Pre-Raphaelites

Meet the Artist: The Pre-Raphaelites is packed with inspiring activities for budding young artists. Paint portraits inspired by medieval legends, design your own wallpaper using potato printing, and c

The Pre-Raphaelite Brotherhood was a group of English painters, poets and critics, founded in 1848 by John Everett Millais, Dante Gabriel Rossetti and William Holman Hunt. Their art's romanticism, att

This vibrant collection of essays claims that a complex network of texts by critics, biographers and diarists established the credibility and influence of the Pre-Raphaelite movement. Throughout the t

The works of the Pre-Raphaelites are among the best known of all English paintings, and yet they have sometimes been dismissed as Victoriana or mere escapism. This book corrects that view.

A society of young artists and writers, the Pre-Raphaelite Brotherhood was founded in London in 1848 to rebel against the classical academic painting conventions of the day in favor of a meeting of me

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.

Noted for its vivid colors, elaborate use of symbols, and dedication to close observation of the natural world, the work of Pre-Raphaelite artists combines a deep engagement with the past and a modern

This book explores the intersections between Victorian literature, painting and photography. Taking as a starting point mid-nineteenth-century developments in the understanding of visual perception, Lindsay Smith examines the representation of a pervasive desire for a literal understanding of the process of seeing and perceiving. This is played out in the aesthetic theory of John Ruskin, the early poetry of William Morris, paintings of the Pre-Raphaelites, and in the photographic technique of combination printing. She demonstrates how the novel presence of the camera in nineteenth-century culture not only transforms acts of looking, but also affects major social, aesthetic and philosophical categories. By exploring the intricacies of photographic discourse she shows how Ruskin and Morris produce a critique of the earlier Cartesian perspectival model of vision.

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

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

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

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

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

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