Simeon Solomon
​Secondary Sources 1873-1905

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This second set of secondary sources covers publications produced after Solomon's arrest for attempted sodomy in February 1873, and ends with  obituaries published after his death in 1905.

​For reviews of his work in later exhibitions between 1873 and 1905 click HERE.

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Pater, Walter. "A Study of Dionysus." Fortnightly Review, 26 (December 1876): 752-772.

ANNOTATION
Pater refers to a painting of Bacchus by a "young Hebrew," describing the 1867 Bacchus as being "subtler, melancholy," thereafter tracing the less heroic Dionysus in Greek myth. Pater was among the few who attempted to remain friends with Solomon after his 1873 arrest.
REPRINTED
In Greek Studies, London: Macmillan & Co., 1894, 1-48.

Whiteford, Sidney Trefussis. "A Half-Forgotten Genius." The Art Amateur, 27 (December 1892): 7-9. Cont'd. in 28 (January 1893): 46-47.

ANNOTATION
This first American article on Solomon introduces an unknown artist to an American public. Whiteford lauds Solomon and his aestheticism. His work is incomparable to Pre-Raphaelitism, although it is influenced by Rossetti and Burne-Jones. Solomon also shares the symbolism of William Blake. Focusing on the illustrations to the Song of Songs, Whiteford gives an intriguing interpretation of the sensual three figures in the illustrations as Love, Solomon himself as Supreme Wisdom, and the Bride as Humanity.

Temple, A. G. The Art of Painting in the Queen's Reign. London: Chapman & Hall, Ltd., 1897, 334-336.

ANNOTATION
This work serves to demonstrate how by the late 1890s Solomon was a forgotten artist. The author largely praises Solomon's artistry, particularly of the 1860s, and notes that "it is to be regretted so few examples comparatively have come." He highlights works in the collection of William Coltart, including Love in Autumn (here called Love in Winter). There is no mention of Solomon's lifestyle or downfall, perhaps signifying the author's unfamiliarity with the artist.
ORIGINAL SOURCE: [Text]

Lenox, John Powell. "The Supreme Face of the Christian Centuries." The Biblical World 12, no.6 (December 1898): 380-399.

Bate, Percy. "The Romantic Influence: Fredrick Sandys, Simeon Solomon, and George Wilson." The English Pre-Raphaelite Painters: Their Associates and Successors. London: George Bell & Sons, 1899, 59-68.

ANNOTATION
Aside from the American Whiteford (and now Temple to a lesser extent), Bate is the first to name Solomon and discuss his work in detail since the 1873 arrest. This early Pre-Raphaelite commentary was revised in 1901. Like Whiteford, Bate does not see Solomon as a true Pre-Raphaelite; he notes instead the Solomon's works should be seen as exotic, overly-sentimental, allegorical images. Illustrations of Dawn, Amor Sacramentum, and Love in Autumn are included.

"Inquest." The Times, 18 August 1905: 9.

ANNOTATION
This brief news report recounts the inquest concerning Solomon's death. It sheds light on the fact that by 1905 most of Britain had forgotten him and that he was essentially a fallen victim of alcoholism. It cites information from his cousin as to the last time he had been helped by his family and also provides details about the last few months of his life as reported by people at St. Giles Workhouse. It ends with the announcement that one of his paintings (title unidentified) had recently sold at Christie's for 250 guineas.
ORIGINAL SOURCE: [Full Text]

Ross, Robert. "A Note on Simeon Solomon." Westminster Gazette, 24 August 1905: 1-2.

ANNOTATION
Historically, this laudatory obituary is important because it provides biographical details that had not been published before.  For instance, Ross reports on the reception of Solomon's Moses by Thackeray, on Solomon's "eccentric" scandalous behaviour, and on the myth about Solomon and a second burglar bungling a robbery attempt (the home-owner supposedly identified as Burne-Jones, who let them go). Ross praises the work from Solomon's early career, but is negatively critical of his later works.

M., W. "Art Notes." The Illustrated London News, 26 August 1905: 312.

ANNOTATION
This two-paragraph obituary laments Solomon's passing because it is the passing of a formerly great artist, not Solomon himself: "The tragedy is ... that one who exhibited at the Royal Academy should die in a workhouse." The obituary also includes the quote by Lady Burne-Jones on her husband's and her admiration for Solomon.
ORIGINAL SOURCE: [Full Text]

Ross, Robert. "Simeon Solomon." Academy, 31 December 1905: 1336-1337.

ANNOTATION
Ross continues his appreciation of Solomon in this more positive biographical and evaluative essay, written to coincide with the two posthumous Solomon exhibitions at Baille's Gallery and the Royal Academy at Burlington House. Ross speaks here more from personal experience and reveals he knew Solomon, but had not seen him since 1893. He praises his use of oils in painting and at the end aggrandizes his work to Gustave Moreau's in its presentation of subject and form.
REPRINTED
With editorial changes in Masques and Phases, London: Humphreys, 1909.
With editorial changes as "Two Appreciations: I. Aubrey Beardsley; II. Simeon Solomon," The Bibelot, 17 (April 1911):139-151.