The article was promoted by Ian Rose via FACBot (talk) 14:14, 22 October 2016 [1].
Two notes:
Support, as mentioned above, read this before the nom. I had some c/e quibbles, now resolved. Did a scan of the sources and found them to be of the first rank of available scholarship. I didn't notice any logical inconsistencies and the slightly jaundice undertone in the writing is appealing. That said, the painting is attractive to me as whimsy. Ceoil (talk) 20:17, 30 September 2016 (UTC)[reply]
I just have a few comments:
Some stylistic points, your call:
--Mirokado (talk) 00:22, 1 October 2016 (UTC)[reply]
Image review
The youthful personification of Love was traditionally shown blindfolded, an attribute that for the first time in western art Watts gives to Hope herself. Also blindfolded in traditional iconography were the figures of Synagogue (suggesting the blindness of the Jews towards Christ and thus providing a further Jewish echo in Hope) and Fortune.(the "further echo" relates to other artists of the period using Psalm 137 as a metaphor for hope, which I do briefly touch on.) In the absence of further sources suggesting a link I'm a little reluctant to include it, as there's no obvious suggestion in anything either George or Mary ever said that there's any kind of link with the medieval Synagoga. ‑ Iridescent 14:26, 4 October 2016 (UTC)[reply]