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result(s) for
"Pre-Raphaelite Brotherhood."
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The Pre-Raphaelites and science
This revelatory book traces how the Pre-Raphaelite Brotherhood and their close associates put scientific principles into practice across their painting, poetry, sculpture, and architecture. In their manifesto, The Germ, the Pre-Raphaelites committed themselves to creating a new kind of art modeled on science, in which precise observation could lead to discoveries about nature and humanity. In Oxford and London, Victorian scientists and Pre-Raphaelite artists worked together to design and decorate natural history museums as temples to God's creation. At the same time, journals like Nature and the Fortnightly Review combined natural science with Pre-Raphaelite art theory and poetry to find meaning and coherence within a worldview turned upside down by Darwin's theory of evolution. Offering reinterpretations of well-known works by John Everett Millais, William Holman Hunt, Dante Gabriel Rossetti, Ford Madox Brown, and William Morris, this major revaluation of the popular Victorian movement also considers less-familiar artists who were no less central to the Pre-Raphaelite project. These include William Michael Rossetti, Walter Deverell, James Collinson, John and Rosa Brett, John Lucas Tupper, and the O'Shea brothers, along with the architects Benjamin Woodward and Alfred Waterhouse. Published in association with the Paul Mellon Centre for Studies in British Art.
Book
Sisters of Inspiration. From Shakespearean Heroine to Pre-Raphaelite Muse
The paper aims to make a connection between the female models of the Pre-Raphaelite Brotherhood and the portrayal of Shakespearean heroines, given that the 19th-century school of painting was using the Bard not only as a source of legitimation and authority, but also as a source of displacement, tackling apparently universal and literary subjects that were in fact disturbing for the Victorian sensibilities, such as love and eroticism, neurosis and madness, or suicide. As more recent scholarship has revealed, the women behind the Brotherhood, while posing as passive and contemplative, objects on display for the public gaze, had more agency and mobility than the average Victorian women.
Journal Article
Melville's Twentieth‐Century Revivals
This chapter considers the complex genealogy of Herman Melville's scholarship and reception from the perspective of the dynamic relationships between different Melville revivals. The small‐scale British revival in the late nineteenth century and the 1920s revival on both sides of the Atlantic, while usually discussed as separate and unrelated phenomena, are treated as interrelated moments in the history of Melville reception. The late nineteenth‐century British Melville revival encompassed several overlapping groups, including the Pre‐Raphaelite Brotherhood of artist‐writers and their peers, adherents of the Christian socialist working‐men's movement, as well as Fabian socialists. The British socialist revival of Melville faded at the end of the nineteenth century and was largely forgotten until the 1920s. Lewis Mumford was more interested in “essential human qualities” than “industrial reorganization,” as were Brooks and William Morris. Mumford's distinct environmentalism becomes clearer in comparison with the regionalist Melville revival.
Book Chapter
La Hermandad Prerrafaelita y el mercado del arte. Estudio de caso
En el presente artículo pondremos el acento en la acogida que reciben en el mercado del arte -entre 1990 y 2017- diversas obras realizadas por pintores y pintoras de la Hermandad Prerrafaelita que tienen como objeto de la creación artística la representación de las mujeres en un amplio espectro, que comprende desde la que se desenvuelve en los bajos fondos hasta la que representa a la Virgen María. Nuestro discurso va a tratar de establecer la posible relación entre la temática escogida y los valores alcanzados en las principales casas de subastas.
Journal Article
Solid Objects
In this provocative and wide-ranging study, Douglas Mao argues that a profound tension between veneration of human production and anxiety about production's dangers lay at the heart of literary modernism. Focusing on the work of Virginia Woolf, Wyndham Lewis, Ezra Pound, and Wallace Stevens, Mao shows that modernists were captivated by physical objects, which, regardedasobjects, seemed to partake of a utopian serenity beyond the reach of human ideological conflicts. Under a variety of historical pressures, Mao observes, these writers came to revere the making of such things, and especially the crafting of the work of art, as the surest guarantee of meaning for an individual life. Yet they also found troubling contradictions here, since any kind of making, be it handicraft or mass production, could also be understood as a violation of the nonhuman world by an increasingly predatory and imperialistic subjectivity. If modernists began by embracing production as a test of meaning, then they frequently ended by testing production itself and finding it wanting.
To make this case, Mao interweaves social and political history with readings in literature, the visual arts, philosophy, and economics. He explores modernism's relation to aestheticism, existentialism, and the culture of consumption, joining current debates on the politics of engagement and the social meanings of art. And he shows conclusively, in this elegantly written and consistently surprising work, that we cannot understand the theories and practices of modernism without addressing the question of the object and production's ambivalent allure.
eBook
Poetry and Illustration
This chapter contains section titled:
Early Victorian Annuals
Giftbooks of the Sixties
Belles Lettres at the Fin de Siècle
References and Further Reading
Book Chapter
