Difference between revisions of "Pre-Raphaelite Brotherhood" - New World Encyclopedia

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[[Image:Dante Gabriel Rossetti - Proserpine.JPG|thumb|''[[Persephone]]'', by Dante Gabriel Rossetti.]]
 
[[Image:Dante Gabriel Rossetti - Proserpine.JPG|thumb|''[[Persephone]]'', by Dante Gabriel Rossetti.]]
The '''Pre-Raphaelite Brotherhood''' (also known as the '''Pre-Raphaelites''') was a group of [[England|English]] [[painter]]s, [[poets]] and critics, founded in 1848 by [[John Everett Millais]], [[Dante Gabriel Rossetti]] and [[William Holman Hunt]].  
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The '''Pre-Raphaelite Brotherhood''' (also known as the '''Pre-Raphaelites''') was a group of [[England|English]] [[painter]]s, [[poets]], and critics, founded in 1848, by [[John Everett Millais]], [[Dante Gabriel Rossetti]], and [[William Holman Hunt]].  
  
The group's intention was to reform art by rejecting what they considered to be the mechanistic approach adopted by the [[Renaissance Art|Renaissance]] and [[Mannerism|Mannerist]] artists who followed [[Raffaello Santi|Raphael]] and [[Michelangelo]]. They believed that the [[Classicism|Classical]] poses and elegant compositions of Raphael in particular had been a corrupting influence on [[academic art|academic]] teaching of art. Hence the name "Pre-Raphaelite". In particular they objected to the influence of [[Sir Joshua Reynolds]], the founder of the English [[Royal Academy of Arts]]. They called him "Sir Sloshua", believing that his broad technique was a sloppy and formulaic form of academic Mannerism. In contrast they wanted to return to the abundant detail, intense colors, and complex compositions of [[Quattrocento]] Italian and Flemish art.  
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The group's intention was to reform art by rejecting what they considered to be the mechanistic approach adopted by the [[Renaissance Art|Renaissance]] and [[Mannerism|Mannerist]] artists who followed [[Raffaello Santi|Raphael]] and [[Michelangelo]]. They believed that the [[Classicism|Classical]] poses and elegant compositions of Raphael, in particular, had been a corrupting influence on the [[academic art|academic]] teaching of art. Hence the name "Pre-Raphaelite." In particular, they objected to the influence of [[Sir Joshua Reynolds]], the founder of the English [[Royal Academy of Arts]]. They called him "Sir Sloshua," believing that his broad technique was a sloppy and formulaic form of academic Mannerism. In contrast, they wanted to return to the abundant detail, intense colors, and complex compositions of [[Quattrocento]] Italian and Flemish art.  
 
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The Pre-Raphaelites have been considered the first [[avant-garde]] movement in art, though they have also been denied that status, because they continued to accept both the concepts of [[history painting]] and of [[mimesis]], or imitation of nature, as central to the purpose of art. However, the Pre-Raphaelites undoubtedly defined themselves as a reform movement, created a distinct name for their form of art, and published a periodical, ''[[The Germ (periodical)|The Germ]]'', to promote their ideas. Their debates were recorded in the ''Pre-Raphaelite Journal''.
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The Pre-Raphaelites have been considered the first [[avant-garde]] movement in art, though they have also been denied that status, because they continued to accept both the concepts of [[history painting]] and of [[mimesis]], or imitation of nature, as central to the purpose of art. However, the Pre-Raphaelites undoubtedly defined themselves as a reform movement, created a distinct name for their form of art, and published a periodical, ''[[The Germ (periodical)|The Germ]],'' to promote their ideas. Their debates were recorded in the ''Pre-Raphaelite Journal''.
  
