoldasABacchanalianScenefor27guineas(about2,200in2015terms[33]),andsoldonas
LandscapewithFiguresin1908.In1953itwasidentifiedasastudyforTheWorldBeforetheFlood,and
purchasedbytheYorkArtGallery,[22]whereasof2015itremains.[42]Bothversionsofthepaintingwere
showntogetheraspartofamajorretrospectiveofEtty'sworkattheYorkArtGalleryin201112.[43]

Footnotes
A. InEtty'stime,honourssuchasknighthoodswereonlybestowedonpresidentsofmajorinstitutions,notoneven
themostwellrespectedartists.[7]
B. Etty'smalenudeportraitswereprimarilyofmythologicalheroesandclassicalcombat,genresinwhichthe
depictionofmalenuditywasconsideredacceptableinEngland.[13]
C. TherelevantverseisGenesis6:2(http://tools.wmflabs.org/bibleversefinder/?
book=Genesis&verse=6:2&src=KJV).
D. Etty'sotherpaintingsexhibitedinthe1828exhibitionwereVenus:TheEveningStarandGuardianCherubs:
PortraitsoftheChildrenoftheEarlofNormanton.ThiswasEtty'sfirstSummerExhibitionasafullRoyal
Academician.InadditiontotheworksexhibitedattheRoyalAcademy,EttyexhibitedCupidIntercedesfor
PsycheandTheDawnofLoveattheBritishInstitution.[23]GuardianCherubswastheonlypaintingexhibitedby
EttyattheRoyalAcademyinthewholeofthe1820sthatdidnotincludeatleastonenudefigure.[24]

References
Notes
1. "WilliamEtty".OxfordDictionaryofNationalBiography(onlineed.).OxfordUniversityPress.
doi:10.1093/ref:odnb/8925(https://dx.doi.org/10.1093%2Fref%3Aodnb%2F8925).(SubscriptionorUKpubliclibrary
membership(http://www.oup.com/oxforddnb/info/freeodnb/libraries/)required.)

2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.

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Burnage2011a,p.157.
Smith1996,p.86.
Burnage2011d,p.31.
Burnage2011b,p.118.
Robinson2007,p.135.
Burnage2011c,p.198.
"Abouttheartist"(http://www.manchestergalleries.org/salvaged/thepainting/abouttheartist/index.html).
ManchesterArtGallery.Retrieved10February2015.
Smith2001b,p.53.
Smith2001b,p.55.
Smith2001a,p.54.
Burnage2011d,pp.3233.
Burnage2011b,p.113.
Burnage2011b,pp.11314.
Burnage2011b,p.115.
Robinson2007,p.207.

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17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.

TheWorldBeforetheFloodWikipedia,thefreeencyclopedia
Robinson2007,p.207.
Burnage2011b,p.114.
Burnage2011a,p.193.
Green2011,p.70.
"FineArts:ExhibitionoftheRoyalAcademy".TheMirrorofLiterature,Amusement,andInstruction(London:
JohnLimbird)(315):383.31May1828.
Farr1958,p.158.
Burnage&Bertram2011,p.23.
Burnage2011d,p.32.
Farr1958,p.157.
"FineArts:RoyalAcademy".TheLondonLiteraryGazette,andJournaloftheBellesLettres(London:W.A.
Scripps)(590):300.10May1828.
"FineArtsExhibitions"
(http://www.forgottenbooks.com/readbook_text/Monthly_Magazine_or_British_Register_Of_Politics_Literature_
and_the_1000523241/653).TheMonthlyMagazine(London:RichardPhillips).
"NotesonArt:TheExhibitionoftheRoyalAcademy".TheLondonMagazineIII(London:HenryHooper)1(3):
384.June1828.
Robinson2007,p.340.
Taylor,John(September1828)."OnaPictureinillustrationofsomepassagesinParadiseLost,paintedby
WilliamEtty,Esq.,R.A.Elect".TheGentleman'sMagazine(London:J.B.NicholsandSon)98:260.
"RoyalAcademyExhibition".TheAthenaeum(London:WilliamLewer)2(28):439.7May1828.
"FineArts".Colburn'sNewMonthlyMagazine(London:HenryColburn)24:254.1June1828.
UKCPIinflationnumbersbasedondataavailablefromGregoryClark(2015),"TheAnnualRPIandAverage
EarningsforBritain,1209toPresent(NewSeries)(http://www.measuringworth.org/ukearncpi/)"
MeasuringWorth.
Robinson2007,p.386.
Burnage2011d,p.34.
Burnage2011d,p.42.
Robinson2007,p.440.
Burnage2011e,p.243.
Leslie,CharlesRobert(30March1850)."LectureontheWorksofthelateW.Etty,Esq,R.A.,byProfessor
Leslie".TheAthenum(London)(1170):352.
"TheWorldbeforetheFlood"(http://www.bbc.co.uk/arts/yourpaintings/paintings/theworldbeforetheflood
16426).BBCYourPaintings.BBCOnline.2015.Retrieved16June2015.
Farr1958,pp.15758.
"Sketchfor'TheWorldBeforetheFlood' "(http://www.yorkmuseumstrust.org.uk/collections/search/item/?
id=20000196).York:YorkMuseumsTrust.2015.Retrieved16June2015.
Burnage2011b,pp.11315.

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Laura.WilliamEtty:Art&Controversy.London:PhilipWilsonPublishers.pp.10654.
ISBN9780856677014.OCLC800599710(https://www.worldcat.org/oclc/800599710).
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ISBN9780856677014.OCLC800599710(https://www.worldcat.org/oclc/800599710).
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(https://www.worldcat.org/oclc/2135826).
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Retrievedfrom"https://en.wikipedia.org/w/index.php?
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