Pre-Raphaelites

The years 1855-1880, generally referred to as The Sixties’, saw some of the finest and most significant contributions to wood-engraved book and magazine illustration in Britain.In this major survey Pa

The Pre-Raphaelite Brotherhood had a dynamic influence upon the Victorian era. The painters, including Dante Gabriel Rossetti, William Holman Hunt and John Everett Millais, fought against an increasin

This standard anthology presents major Pre-Raphaelite poets: Dante Rossetti, Christina Rossetti, William Morris, Swinburne and George Meredith. Minor Pre-Raphaelite poets: William Michael Rossetti, Th

This useful volume presents the major works of the five leading Pre-Raphaelite poets. Foremost in the collection, and included in their entirety are D. G. Rossetti's The House of Life, C. G. Rossetti

Surveys the origins, development, techniques, approaches, principles, motifs, and major paintings of the nineteenth-century British school, relating the painters and their works to their society

An illuminating look at how the Pre-Raphaelite movement was embraced by a group of vanguard American artists Bringing together insights from a distinguished group of scholars, this beautiful book anal

Started in the early 19th century by a group of British painters who rejected the sovereignty of the Royal Academy, the Pre- Raphaelites embraced the natural world and bright colors- as opposed to the

A vivid, richly observed and compellingly readable account of the women who held the artists of the Pre-Raphaelite Brotherhood in thrall.

This work offers an overview of the Pre-Raphaelite Brotherhood, one of the most popular art movements that included artists such as William Holman Hunt, Dante Gabriel Rossetti and John Everett.

本書特色還原政治、宗教與社會文化語境，定格英國藝術史上自18世紀迄今的十個重要瞬間，看他們如何以「審美」回應並超越時代── 威廉‧布雷克（William Blake, 1757-1827） 約翰‧羅斯金（John Ruskin, 1819-1900） 前拉斐爾兄弟會（Pre-Raphaelites） 威廉‧莫里斯（William Morris, 1834-1896） 麥金托什夫婦（Cha

19th and early 20th-century hair appears to be everywhere when you start to look, from the abundant locks of the pre-Raphaelites to the myriad objects on show at the Great Exhibitions. The latter, hos

Discover the history of art movements from classical Greek art to the Italian Renaissance, the pre-raphaelites, and the masters of impressionism with this bestselling DK visual guide.Truly comprehensi

It was in The Germ (1850), the first British magazine with an aesthetic manifesto, that the interart theories of the Pre-Raphaelites took shape. The thirteen young contributors advocated an ethical ap

Time and the visual sense were two essential preoccupations of the Victorians, and both were central to their presentations of Shakespeare's plays. In this extensive new study, Stuart Sillars examines multiple facets of this complex relationship. The desire for authenticity in production, in the work of Charles Kean and his followers, leads to elaborate sets that define and direct the performances' movement through time. Visual artists of all kinds fracture and extend the plays' movements, the Pre-Raphaelites through new techniques and approaches, illustrators through new forms of engraving and printing, and photographers through the emerging forms of the medium. The book also considers the multiple forms in which performances were recorded and re-created visually, and absorbed into the memories of their viewers. With many previously unpublished images, it draws together multiple fields to offer a new perspective on one of the most productive and various periods of Shakespeare activity

The paintings of the Pre-Raphaelite Brotherhood are widely known and loved. This book presents a comprehensive survey of the intimate world of the Pre-Raphaelites drawings.

This major book examines the ways in which the idea of an earthly paradise inspired English life and thought in the eighteenth and nineteenth centuries. Professor Schulz begins with the eighteenth-century passion for landscape gardens - attempts physically to recreate Eden on earth. He traces the 'internalising' of Eden by the Romantic poets and by painters such as Constable and Palmer, and then turns to the Victorian identification of paradise not with a garden but with the city - a technological Eden, achieved by massive feats of engineering that would control the environment. Chapters on Turner, Tennyson, and the Pre-Raphaelites show the increasing disillusion with this urban and mechanised ideal as the century declined towards the purely imaginative paradises of Beardsley's drawings and Whistler's Peacock Room - Eden recreated in the dining room of a Liverpool shipping millionaire. Wide ranging in scope and generously illustrated, Paradise Preserved is a remarkable work of literary