 
== Beginnings of the Brotherhood ==
 
== Beginnings of the Brotherhood ==
[[Image:Germ.jpg|thumb|left|Illustration by Holman Hunt to Thomas Woolner's poem "My Beautiful Lady", published in ''The Germ'', 1850]]
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[[Image:Germ.jpg|thumb|left|Illustration by Holman Hunt to Thomas Woolner's poem "My Beautiful Lady," published in ''The Germ,'' 1850]]
The Pre-Raphaelite Brotherhood was founded in John Millais's parents' house on [[Gower Street (London)|Gower Street]], [[London]] in 1848. At the initial meeting [[John Everett Millais]], [[Dante Gabriel Rossetti]] and [[William Holman Hunt]] were present. Hunt and Millais were students at the [[Royal Academy of Arts]]. They had previously met in another loose association, a sketching society called the Cyclographic club. Rossetti was a pupil of [[Ford Madox Brown]]. He had met Hunt after seeing Hunt's painting ''[[The Eve of St Agnes]]'', based on [[John Keats|Keats']] poem. As an aspiring poet, Rossetti wished to develop the links between [[Romanticism|Romantic]] [[poetry]] and [[art]]. By autumn four more members had also joined to form a seven-strong Brotherhood. These were [[William Michael Rossetti]] (Dante Gabriel Rossetti's brother), [[Thomas Woolner]], [[James Collinson]] and [[Frederic George Stephens]]. Ford Madox Brown was invited to join, but preferred to remain independent. He nevertheless remained close to the group. Some other young painters and sculptors were also close associates, including [[Charles Allston Collins]], [[Thomas Tupper]] and [[Alexander Munro]]. They kept the existence of the Brotherhood secret from members of the Royal Academy.
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The Pre-Raphaelite Brotherhood was founded in John Millais's parents' house on [[Gower Street (London)|Gower Street]], [[London]], in 1848. At the initial meeting, [[John Everett Millais]], [[Dante Gabriel Rossetti]], and [[William Holman Hunt]] were present. Hunt and Millais were students at the [[Royal Academy of Arts]]. They had previously met in another loose association, a sketching society called the [[Cyclographic club]]. Rossetti was a pupil of [[Ford Madox Brown]]. He had met Hunt after seeing Hunt's painting ''[[The Eve of St Agnes]],'' based on [[John Keats|Keats']] poem. As an aspiring poet, Rossetti wished to develop the links between [[Romanticism|Romantic]] [[poetry]] and [[art]]. By autumn, four more members had also joined to form a seven-strong Brotherhood. These were [[William Michael Rossetti]] (Dante Gabriel Rossetti's brother), [[Thomas Woolner]], [[James Collinson]], and [[Frederic George Stephens]]. Ford Madox Brown was invited to join, but preferred to remain independent. He nevertheless remained close to the group. Some other young painters and sculptors were also close associates, including [[Charles Allston Collins]], [[Thomas Tupper]], and [[Alexander Munro]]. They kept the existence of the Brotherhood secret from members of the Royal Academy.
  
 
== Early doctrines ==
 
== Early doctrines ==
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# And, most indispensable of all, to produce thoroughly good pictures and statues.
 
# And, most indispensable of all, to produce thoroughly good pictures and statues.
  
These principles are deliberately undogmatic, since the Brotherhood wished to emphasise the personal responsibility of individual artists to determine their own ideas and method of depiction. Influenced by [[Romanticism]], they thought that freedom and responsibility were inseparable. Nevertheless, they were particularly fascinated by [[Medieval]] culture, believing it to possess a [[spirituality|spiritual]] and creative integrity lost in later eras. This emphasis on medieval culture was to clash with the [[Realism|realism]] promoted by the stress on independent observation of nature. In its early stages the Pre-Raphaelite Brotherhood believed that the two interests were consistent with one another, but in later years the movement divided in two directions. The realist side was led by Hunt and Millais, while the medievalist side was led by Rossetti and his followers, [[Edward Burne-Jones]] and [[William Morris]]. This split was never absolute, since both factions believed that art was essentially spiritual in character, opposing their [[idealism]] to the [[materialism|materialist]] realism associated with [[Gustave Courbet|Courbet]] and [[Impressionism]].
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These principles are deliberately undogmatic, since the Brotherhood wished to emphasize the personal responsibility of individual artists to determine their own ideas and method of depiction. Influenced by [[Romanticism]], they thought that freedom and responsibility were inseparable. Nevertheless, they were particularly fascinated by [[Medieval]] culture, believing it to possess a [[spirituality|spiritual]] and creative integrity lost in later eras. This emphasis on medieval culture was to clash with the [[Realism|realism]] promoted by the stress on independent observation of nature. In its early stages, the Pre-Raphaelite Brotherhood believed that the two interests were consistent with one another, but in later years, the movement divided in two directions. The realist side was led by Hunt and Millais, while the medievalist side was led by Rossetti and his followers, [[Edward Burne-Jones]] and [[William Morris]]. This split was never absolute, since both factions believed that art was essentially spiritual in character, opposing their [[idealism]] to the [[materialism|materialist]] realism associated with [[Gustave Courbet|Courbet]] and [[Impressionism]].
  
In their attempts to revive the brilliance of color found in Quattrocento art, Hunt and Millais developed a technique of painting in thin [[Glaze (painting technique)|glaze]]s of pigment over a wet white ground. In this way they hoped that their colors would retain jewel-like transparency and clarity. This emphasis of brilliance of color was in reaction to the excessive use of [[bitumen]] by earlier British artists such as Reynolds, [[David Wilkie (artist)|David Wilkie]] and [[Benjamin Robert Haydon]]. Bitumen produces unstable areas of muddy darkness, an effect which the Pre-Raphaelies despised.
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In their attempts to revive the brilliance of color found in [[Quattrocento art]], Hunt and Millais developed a technique of painting in thin [[Glaze (painting technique)|glaze]]s of pigment over a wet, white ground. In this way, they hoped that their colors would retain jewel-like transparency and clarity. This emphasis of brilliance of color was in reaction to the excessive use of [[bitumen]] by earlier British artists such as Reynolds, [[David Wilkie (artist)|David Wilkie]], and [[Benjamin Robert Haydon]]. Bitumen produces unstable areas of muddy darkness, an effect which the Pre-Raphaelites despised.
  
