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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
The Cambridge Companion to the Pre-Raphaelites
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.
eBook
Andor Dudits a dozvuky preraffaelistických inšpirácií na jeho košickej maľbe.(Andor Dudits and the Reverberations of Pre-Raphaelite Inspirations in his Painting in Košice)
Budapest painter Andor Dudits (*1866 – 1944) created a monumental wall painting in honour of Francis II Rákóczi in the Cathedral of St Elizabeth in Košice from 1914 to 1916. It belonged to one of the last adaptations of the topic of anti-Habsburg resistance in painting in the Hungarian Kingdom. It was created based on a competition organized by the State Monuments Commission. With it, Dudits continued his previous Art Nouveau works in the sacral space (Bačka Topola, 1908; Brezno, 1909). Its concept and composition can be compared to the painting The Bridge of Life by Walter Crane, which was exhibited in the form of a graphic in Budapest. The impression of a mosaic, golden background, the look of Rákóczi’s mother Jelena Zrinska, and a funeral procession point also to other Pre-Raphaelite inspirations.
Journal Article
Victorian Women’s Poetry and the Near-Death Experience of a Category
Patricia Murphy’s well-received Reconceiving Nature (2019), for example, pays “determined and meticulous attention” to Augusta Webster, Mathilde Blind, Michael Field, Alice Meynell, Constance Naden, and Louisa Sarah Bevington.2 The category “Victorian Women Poets” in itself reflects a continuing, perhaps ineradicable, gender hierarchy in that a separate “Victorian Men Poets” category has never existed, and maintains its status as an often unacknowledged default position. Given the continuing debate about gender, the newly contentious nature of the sex/gender distinction, and the waning cultural power of feminism, it remains to be seen, post-2023, whether “women poets” retain its currency as terminology and ideology or its capacity to draw students. If there is a correlation between what was published in Victorian Poetry from 2003 to 2023 and what is taught in undergraduate survey courses, then pedagogy still largely consists in finding new ways to look at familiar figures rather than a fundamental, permanent shift in conceptions of what poetry consisted of in the Victorian period: what it was, where and how it was published, what it did, who wrote it, and why. [...]an approach would mean that a way must be found to make available a selection of four million poems in undergraduate classrooms, augmenting scholarly editions of individual poets and well-annotated anthologies that are inevitably focused on what has survived.
Journal Article
Pre-Raphaelitism, Dante G. Rossetti, and William Morris
The exhibition was accompanied by a volume edited by curators Carol Jacobi and James Finch that was somewhat less favorably reviewed both by Barringer (JWMS 25, no. 3) and by Susie Beckham in Victoriographies (14, no. 1). Barringer finds that the essays, with the exception of contributions by Jan Marsh, Elizabeth Prettejohn, and Chiedza Mhondoro, exhibit “a tiresome level of generality” (p. 65), and Beckham identifies significant factual errors in biographical and art historical details. Richard Leahy’s “The Sensuous Pastoral: Vision and Text in Pre-Raphaelite Art” (chap. 5 in Literature and Image in the Long Nineteenth Century [Cambridge Scholars Press]) notes that the Pre-Raphaelite and Rossettian claim to represent nature is manifested through “sharp juxtapositions of narrative and decorative material,” a form of attention to imagined or created detail that paradoxically alienates its human subject (p. 98). In “‘I Drew It in as Simply as My Breath’: Absence, Presence, and Ideal Beauty in Dante Gabriel Rossetti’s Sibylla Palmifera (1866–70) ‘Double Work of Art’” (English: Journal of the English Association 72, no. 129), Nicholas Dunn-McAfee finds that most prior studies of Rossetti’s characteristic paintings-cum-poems focus on a single aspect of these dual works, eliding their complicated interrelationship.
Journal Article
Review of ‘Whistler’s Woman in White: Joanna Hiffernan’ at the Royal Academy
A review of ‘Whistler’s Woman in White: Joanna Hiffernan’ at the Royal Academy (26 February–22 May 2022).
Journal Article