William Lindsay Windus’ 1858 painting Too Late makes a little bit more sense with the additional information that the Tate provides—”When it was exhibited in 1859 it was accompanied by a quotation from Tennyson’s poem ‘Come not when I am dead’:
If it were thine error or thy crime
I care no longer, being all unblest;
Wed whom thou wilt, but I am sick of time;
And I desire to rest.”
So the man returns to the lover he impregnated and left—some number of years ago, judging by the size of the child who looks wonderingly up at him—but by this point it is, as the title implies, too late. She is dying, probably of consumption.
He hides his face, in grief or shame; she looks on apathetically.
A windmill stands cross-like on the far-off horizon, however—though there is no hope left for her in this world, perhaps it heralds a better future for her in the next.
Max Gasparini was born in Rovato (Brescia), Italy, in 1970. He currently lives in Bergamo Province. Self-taught, he has been paining since he was really young without the urge to show his work.
Max Gasparini’s artworks
His studies of Classic Painting are reflected in his intimate subjects: portraits, still lives, landscapes realized with oil colours and egg based watercolours on wood. In 2007 he “meets” the packing cardboard which frees him from the use of the easel and from the orthodox techniques. Max discovers the big brushes, the action freedom, the colour smearing and several other techniques, sometimes by chance, getting to the paradox of realizing his paintings with the paint remover. The female face as a whole, representation of the Universe (from Plato) and intended as a figuration of the Mother Earth is the subject of his work of the last 2 years. White paintins disappear, replaced by old rusty metal, yute, used sacks. No more word unknow, but a backward glance, using materials inspired by those who have already benefited.