 
== Public controversies ==
 
== Public controversies ==
The first exhibition of Pre-Raphaelite work came in 1849. Both Millais' ''Isabella'' (1848–1849) and Holman Hunt's ''Rienzi'' (1848–1849) were exhibited at the Royal Academy and Rossetti's ''Girlhood of Mary Virgin'' was shown at the Free Exhibition on Hyde Park Corner. As agreed all members of the Brotherhood signed works with their name and "PRB". Between January and April 1850 the group published a literary magazine, ''The Germ''. [[William Michael Rossetti|William Rossetti]] edited the magazine, which published poetry by the Rossettis, Woolner and Collinson, together with essays on art and literature by associates of the Brotherhood, such as [[Coventry Patmore]]. As the short runtime implies, the magazine did not manage to achieve a sustained momentum. <ref>(Daly 1989)</ref>
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The first exhibition of Pre-Raphaelite work came in 1849. Both Millais' ''Isabella'' (1848–1849) and Holman Hunt's ''Rienzi'' (1848–1849) were exhibited at the Royal Academy, and Rossetti's ''Girlhood of Mary Virgin'' was shown at the Free Exhibition on Hyde Park Corner. As agreed, all members of the Brotherhood signed works with their name and "PRB." Between January and April 1850, the group published a literary magazine, ''The Germ''. [[William Michael Rossetti|William Rossetti]] edited the magazine, which published poetry by the Rossettis, Woolner, and Collinson, together with essays on art and literature by associates of the Brotherhood, such as [[Coventry Patmore]]. As the short runtime implies, the magazine did not manage to achieve a sustained momentum.<ref>Gay Daly, Pre-Raphaelites in Love (New York: Ticknor & Fields, 1989). ISBN 0-89919-450-8</ref>
  
 
[[Image:Millais-christ-in-the-house-of-his-parents.jpg|right|thumb|''Christ In the House of His Parents'', by John Everett Millais, 1850.]]
 
[[Image:Millais-christ-in-the-house-of-his-parents.jpg|right|thumb|''Christ In the House of His Parents'', by John Everett Millais, 1850.]]
In 1850 the Pre-Raphaelite Brotherhood became controversial after the exhibition of Millais's painting ''[[Christ In The House Of His Parents]]'', considered to be [[blasphemy|blasphemous]] by many reviewers, notably [[Charles Dickens]]. Their medievalism was attacked as backward-looking and their extreme devotion to detail was condemned as ugly and jarring to the eye. According to Dickens, Millais made the Holy Family look like [[alcoholism|alcoholics]] and slum-dwellers, adopting contorted and absurd "medieval" poses. A rival group of older artists, [[The Clique]], also used their influence against the Pre-Raphaelite Brotherhood. Their principles were publicly attacked by the President of the Academy, Sir [[Charles Lock Eastlake]].
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In 1850, the Pre-Raphaelite Brotherhood became controversial after the exhibition of Millais's painting ''[[Christ In The House Of His Parents]],'' considered to be [[blasphemy|blasphemous]] by many reviewers, notably [[Charles Dickens]]. Their medievalism was attacked as backward-looking and their extreme devotion to detail was condemned as ugly and jarring to the eye. According to Dickens, Millais made the Holy Family look like [[alcoholism|alcoholics]] and slum-dwellers, adopting contorted and absurd "medieval" poses. A rival group of older artists, [[The Clique]], also used their influence against the Pre-Raphaelite Brotherhood. Their principles were publicly attacked by the President of the Academy, Sir [[Charles Lock Eastlake]].
  
 
However, the Brotherhood found support from the critic [[John Ruskin]], who praised their devotion to [[nature]] and rejection of conventional methods of composition. He continued to support their work both financially and in his writings.
 
However, the Brotherhood found support from the critic [[John Ruskin]], who praised their devotion to [[nature]] and rejection of conventional methods of composition. He continued to support their work both financially and in his writings.
  
Following the controversy, Collinson left the Brotherhood. They met to discuss whether he should be replaced by Charles Allston Collins or [[Walter Howell Deverell]], but were unable to make a decision. From that point on the group disbanded, though their influence continued to be felt. Artists who had worked in the style still followed these techniques (initially anyway) but they no longer signed works "PRB".
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Following the controversy, Collinson left the Brotherhood. They met to discuss whether he should be replaced by Charles Allston Collins or [[Walter Howell Deverell]], but were unable to make a decision. From that point on the group disbanded, though their influence continued to be felt. Artists who had worked in the style still followed these techniques (initially anyway) but they no longer signed works "PRB."
  
