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In a richly illustrated re-examination of a seminal period in art history, the author of Rossetti and His Circle asks important questions about the pre-Raphaelite artists, their work, their artistic themes, and their influence on the history of art.
This illustrated book focuses on the Pre-Raphaelite artists and their radical departure from artistic conventions. Barringer explores the meanings encoded in Pre-Raphaelite paintings and analyses key pictures and their significance within the complex social and cultural matrix of 19th century Britain.
This vibrant collection of essays claims that a complex network of texts by critics, biographers and diarists established the credibility and influence of the Pre-Raphaelite movement. Throughout the twentieth century, Modernist taste failed to acknowledge the achievement of oppositional groupings such as the Pre-Raphaelites. The essays collected here, however, reveal that the British group anticipated later avant-gardes by using the written word to configure for itself a radical artistic identity. Public and critics alike were scandalized by the radicalism of Pre-Raphaelite painting, its unflinching portrayal of historical figures and of contemporary life, and its irreverent attitude to artistic convention. Pre-Raphaelitism's innovations were not confined to style: new forms of artistic identity and behaviour were explored. As the contributors interrogate the texts through which Pre-Raphaelitism was constructed, they demonstrate that the movement's wide influence as a cultural phenomenon derived from the interplay between exhibited works and critical discourse. Applying a range of sophisticated methodologies from the fields of literary studies, art history, and cultural studies, these interdisciplinary essays uncover the neglected role of texts in the success of the Pre-Raphaelite rebellion and argue in favor of a new centrality for this movement in the history of nineteenth-century European culture.
The Pre-Raphaelite Movement began in 1848, and experienced its heyday in the 1860s and 1870s. Influenced by the then little-known Keats and Blake, as well as Wordsworth, Shelley and Coleridge, Pre-Raphaelite poetry 'etherialized sensation' (in the words of Antony Harrison), and popularized the notion ofl'art pour l'art - art for art's sake. Where Victorian realist novels explored the grit and grime of the Industrial Revolution, Pre-Raphaelite poems concentrated on more abstract themes of romantic love, artistic inspiration and sexuality. Later they attracted Aesthetes and Decadents like Oscar Wilde, Aubrey Beardsley and Ernest Dowson, not to mention Gerard Manley Hopkins and W.B. Yeats.
The group of young painters and writers who coalesced into the Pre-Raphaelite movement in the middle years of the nineteenth century became hugely influential in the development not only of literature and painting, but also more generally of art and design. Though their reputation has fluctuated over the years, their achievements are now recognised and their style enjoyed and studied widely. This volume explores the lives and works of the central figures in the group: among others, the Rossettis, William Holman Hunt, John Everett Millais, Ford Madox Brown, William Morris and Edward Burne-Jones. This is the first book to provide a general introduction to the Pre-Raphaelite movement that integrates its literary and visual art forms. The Companion explains what made the Pre-Raphaelite style unique in painting, poetry, drawing and prose.
In Fiona MacCarthy’s riveting account, Burne-Jones’s exchange of faith for art places him at the intersection of the nineteenth century and the Modern, as he leads us forward from Victorian mores and attitudes to the psychological, sexual, and artistic audacity that would characterize the early twentieth century.
The Pre-Raphaelite Brotherhood was a group of English painters, poets and critics, founded in 1848 by John Everett Millais, Dante Gabriel Rossetti and William Holman Hunt. Their art's romanticism, attention to detail and jewel-like colours have ensured their eternal popularity. This beautifully illustrated reference book, now back in print, is packed with examples of work by the key proponent Millais, and his many contemporaries. Beginning with an overview of the movement it goes on to discuss the art in the context of society, place, influences, and styles and techniques. It is an ideal gift for art lovers or those new.
What happened in Victorian painting and sculpture after the pre-Raphaelites? Aestheticism has been called the next avant-garde movement but attention has centred on literary figures such as Algernon Charles Swinburn, Walter Peter and Oscar Wilde. This volume overviews parallel trends in the visual arts, including the work of Dante Gabriel Rossetti, James McNeil Whistler, Edward Burne-Jones, Simeon Solomon and Albert Moore among others.
A society of young artists and writers, the Pre-Raphaelite Brotherhood was founded in London in 1848. They were known for controversially rebelling against the classical academic painting conventions of the day in favour of a meeting of medieval romanticism and a new realism, and were inspired by theories of John Ruskin who urged artists to 'go to nature', resulting in subject matter predominantly dealing with religious themes, love, death, and subjects from literature and poetry. The principal members of the group were William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti who all produced seminal and well-loved paintings such as "The Awakening Conscience" (1853), "Ophelia" (1851-2) and "The Beloved" (1855-6) respectively.