Courtesy of our faithful chronicler, we learn that on this day in 1914 suffragette and activist Mary Raleigh Richardson walked into the National Gallery and attacked The Rokeby Venus by Diego Velรกzquez with a meat cleaver in protest of the arrest and incarceration of movement leader Emmeline Pankhurst the day prior. After slashing the canvas, apprehended and sentenced to the maximum allowable for vandalising a work of art of six-months, Richardson issued a statement to the press:
“I have tried to destroy the picture of the most beautiful woman in mythological history as a protest against the government for destroying Mrs Pankhurst, who is the most beautiful character in modern history,” her actions further embellished in the papers in violent terms and framed as a callous murder of a actual person—an enduring problem when most female eponyms bestowed on places are not for actual figures but rather goddesses and deifications and more defamed by the omission, see also here and here. Velรกzquez’ 1651 work, successfully restored after the attack but again vandalised in 2023 by Just Stop Oil activists, was rather singular as one of the few nudes to come out of Spain during the Inquisition (Richardson also objected to the way gentleman gallery-goers leered at the image) and the motif, often copied, gave rise to the psychological, depictive departure known as the Venus Effect (cf, titular planetary symbol) with the goddess contemplating her reflection with back turned to the audience, seeing her face though not directly behind her, the intuitive framing often used in cinema to better frame an actor looking in the mirror.