 
== Later developments and influence ==
 
== Later developments and influence ==
 
[[Image:De_Morgan_Medea.jpg|thumb|''Medea'' by Evelyn De Morgan, 1889, in [[quattrocento]] style]]
 
[[Image:De_Morgan_Medea.jpg|thumb|''Medea'' by Evelyn De Morgan, 1889, in [[quattrocento]] style]]
Artists who were influenced by the Brotherhood include [[John Brett]], [[Philip Calderon]], [[Arthur Hughes (artist)|Arthur Hughes]], [[Evelyn De Morgan]] and [[Frederic Sandys]]. [[Ford Madox Brown]], who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles.
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Artists who were influenced by the Brotherhood include [[John Brett]], [[Philip Calderon]], [[Arthur Hughes (artist)|Arthur Hughes]], [[Evelyn De Morgan]], and [[Frederic Sandys]]. [[Ford Madox Brown]], who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles.
  
After 1856, [[Dante Gabriel Rossetti|Rossetti]] became an inspiration for the medievalizing strand of the movement. His work influenced his friend [[William Morris]], in whose firm [[Morris & Co.|Morris, Marshall, Faulkner & Co.]] he became a partner, and with whose wife [[Jane Burden|Jane]] he may have had an affair. Ford Madox Brown and [[Edward Burne-Jones]] also became partners in the firm. Through Morris's company the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in [[medieval]] designs, as well as other crafts. This led directly to the [[Arts and Crafts Movement]] headed by William Morris. Holman Hunt was also involved with this movement to reform design through the [[Della Robbia Pottery]] company.
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After 1856, [[Dante Gabriel Rossetti|Rossetti]] became an inspiration for the medievalizing strand of the movement. His work influenced his friend [[William Morris]], in whose firm, [[Morris & Co.|Morris, Marshall, Faulkner & Co.]], he became a partner, and with whose wife [[Jane Burden|Jane]] he may have had an affair. Ford Madox Brown and [[Edward Burne-Jones]] also became partners in the firm. Through Morris's company the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in [[medieval]] designs, as well as other crafts. This led directly to the [[Arts and Crafts Movement]] headed by William Morris. Holman Hunt was also involved with this movement to reform design through the [[Della Robbia Pottery]] company.
  
 
After 1850, both Hunt and Millais moved away from direct imitation of medieval art. Both stressed the realist and scientific aspects of the movement, though Hunt continued to emphasize the spiritual significance of art, seeking to reconcile [[religion]] and [[science]] by making accurate observations and studies of locations in [[Egypt]] and [[Palestine]] for his paintings on [[Bible|biblical subjects]]. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned this reversal of principles.
 
After 1850, both Hunt and Millais moved away from direct imitation of medieval art. Both stressed the realist and scientific aspects of the movement, though Hunt continued to emphasize the spiritual significance of art, seeking to reconcile [[religion]] and [[science]] by making accurate observations and studies of locations in [[Egypt]] and [[Palestine]] for his paintings on [[Bible|biblical subjects]]. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned this reversal of principles.
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The movement influenced the work of many later British artists well into the twentieth century. Rossetti later came to be seen as a precursor of the wider European [[Symbolism (arts)|Symbolist]] movement. In the late twentieth century the [[Brotherhood of Ruralists]] based its aims on Pre-Raphaelitism, while the [[Stuckism|Stuckists]] have also have derived inspiration from it.  
 
The movement influenced the work of many later British artists well into the twentieth century. Rossetti later came to be seen as a precursor of the wider European [[Symbolism (arts)|Symbolist]] movement. In the late twentieth century the [[Brotherhood of Ruralists]] based its aims on Pre-Raphaelitism, while the [[Stuckism|Stuckists]] have also have derived inspiration from it.  
  
The [[Birmingham Museum & Art Gallery|Birmingham Museum and Art Gallery]] has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young [[J.R.R. Tolkien]] while he was growing up in the city. <ref>See, for example, [http://moses.creighton.edu/JRS/2004/2004-r3.html Gregory S. Bucher, in a review of Matthew Dickerson's ''Following Gandalf. Epic Battles and Moral Victory in The Lord of the Rings'', published in the ''Journal of Religion and Society'', Volume  6 (2004)] for a brief discussion on the influence of the Pre-Raphaelites on Tolkien.</ref>
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The [[Birmingham Museum & Art Gallery|Birmingham Museum and Art Gallery]] has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young [[J.R.R. Tolkien]] while he was growing up in the city.<ref>Gregory S. Bucher, A Review of Matthew Dickerson's ''Following Gandalf. Epic Battles and Moral Victory in The Lord of the Rings,'' published in the ''Journal of Religion and Society'', Volume  6 (2004).</ref>
  
In the twentieth century artistic ideals changed and art moved away from representing reality. Since the Pre-Raphaelites were fixed on portraying things with near-photographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many critics. Since the 1970s there has been a resurgence in interest in the movement.
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In the twentieth century, artistic ideals changed and art moved away from representing reality. Since the Pre-Raphaelites were fixed on portraying things with near-photographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many critics. Since the 1970s there has been a resurgence in interest in the movement.
  
