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This online exhibition was created based on the work done by the EL3022 English Language & Literature students at the University of Leicester UK, 2024-25 cohort. The paintings depicted here reflect the students' own choices, interests, and perceptions and where chosen from various internet sources accessed in class. Their texts refer to various aspects of the Victorian society. Their writing tells us about their thoughts, imaginative process, creativity, and connect to their understandings of the Victorian period.

Dr Christina Wolf, SFHEA
Leicester 20.02.2025

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'Prostitution and Hypocrisy' by Alberto Planas and  Hector Barbero

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'Prostitution and Hypocrisy' by Alberto Planas and  Hector Barbero

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It is possible to see three men and three women, in which the three women are flirting with the men. Because of the scene, it is hinted that women are sex workers since these acts were done in private. Rich men usually bring sexual workers to luxury places, which can be observed due to the chandelier. the body language emphasizes.

In the first couple, it is seen how the man tries to

Negotiate with her. Then, the woman tries to make the first move, which emphasizes the power dynamic between male clients and female sex workers. Leading to interpretation, it is seen how the man on the right wears a mask, highlighting anonymity regarding sexual workers since it was punished. Although it was publicly shamed, the practice was usual in private.

Furthermore, the idea of alcohol gives the sensation that both men and women wanted to escape from reality: on the one hand, men wanted to escape since it was not well-seen. On the other hand, women wanted to escape since their job was not fair and wanted to avoid to feel the real sensation of feeling like an object.

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William Powell Frith, The Railway Station, c1862-1909 Leicester Museum 

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'Departures and Arrivals' by Pauline Dufeu, Anastasia Taran, and Anastasia Bunak

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'Departures and Arrivals' by Pauline Dufeu, Anastasia Taran, and Anastasia Bunak

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It was a rainy, cold, morning. The station was quietly waking up, waiting for the next train to London.

Once the gates opened the silence was broken by a loud and busy storm of colourful bulky dresses and long frock coats. People agitatedly gathered on the platform. Mothers kissing their children as farewell, lovers reuniting with each other and men discussing their future business plans in the capital.

In the back, servants and workers making sure the train can depart, organising the luggage, checking the engines and urging the bustling crowd to take their seats. A high whistle erupted, the wheels slowly started picking up the pace, drowning people’s voices.

Once the train departed, the station was left empty and colourless, waiting for the next train to arrive.

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William Powell Frith, The Lover's Seat, 1877. Sotheby's London.

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'Lover's Seat' by Sofia Marchioro and Manuel Parejo

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'Lover's Seat' by Sofia Marchioro and Manuel Parejo

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“The Lover's Seat” was painted by William Powell Frith in 1877 and it portrays an intimate moment between a young couple, highlighting the strict social customs and expectations of the era.

The woman's modest dress, complete with a bonnet, reflects the societal emphasis on appearance, particularly for women. Her posture suggests the reserved nature expected of Victorian ladies, who were often taught to be well decorated, look fragile and serious.

The man, dressed in a formal coat and waistcoat, leans in towards the woman, speaking to her earnestly while holding her hand. His posture conveys emotion and perhaps persuasion, giving the impression of a romantic scene. During the Victorian Period love was expected to align with duty, social status, and moral values.

The setting, an outdoor garden or park with lush greenery, reflects the Victorian admiration for nature and its association with purity and romance used by Victorian artists in a lot of their works. The presence of a book and gloves beside the woman may symbolize education and the intellectual expectations placed upon middle- and upper-class women.

Overall, this image encapsulates the ideals of Victorian society: strict gender roles, the importance of propriety in relationships, and the tension between personal emotions and social expectations.

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Victor Gabriel Gilbert, The Ball Painting (1890). Private collection.

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'The Ball' by Tobias Stumpf, Eva Helderman, and Carol Rangel

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'The Ball' by Tobias Stumpf, Eva Helderman, and Carol Rangel

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 Georges Seurat (1884-1886), Sunday Afternoon on the Island of La Grande Jatte, The Art Institute of Chicago.

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'A Sunday Afternoon' by Fernando Cabrera and Manuel Roman

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'A Sunday Afternoon' by Fernando Cabrera and Manuel Roman

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"A Sunday Afternoon on the Island of La Grande Jatte" is a painting by Georges Seurat (1884-1886) is a key example of Pointillism, a technique that uses tiny dots of colour to form an image.

The artwork shows a group of Parisians enjoying a Sunday on the island of La Grande Jatte, by the Seine River. The elegantly dressed figures appear in a serene setting, with elements like parasols, animals, and plays of light and shadow.

Seurat applies tiny dots of colour, creating a vibrant optical effect. The arrangement of figures is geometric and balanced. It can be seen as a reflection on the rigid and restrained calm of the Parisian bourgeoisie.

Seurat’s painting reflects Victorian-era fashion and social norms through its portrayal of elegantly dressed Parisians. Women wear corseted dresses with high collars, and hats, emphasizing modesty and refinement, while men wear dark suits, and hats signifying status and decorum. Accessories like parasols highlight both fashion and luxury. The figures' rigid postures mirror Victorian ideals of restraint and propriety. Even in a relaxed setting, the painting captures the structured nature of 19th-century high-class society.