Edward Poynter trained in Rome and Paris before joining the Royal Academy as an Associate in 1869. His brother was Burne-Jones was a close friend of Lord Leighton and looked to Alma-Tadema for inspiration on many of his works. He was also greatly influenced by Michelangelo and subjects on ancient history. Poynter's father was an architect, which also contributed to his architectural settings.
The women in Poynter's paintings have usually have a statuesque quality to their poses. Their skin often has the luminosity of marble. He believed as Leighton did, that the subject matter in paintings should be completely imaginary. He clung strongly to Victorian artistic ideals long after it was seen as fashionable.
He became president of the Royal Academy in 1896. It was a dark time for the academy their long time president, Leighton had recently died. He was replaced by Millais, another favorite, who died the year he was elected president. Poynter tried to make the best of the dismal atmosphere and under the circumstances was a administrative success.
During his 22 years as president of the Royal Academy, he spent 8 of those years simultaneously serving as the director for the National Portrait Gallery.
Libra and her Sparrow
On the Temple Steps
On the Terrace
Return of the Prodigal Son, 1869
A View of the Arno, Florence 1869
graphite on wove paper
National Gallery of Art, Washington, D.C.
The Fortue Teller, 1877
Royal Academay of the Arts,
London, England
Psyche in the Temple of Love, 1882
Walker Art Gallery
Liverpool, England
Cressida, 1888

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On the Terrace (detail, mirrored), Sir Edward J. Poynter
page 1
Primary sources: The History of the Royal Academy 1769-1968
by Sidney Hutchison, Taplinger Publishing, 1968, pg 48-149

Essential Pre-Raphaelites by Lucinda Hawksley, Dempsey Parr,
1999, pg 254

Thames and Hudson Encyclopedia to British Art editor David
Bindman, Thames and Hudson, 1985, pg 195