 
== List of artists ==
 
== List of artists ==
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== Collections ==
 
== Collections ==
There are major collections of Pre-Raphaelite work in the [[Tate Gallery]], [[Victoria and Albert Museum]], [[Manchester Art Gallery]], [[Lady Lever Art Gallery]] on Merseyside and [[Birmingham Museum & Art Gallery]].  The [[Delaware Art Museum]] has the most significant collection of Pre-Raphaelite art outside of the United Kingdom.
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There are major collections of Pre-Raphaelite work in the [[Tate Gallery]], [[Victoria and Albert Museum]], [[Manchester Art Gallery]], [[Lady Lever Art Gallery]] on Merseyside, and [[Birmingham Museum & Art Gallery]].  The [[Delaware Art Museum]] has the most significant collection of Pre-Raphaelite art outside of the United Kingdom.
  
 
[[Andrew Lloyd Webber]] is an avid collector of Pre-Raphaelite works and a collection of 300 from his collection were shown at a major exhibition at the [[Royal Academy]] in 2003.
 
[[Andrew Lloyd Webber]] is an avid collector of Pre-Raphaelite works and a collection of 300 from his collection were shown at a major exhibition at the [[Royal Academy]] in 2003.
  
 
==Books==
 
==Books==
*''The English pre-Raphaelite painters; their associates and successors'' (1972, ISBN 0404006914)
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*''The English Pre-Raphaelite Painters; Their Associates and Successors'' (1972, ISBN 0404006914)
*''Pre-Raphaelite women artists'' (1997, ISBN 0500281041)
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*''Pre-Raphaelite Women Artists'' (1997, ISBN 0500281041)
*''Collecting the Pre-Raphaelites : the Anglo-American enchantment'' (1997, ISBN 1859283993)
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*''Collecting the Pre-Raphaelites: The Anglo-American Enchantment'' (1997, ISBN 1859283993)
*''The pre-Raphaelites : romance and realism'' (2000, ISBN 0810928914)
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*''The Pre-Raphaelites: Romance and Realism'' (2000, ISBN 0810928914)
*''Flora symbolica : flowers in Pre-Raphaelite art'' (2003, ISBN 3791328514)
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*''Flora Symbolica: Flowers in Pre-Raphaelite Art'' (2003, ISBN 3791328514)
*''Pre-Raphaelite vision : truth to nature'' (2004, ISBN 1854374990)
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*''Pre-Raphaelite Vision: Truth to Nature'' (2004, ISBN 1854374990)
*''Pre-Raphaelite painting techniques, 1848-56'' (2004, ISBN 1854374982)
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*''Pre-Raphaelite Painting Techniques, 1848-56'' (2004, ISBN 1854374982)
 
 
== See also ==
 
* [[List of Pre-Raphaelite paintings]]
 
* [[British art]]
 
* [[Early Renaissance painting]]
 
* [[English school of painting]]
 
* [[Hogarth club]]
 
* [[Middle Ages in history]]
 
* ''[[The Light of the World]]''
 
  
 
==Notes==
 
==Notes==
<references />
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<references/>
  
 
== References ==
 
== References ==
*{{cite book | last = Barringer | first = Tim | year = 1998 | title = Reading the Pre-Raphaelites | publisher = Yale University Press | location = New Haven, Conn. | id = ISBN 0-300-07787-4}}
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*Barringer, Tim. 1998. ''Reading the Pre-Raphaelites.'' New Haven: Yale University Press. ISBN 0-300-07787-4
*{{cite book | last = Daly | first = Gay | year = 1989 | title = Pre-Raphaelites in Love | publisher = Ticknor & Fields | location = New York | id = ISBN 0-89919-450-8}}
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*Daly, Gay. 1989. ''Pre-Raphaelites in Love.'' New York: Ticknor & Fields. ISBN 0-89919-450-8
*{{cite book | last = Gaunt | first = William | year = 1975 | title = The Pre-Raphaelite Tragedy | edition = rev. ed. | publisher = Cape | location = London | id = ISBN 0-224-01106-5}}
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*Gaunt, William. 1975. ''The Pre-Raphaelite Tragedy.'' London: Cape. ISBN 0-224-01106-5
*{{cite book | last = Hawksley | first = Lucinda | year = 1999 | title = Essential Pre-Raphaelites | publisher = Dempsey Parr | location = Bath | id = ISBN 1-84084-524-4}}
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*Hawksley, Lucinda. 1999. ''Essential Pre-Raphaelites.'' Bath: Dempsey Parr. ISBN 1-84084-524-4
*{{cite book | last = Prettejohn | first = Elizabeth | year = 2000 | title = The Art of the Pre-Raphaelites | publisher = Princeton University Press | location = Princeton, N.J. | id = ISBN 0-691-07057-1}}
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*Prettejohn, Elizabeth. 2000. ''The Art of the Pre-Raphaelites.'' Princeton, NJ: Princeton University Press. ISBN 0-691-07057-1
*Ramm, John (2003) [The Forgotten Pre-Raphaelite: Henry Wallis] Antique Dealer & Collectors Guide, Mar/April 2003, Vol 56, 8&9
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*Ramm, John. 2003. "The Forgotten Pre-Raphaelite: Henry Wallis." ''Antique Dealer & Collectors Guide, ''Mar/April 2003, Vol 56, 8&9.
  