The contributions to this book constitute a concerted account of the place of Shakespeare in the Victorian theatre and the cultural life of the country in the nineteenth century. They explore the changing styles of acting and staging used for Shakespeare's plays by Macready, Charles Kean, the Irvings, Ellen Terry and Beerbohm Tree, and examine Shakespeare's influence on Victorian dramatists (Sheridan Knowles, Albery and W.S. Gilbert) and the relationship between the stage and the allied arts of painting (David Scott, the Pre-Raphaelites and Alma-Tadema) and music (Sullivan). During Queen Victoria's reign Shakespeare's plays attracted new audiences from the court at Windsor to such rapidly expanding conurbations as Leicester and Sheffield. In France, Germany, Italy and the New World, Shakespeare effectively became an ambassador of Britain's growing power and influence. The book develops a fascinating and well-illustrated account of these changes.

In Physiognomy and the Meaning of Expression in Nineteenth-Century Culture, first published in 2001, Lucy Hartley examines the emergence of physiognomy as a form of popular science. Physiognomy posited an understanding of the inner meaning of human character from observations of physical appearances, usually facial expressions. Taking the physiognomical teachings of Johann Caspar Lavater as a starting-point, Hartley considers the extent to which attempts to read the mind and judge character through expression can provide descriptions of human nature. She argues that the writings of Charles Bell, and the Pre-Raphaelites establish the significance of the physiognomical tradition for the study of expression whilst also preparing the ground for the rise of new doctrines for the expression of emotion by Alexander Bain and Herbert Spencer. She then demonstrates how the evolutionary explanation of expression proposed by Spencer and Charles Darwin is both the outcome of the physiognomical trad

The Impressionist painter Camille Pissarro's eldest son, Lucien, lived in England in 1883, then in Paris until 1890 when he finally settled in England. These travels gave rise to a substantial exchange of letters, most of which have survived. This substantial 1993 collection of the letters of Impressionist painter Camille Pissarro, published in the original French with extensive notes and illustrations, offers a unique source for anyone interested in English 'aesthetic' life towards the end of the nineteenth century. The technical discussion of the translation of drawings to woodblocks engraved by Lucien gives a unique insight into the methods employed, while intimate views on the work of their now famous friends, mainly painters, writers of anarchist theoreticians in Paris, or contemporary painters reacting to the Pre-Raphaelites in London and the Private Press movement inspired by William Morris, mingle advice on painting methods with views on current art trends, family matters, and

Absorbing, exceptionally detailed study by noted authority examines early trends (including the influence of Blake and the Pre-Raphaelites), posters and book illustrations, stylistic influences in arc

Paintings by 6 of the best-known Pre-Raphaelites, including Rossetti's Lucretia Borgia, La Donna della Finestra, My Lady Greensleeves, and The Blessed Damozel; Millais's The Huguenot; Hunt's Miracle o

The Impressionist painter Camille Pissarro's eldest son, Lucien, lived in England in 1883, then in Paris until 1890 when he finally settled in England. These travels gave rise to a substantial exchange of letters, most of which have survived. This substantial 1993 collection of the letters of Impressionist painter Camille Pissarro, published in the original French with extensive notes and illustrations, offers a unique source for anyone interested in English 'aesthetic' life towards the end of the nineteenth century. The technical discussion of the translation of drawings to woodblocks engraved by Lucien gives a unique insight into the methods employed, while intimate views on the work of their now famous friends, mainly painters, writers of anarchist theoreticians in Paris, or contemporary painters reacting to the Pre-Raphaelites in London and the Private Press movement inspired by William Morris, mingle advice on painting methods with views on current art trends, family matters, and

This book offers an original and challenging study of Marx's contact with the visual arts, aesthetic theories, and art policies in nineteenth-century Europe. It differs from previous discussions of Marxist aesthetic theory in looking at Marx's views from an art-historical rather than from a literary perspective, and in placing those views in the context of the art practices, theories, and policies of Marx's own time. Dr Rose begins her work by discussing Marx's planned treatise on Romantic art of 1842 against the background of the philosophical debates, cultural policies, and art practices of the 1840s, and looks in particular at the patronage given to the group of German artists known as the 'Nazarenes' in those years, who are discussed in relation to both the English Pre-Raphaelites, popular in the London known to Marx, and to the Russian Social Realists of the 1860s. The author goes on to consider claims of twentieth-century Marxist art theories and practices to have represented Mar

William Mulready is remembered today chiefly as a painter of genre pictures who in his use of color antedated the Pre-Raphaelites. His paintings, which in their time were compared with those of the o