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[[File:TheOutcastRichardRedgrave.jpg|thumb|300px|''The Outcast'', [[Richard Redgrave]], 1851]]
{{short description|Painting by Richard Redgrave}}
{{Use dmy dates|date=April 2022}}
{{Infobox artwork
| alt=See adjacent text.
| image_file=The Outcast (1851) - Richard Redgrave.jpg
| image_size=250px
| title=The Outcast
| other_language_1=
| other_title_1=
| artist=[[Richard Redgrave]]
| year=1851
| medium=[[Oil painting|Oil]] on [[canvas]]
| height_metric=31
| width_metric=41
| height_imperial=
| width_imperial=
| metric_unit=cm
| imperial_unit=in
| city=
| museum=[[Royal Academy of Arts]]
}}


'''''The Outcast''''' is an 1851 oil painting by Victorian artist [[Richard Redgrave]], depicting a family's reaction to a daughter bearing an illegitimate child.
'''''The Outcast''''' is an 1851 oil painting by Victorian artist [[Richard Redgrave]], depicting a family's reaction to a daughter bearing an illegitimate child.


The [[melodrama]]tic moral work depicts a stern patriarch of inflexible puritanical morality casting out a [[fallen woman]] and her illegitimate baby - probably his daughter and grandchild - from his "respectable" house. Despite the snow visible on the ground outside, the [[paterfamilias]] stands by an open door, gesturing angrily for her to depart. Another young woman - probably another daughter - kneels, begging him to relent, while another weeps behind. The mother of the family comforts a weeping son, while a fourth daughter looks on in confusion. An incriminating letter lies on the floor, and a biblical painting - probably [[Abraham]] casting out [[Hagar]] and [[Ishmael]], but possibly [[Christ and the woman taken in adultery]] - hangs on the wall. The device of the incriminating letter was used to better effect in a similar context by [[Augustus Egg]] in his 1858 painting ''[[Past and Present, No. 1]]''.
The [[melodrama]]tic moral work depicts a stern patriarch of inflexible puritanical morality casting out a [[fallen woman]] and her [[illegitimate]] baby – probably his daughter and grandchild – from his "respectable" house. Despite the snow visible on the ground outside, the [[paterfamilias]] stands by an open door, gesturing angrily for her to depart. Another young woman – probably another daughter – kneels, begging him to relent, while another weeps behind. The mother of the family comforts a weeping son, while a fourth daughter looks on in confusion. An incriminating letter lies on the floor, and a biblical painting – probably [[Abraham]] casting out [[Hagar]] and [[Ishmael]], but possibly [[Christ and the woman taken in adultery]] – hangs on the wall. The device of the incriminating letter was used to better effect in a similar context by [[Augustus Egg]] in his 1858 painting ''[[Past and Present, No. 1]]''.


The painting is ambiguous: it could be meant as a warning to other women to avoid a similar fate, or could be intended to evoke sympathy for the plight of the young mother abandoned by her family.
The painting is ambiguous: it could be meant as a warning to other women to avoid a similar fate, or could be intended to evoke sympathy for the plight of the young mother abandoned by her family.


It measures {{convert|31|in|cm}} by {{convert|41|in|cm}} and was presented to the [[Royal Academy of Arts]] by Redgrave when he was elected to full membership.
It measures {{convert|31|in|cm}} by {{convert|41|in|cm}} and was presented to the [[Royal Academy of Arts]] by Redgrave when he was elected to full membership.

== See also ==
* [[Outcast (person)|Outcast]]


==References==
==References==
* [http://www.tate.org.uk/research/tateresearch/tatepapers/07spring/rutherford.htm Tate Gallery]
* [http://www.tate.org.uk/research/tateresearch/tatepapers/07spring/rutherford.htm Tate Gallery]
* [http://www.racollection.org.uk/ixbin/indexplus?record=ART72 Royal Academy of Arts]
* [http://www.racollection.org.uk/ixbin/indexplus?record=ART72 Royal Academy of Arts]
* {{cite book| last = Rachlin| first = Harvey| title = Scandals, Vandals and Da Vincis Great Paintings and Their Remarkable Stories| url = http://books.google.com/?id=zDAMxrLOUzEC&pg=PA149| year = 2007| publisher = Anova Books| isbn = 978-1-86105-878-2| pages = 149-160 }}
* {{cite book| last = Rachlin| first = Harvey| title = Scandals, Vandals and Da Vincis Great Paintings and Their Remarkable Stories| url = https://books.google.com/books?id=zDAMxrLOUzEC&pg=PA149| year = 2007| publisher = Anova Books| isbn = 978-1-86105-878-2| pages = 149–160 }}
* {{cite book| last = Vicinus| first = Martha| title = Suffer and be Still Women in the Victorian Age| url = http://books.google.com/?id=zd0OAAAAQAAJ&pg=PA63| year = 1972| publisher = Methuen| isbn = 978-0-416-74340-1| page = 63 }}
* {{cite book| last = Vicinus| first = Martha| title = Suffer and be Still Women in the Victorian Age| url = https://books.google.com/books?id=zd0OAAAAQAAJ&pg=PA63| year = 1972| publisher = Methuen| isbn = 978-0-416-74340-1| page = 63 }}
{{portal bar|Visual arts|Arts}}

{{Italic title}}
{{Italic title}}

{{DEFAULTSORT:Outcast}}
[[Category:1851 paintings]]
[[Category:1851 paintings]]
[[Category:Paintings by Richard Redgrave]]
[[Category:Paintings by Richard Redgrave]]
[[Category:Paintings in the Tate galleries]]

Latest revision as of 07:21, 26 October 2024

The Outcast
See adjacent text.
ArtistRichard Redgrave
Year1851
MediumOil on canvas
Dimensions31 cm × 41 cm (12 in × 16 in)
LocationRoyal Academy of Arts

The Outcast is an 1851 oil painting by Victorian artist Richard Redgrave, depicting a family's reaction to a daughter bearing an illegitimate child.

The melodramatic moral work depicts a stern patriarch of inflexible puritanical morality casting out a fallen woman and her illegitimate baby – probably his daughter and grandchild – from his "respectable" house. Despite the snow visible on the ground outside, the paterfamilias stands by an open door, gesturing angrily for her to depart. Another young woman – probably another daughter – kneels, begging him to relent, while another weeps behind. The mother of the family comforts a weeping son, while a fourth daughter looks on in confusion. An incriminating letter lies on the floor, and a biblical painting – probably Abraham casting out Hagar and Ishmael, but possibly Christ and the woman taken in adultery – hangs on the wall. The device of the incriminating letter was used to better effect in a similar context by Augustus Egg in his 1858 painting Past and Present, No. 1.

The painting is ambiguous: it could be meant as a warning to other women to avoid a similar fate, or could be intended to evoke sympathy for the plight of the young mother abandoned by her family.

It measures 31 inches (79 cm) by 41 inches (100 cm) and was presented to the Royal Academy of Arts by Redgrave when he was elected to full membership.

See also

[edit]

References

[edit]
  • Tate Gallery
  • Royal Academy of Arts
  • Rachlin, Harvey (2007). Scandals, Vandals and Da Vincis Great Paintings and Their Remarkable Stories. Anova Books. pp. 149–160. ISBN 978-1-86105-878-2.
  • Vicinus, Martha (1972). Suffer and be Still Women in the Victorian Age. Methuen. p. 63. ISBN 978-0-416-74340-1.

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