 
== External links ==
 
== External links ==
{{commonscat|Pre-Raphaelite paintings}}
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All links retrieved November 30, 2022.
*[http://www.dlc.fi/~hurmari/preraph.htm Collection of links]
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*[http://www.angelfire.com/wy2/preraph/page2.html Pre-Raphaelite People and Principles]  
*[http://www.bmagic.org.uk/results?s=pre-raphaelite+ Birmingham Museums & Art Gallery online collection]
 
*[http://www.liverpoolmuseums.org.uk/walker/pre-Raphaelites/index.asp Liverpool Walker Art Gallery's Pre-Raphaelite collection]
 
*[http://www.angelfire.com/wy2/preraph/page2.html Pre-Raphaelite People and Principles]
 
*[http://www.andrewlloydwebber.com/sections/art/art_thecollection.php?section=art Andrew Lloyd Webber's Pre-Raphaelite Collection]
 
*[http://www.studio-international.co.uk/painting/pre-raph.asp Pre-Raphaelite and other Masters: the Andrew Lloyd Webber Collection]
 
*[http://www.studio-international.co.uk/painting/love_revealed.asp Love Revealed: Simeon Solomon and the Pre-Raphaelites]
 
 
*[http://www.victorianweb.org/painting/prb/4.html Pre Raphaelitism in Poetry]
 
*[http://www.victorianweb.org/painting/prb/4.html Pre Raphaelitism in Poetry]
*[http://www.bartleby.com/223/0501.html Literary Aspects of Pre Raphaelitism: The Cambridge History of English and American Literature]
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*[http://www.bartleby.com/223/0501.html Literary Aspects of Pre Raphaelitism: The Cambridge History of English and American Literature]  
*[http://www.all-art.org/history392-5.html The Pre-Raphaelite Brotherhood in the ''History of Art'']
+
*[http://www.achome.co.uk/chronology/chronology.htm Pre-Raphaelite Chronology]  
*[http://www.achome.co.uk/chronology/chronology.htm Pre-Raphaelite Chronology]
+
*[http://www.lizziesiddal.com Exploring Elizabeth Siddal]  
*[http://www.lizziesiddal.com Lizzie Siddal website]
+
*[http://www.engl.duq.edu/servus/PR_Critic/ The Pre-Raphaelite Critic] is a collection of full-text and excerpted 19th century reviews of the movement and its individual members.  
*[http://www.engl.duq.edu/servus/PR_Critic/ The Pre-Raphaelite Critic] is a collection of full-text and excerpted 19th century reviews of the movement and its individual members.
+
*[http://www.pre-raphaelitesociety.org/ The Pre-Raphaelite Society]  
*[http://www.pre-raphaelitesociety.org/ The Pre-Raphaelite Society]
+
*[http://preraph.org/ The Samuel and Mary R. Bancroft Collection of Pre-Raphaelite Art]  
*[http://preraph.org/ The Samuel and Mary R. Bancroft Collection of Pre-Raphaelite Art]
 
  
 
{{Westernart}}
 
{{Westernart}}

Latest revision as of 00:32, 12 April 2023


Persephone, by Dante Gabriel Rossetti.

The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848, by John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt.

The group's intention was to reform art by rejecting what they considered to be the mechanistic approach adopted by the Renaissance and Mannerist artists who followed Raphael and Michelangelo. They believed that the Classical poses and elegant compositions of Raphael, in particular, had been a corrupting influence on the academic teaching of art. Hence the name "Pre-Raphaelite." In particular, they objected to the influence of Sir Joshua Reynolds, the founder of the English Royal Academy of Arts. They called him "Sir Sloshua," believing that his broad technique was a sloppy and formulaic form of academic Mannerism. In contrast, they wanted to return to the abundant detail, intense colors, and complex compositions of Quattrocento Italian and Flemish art.

The Pre-Raphaelites have been considered the first avant-garde movement in art, though they have also been denied that status, because they continued to accept both the concepts of history painting and of mimesis, or imitation of nature, as central to the purpose of art. However, the Pre-Raphaelites undoubtedly defined themselves as a reform movement, created a distinct name for their form of art, and published a periodical, The Germ, to promote their ideas. Their debates were recorded in the Pre-Raphaelite Journal.

Beginnings of the Brotherhood

Illustration by Holman Hunt to Thomas Woolner's poem "My Beautiful Lady," published in The Germ, 1850

The Pre-Raphaelite Brotherhood was founded in John Millais's parents' house on Gower Street, London, in 1848. At the initial meeting, John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt were present. Hunt and Millais were students at the Royal Academy of Arts. They had previously met in another loose association, a sketching society called the Cyclographic club. Rossetti was a pupil of Ford Madox Brown. He had met Hunt after seeing Hunt's painting The Eve of St Agnes, based on Keats' poem. As an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. By autumn, four more members had also joined to form a seven-strong Brotherhood. These were William Michael Rossetti (Dante Gabriel Rossetti's brother), Thomas Woolner, James Collinson, and Frederic George Stephens. Ford Madox Brown was invited to join, but preferred to remain independent. He nevertheless remained close to the group. Some other young painters and sculptors were also close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. They kept the existence of the Brotherhood secret from members of the Royal Academy.

