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The Pre-Raphaelites
\"Meet the renegades of Victorian art in this gorgeously illustrated exploration of their work and influence Starting in the revolutionary year of 1848, the Pre-Raphaelites set out to return a lost vibrancy to British art. Together they mounted an artistic front against what they saw as the confining standards of the Victorian art world, and the dehumanizing aspects of the industrial age. Among their ranks were Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt, and later followers included Edward Burne-Jones and William Morris. Their works drew from Shakespeare, Keats, Tennyson, and medieval lore. They also treated religious and contemporary themes with striking realism, bringing viewers into intimate contact with the subject and causing scandal in their time. In her authoritative yet readable text, author Aurâelie Petiot traces Pre-Raphaelitism from its beginnings in a secret brotherhood to its dissemination in multiple strands of English art. Later chapters provide fresh insight into the Pre-Raphaelite influence on subsequent movements like Arts and Crafts and French modernism, as well as contemporary pop culture. Each painting is reproduced with the luminous brilliance and detail for which the Pre-Raphaelites were known. This book is a must-have for any art history lover\"-- Provided by publisher.
Book
Barrès contre Ruskin
In many aspects Maurice Barrès (1862–1923) could have been a fervent disciple of Ruskin: an art lover influenced by the London aesthetes, a great reader of Rio’s work, On Christian Art, a writer on Venice, a political figure who came to adhere to traditionalism, a defender of the churches of France, one of the creators of the 1913 law on national heritage. However Barrès resisted Ruskin’s ideas, due to his interest in the Italian Renaissance, to his greater affinity with the tastes and sensibility of Walter Pater and of Stendhal, and also maybe as a reaction to fashion, as his satire of Ruskin’s pilgrims shows. To respond to Ruskin, he didn’t write a theoretical essay on art, but he inserted in novel or travel writing short polemical meditations. They testified to his increasing first-hand knowledge of Ruskin’s writings and they mostly dealt with the role the Italian Renaissance should play and with the representation of Venice. Barrès thus had a paradoxical role in the circulation of Ruskin’s ideas in France: he contributed to his fame—he is one of the first among few writers who used his name in a novel and, in 1904 he strongly advised Proust to translate St Mark’s Rest—, yet he also became an example of resistance to Ruskin. His followers, Rebell, Daudet, and Vaudoyer illustrated the way Barrès became a leader of this resistance, or at least helped to justify the anti-Ruskinian reaction in France.
Journal Article
The Petries and the Pre-Raphaelites: Hilda Urlin and Henry Holiday
The Petrie Museum of Egyptian and Sudanese Archaeology, University College London (UCL) has recently received a generous donation of a framed pencil study of a young woman’s head, identified as Hilda Petrie (née Urlin). Over the past 12 months, the biography of this intriguing sketch has been reconciled from archival and art historical sources in preparation for its display as the centrepiece of the Petrie Museum’s newly refurbished entrance gallery. Three key characters are associated with this drawing: the Pre-Raphaelite artist Henry Holiday, Hilda Urlin, and her husband William Matthew Flinders Petrie, whose life stories are closely linked. Here, the background to the artist, the sitter, and her well-known husband will be presented in the contemporary context of late 19th and early 20th century archaeology in Egypt.
Journal Article
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
Dante Rossetti, Pre-Raphaelitism, and the Morris Circle
In his Roundtable: Dante Gabriel Rossetti and Music: Introduction, Allis lists more than a dozen settings of Rossettis poems by composers from 1893 to 1928, including Claude Debussys La damoiselle clue, Wilberfoss Owsts The White Ship, and Vaughan Williamss song sequence The House of Life. Both paintings thus belong to a later phase of Pre-Raphaelite art, placing more emphasis on imagined ideas than on naturalism-an aesthetic that shades into symbolism (p. 191); moreover, the poems use of concrete detail in a context of unstructured space and temporal ambiguity is a poetic equivalent of the clear physical detail of the painting . . . combined with its relative lack of perspective\" (P. 192). [...]Stinis finds parallels between the inward creative/receptive gaze of these paintings and what critics have elsewhere defined as the \"inner standing point\" in Rossetti's poetry, as well as anticipations of Henri Bergson's conception of multiple temporalities emanating outward from an inner consciousness. Helsinger then explores analogues in Rossetti's watercolors of the period, such as The Tune of Seven Towers, as well as effects in contemporary paintings by Edward Burne-Jones (Green Summer, 1864) and J. M. Whistler (Little White Girl, exh. 1865), observing that in the 1850s and 1860s music becomes in poetry and art \"an
Journal Article
Pre-Raphaelites
Pre-Raphaelites: Beauty and Rebellion presents new research into Pre-Raphaelites in Northern England to accompany an exhibition of artworks of the same title at Liverpool's Walker Art Gallery from February 2016.
eBook
