The Head of Mrs Eaton (1861) Joanna Wells
During her career Fanny Eaton sat for quite a number of the Pre-Raphaelite artists. Her features can be spied in a number of finished canvasses and preparatory drawings. And yet more often than not her importance as a Pre-Raphaelite model is often overlooked or forgotten.
When scouring the ‘stunner lists’ put together by art historians and fans of Pre-Raphaelite art Eaton is always omitted from the string of familiar names, Siddal, Cornforth, Wilding, Miller, Stillman, Zambaco and Morris. This begs the question why? What makes one woman a stunner and another not? So what is the reason for Eaton’s omission? Could it be……
…..The calibre of the artists for whom she sits? Well, in Eaton’s case she sat for prominent members of the Pre-Raphaelite circle including Rossetti, Millais, Sandys as well as a wide number of associated artists including Rebecca and Simeon Solomon, Albert Moore and Joanna Boyce, so that can’t be it.
Or is it the number of paintings her features appear? Eaton appears in a number of finished paintings and drawings as my previous post illustrates including:
The Mother of Moses (1860) Simeon Solomon
The Mother of Sisera Looking out at a Window (1861) Albert Moore
The Beloved (1865-6) Dante Gabriel Rossetti
Jepthah (1867) John Everett Millais
In August 1865 Rossetti writes to Madox-Brown and describes Eaton as having ‘a very fine head and figure-a good deal of Janey’ (letter 268). The last part of his statement is very telling and important as it demonstrates how Rossetti saw Eaton. He equates her beauty as being equal to that of Janey’s (and we all know how he felt about her!), therefore by extension for Rossetti at least, Eaton had stunner qualities and status.
I was once informed that the reason that Eaton was overlooked was that she didn’t appear in any important paintings unlike the other ‘stunners’. I would beg to differ. When I have shown images containing Eaton there is always an audible gasp at The Mother of Sisera and The Head of Mrs Eaton, and I am always asked which gallery these works are in. This response, the interest people show in wanting to see these pictures; that they are drawn to them tells me that these are important pictures.
Alas, Eaton’s modelling career for the Pre-Raphaelites seems to have been a short but intense one; she modelled out of necessity to augment her earnings when her employment as a ‘charwoman’ (daily cleaner) was not enough to sustain her family of seven children. By 1881 Eaton had been widowed and was working as a seamstress, and then later she is living on the Isle of Wight and working as a domestic cook. After this we lose sight of her……..