Early doctrines

The Brotherhood's early doctrines were expressed in four declarations:

  1. To have genuine ideas to express;
  2. To study Nature attentively, so as to know how to express them;
  3. To sympathize with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parodying and learned by rote;
  4. And, most indispensable of all, to produce thoroughly good pictures and statues.

These principles are deliberately undogmatic, since the Brotherhood wished to emphasize the personal responsibility of individual artists to determine their own ideas and method of depiction. Influenced by Romanticism, they thought that freedom and responsibility were inseparable. Nevertheless, they were particularly fascinated by Medieval culture, believing it to possess a spiritual and creative integrity lost in later eras. This emphasis on medieval culture was to clash with the realism promoted by the stress on independent observation of nature. In its early stages, the Pre-Raphaelite Brotherhood believed that the two interests were consistent with one another, but in later years, the movement divided in two directions. The realist side was led by Hunt and Millais, while the medievalist side was led by Rossetti and his followers, Edward Burne-Jones and William Morris. This split was never absolute, since both factions believed that art was essentially spiritual in character, opposing their idealism to the materialist realism associated with Courbet and Impressionism.

In their attempts to revive the brilliance of color found in Quattrocento art, Hunt and Millais developed a technique of painting in thin glazes of pigment over a wet, white ground. In this way, they hoped that their colors would retain jewel-like transparency and clarity. This emphasis of brilliance of color was in reaction to the excessive use of bitumen by earlier British artists such as Reynolds, David Wilkie, and Benjamin Robert Haydon. Bitumen produces unstable areas of muddy darkness, an effect which the Pre-Raphaelites despised.

Public controversies

The first exhibition of Pre-Raphaelite work came in 1849. Both Millais' Isabella (1848–1849) and Holman Hunt's Rienzi (1848–1849) were exhibited at the Royal Academy, and Rossetti's Girlhood of Mary Virgin was shown at the Free Exhibition on Hyde Park Corner. As agreed, all members of the Brotherhood signed works with their name and "PRB." Between January and April 1850, the group published a literary magazine, The Germ. William Rossetti edited the magazine, which published poetry by the Rossettis, Woolner, and Collinson, together with essays on art and literature by associates of the Brotherhood, such as Coventry Patmore. As the short runtime implies, the magazine did not manage to achieve a sustained momentum.[1]

Christ In the House of His Parents, by John Everett Millais, 1850.

In 1850, the Pre-Raphaelite Brotherhood became controversial after the exhibition of Millais's painting Christ In The House Of His Parents, considered to be blasphemous by many reviewers, notably Charles Dickens. Their medievalism was attacked as backward-looking and their extreme devotion to detail was condemned as ugly and jarring to the eye. According to Dickens, Millais made the Holy Family look like alcoholics and slum-dwellers, adopting contorted and absurd "medieval" poses. A rival group of older artists, The Clique, also used their influence against the Pre-Raphaelite Brotherhood. Their principles were publicly attacked by the President of the Academy, Sir Charles Lock Eastlake.

However, the Brotherhood found support from the critic John Ruskin, who praised their devotion to nature and rejection of conventional methods of composition. He continued to support their work both financially and in his writings.

Following the controversy, Collinson left the Brotherhood. They met to discuss whether he should be replaced by Charles Allston Collins or Walter Howell Deverell, but were unable to make a decision. From that point on the group disbanded, though their influence continued to be felt. Artists who had worked in the style still followed these techniques (initially anyway) but they no longer signed works "PRB."

Later developments and influence

Medea by Evelyn De Morgan, 1889, in quattrocento style

Artists who were influenced by the Brotherhood include John Brett, Philip Calderon, Arthur Hughes, Evelyn De Morgan, and Frederic Sandys. Ford Madox Brown, who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles.

After 1856, Rossetti became an inspiration for the medievalizing strand of the movement. His work influenced his friend William Morris, in whose firm, Morris, Marshall, Faulkner & Co., he became a partner, and with whose wife Jane he may have had an affair. Ford Madox Brown and Edward Burne-Jones also became partners in the firm. Through Morris's company the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in medieval designs, as well as other crafts. This led directly to the Arts and Crafts Movement headed by William Morris. Holman Hunt was also involved with this movement to reform design through the Della Robbia Pottery company.

After 1850, both Hunt and Millais moved away from direct imitation of medieval art. Both stressed the realist and scientific aspects of the movement, though Hunt continued to emphasize the spiritual significance of art, seeking to reconcile religion and science by making accurate observations and studies of locations in Egypt and Palestine for his paintings on biblical subjects. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned this reversal of principles.

The movement influenced the work of many later British artists well into the twentieth century. Rossetti later came to be seen as a precursor of the wider European Symbolist movement. In the late twentieth century the Brotherhood of Ruralists based its aims on Pre-Raphaelitism, while the Stuckists have also have derived inspiration from it.

The Birmingham Museum and Art Gallery has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young J.R.R. Tolkien while he was growing up in the city.[2]

In the twentieth century, artistic ideals changed and art moved away from representing reality. Since the Pre-Raphaelites were fixed on portraying things with near-photographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many critics. Since the 1970s there has been a resurgence in interest in the movement.

List of artists

The Pre-Raphaelite Brotherhood

  • James Collinson (painter)
  • William Holman Hunt (painter)
  • John Everett Millais (painter)
  • Dante Gabriel Rossetti (painter, poet)
  • William Michael Rossetti (critic)
  • Frederic George Stephens (critic)
  • Thomas Woolner (sculptor, poet)

Associated artists and figures

  • Lawrence Alma-Tadema (painter)
  • John Brett (painter)
  • Ford Madox Brown (painter, designer)
  • Edward Burne-Jones (painter, designer)
  • Charles Allston Collins (painter)
  • Frank Cadogan Cowper (painter)
  • Walter Howell Deverell (painter)
  • Arthur Hacker (painter)
  • Arthur Hughes (painter, book illustrator)
  • Jane Morris (artist's model)
  • May Morris (embroiderer and designer)
  • William Morris (designer, writer)
  • Christina Rossetti (poet)
  • John Ruskin (critic)
  • Anthony Frederick Augustus Sandys (painter)
  • Thomas Seddon (painter)
  • Elizabeth Siddal (painter, poet and artist's model)
  • Simeon Solomon (painter)
  • Marie Spartali Stillman (painter)
  • Algernon Swinburne (poet)
  • William Lindsay Windus (painter)
  • Henry Wallis (painter)

Loosely associated artists

  • Sophie Gengembre Anderson (painter)
  • Wyke Bayliss (painter)
  • George Price Boyce (painter)
  • James Campbell (painter)
  • John Collier (painter)
  • William Davis (painter)
  • Evelyn De Morgan (painter)
  • Frank Bernard Dicksee (painter)
  • John William Godward (painter)
  • Thomas Cooper Gotch (painter)
  • Edward Robert Hughes (painter)
  • John Lee (painter)
  • Edmund Leighton (painter)
  • Frederic, Lord Leighton (painter)
  • Joseph Noel Paton (painter)
  • John William Waterhouse (painter)
  • Daniel Alexander Williamson (painter)

Models

  • Fanny Cornforth
  • Annie Miller
  • Evelyn de Morgan
  • Jane Morris
  • Elizabeth Siddall (Rossetti)
  • Marie Spartali Stillman
  • Maria Zambaco

Collections

There are major collections of Pre-Raphaelite work in the Tate Gallery, Victoria and Albert Museum, Manchester Art Gallery, Lady Lever Art Gallery on Merseyside, and Birmingham Museum & Art Gallery. The Delaware Art Museum has the most significant collection of Pre-Raphaelite art outside of the United Kingdom.

Andrew Lloyd Webber is an avid collector of Pre-Raphaelite works and a collection of 300 from his collection were shown at a major exhibition at the Royal Academy in 2003.

Books

Notes

  1. Gay Daly, Pre-Raphaelites in Love (New York: Ticknor & Fields, 1989). ISBN 0-89919-450-8
  2. Gregory S. Bucher, A Review of Matthew Dickerson's Following Gandalf. Epic Battles and Moral Victory in The Lord of the Rings, published in the Journal of Religion and Society, Volume 6 (2004).

References
ISBN links support NWE through referral fees

  • Barringer, Tim. 1998. Reading the Pre-Raphaelites. New Haven: Yale University Press. ISBN 0-300-07787-4
  • Daly, Gay. 1989. Pre-Raphaelites in Love. New York: Ticknor & Fields. ISBN 0-89919-450-8
  • Gaunt, William. 1975. The Pre-Raphaelite Tragedy. London: Cape. ISBN 0-224-01106-5
  • Hawksley, Lucinda. 1999. Essential Pre-Raphaelites. Bath: Dempsey Parr. ISBN 1-84084-524-4
  • Prettejohn, Elizabeth. 2000. The Art of the Pre-Raphaelites. Princeton, NJ: Princeton University Press. ISBN 0-691-07057-1
  • Ramm, John. 2003. "The Forgotten Pre-Raphaelite: Henry Wallis." Antique Dealer & Collectors Guide, Mar/April 2003, Vol 56, 8&9.

External links

All links retrieved November 30, 2022.

Western art movements
Renaissance · Mannerism · Baroque · Rococo · Neoclassicism · Romanticism · Realism · Pre-Raphaelite · Academic · Impressionism · Post-Impressionism
20th century
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