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Europe 1800 - 1900
Course: Europe 1800 - 1900 > Unit 4
Lesson 2: The Pre-Raphaelites and mid-Victorian art- A Beginner's Guide to the Pre-Raphaelites
- The Aesthetic Movement
- Pre-Raphaelites: Curator's choice - Millais's Isabella
- Sir John Everett Millais, Isabella
- Sir John Everett Millais, Christ in the House of His Parents
- Sir John Everett Millais, Christ in the House of His Parents
- Sir John Everett Millais, Ophelia
- Sir John Everett Millais, Ophelia
- Millais, Ophelia
- Millais, Mariana
- Millais, Mariana
- Millais, Portrait of John Ruskin
- A Portrait of John Ruskin and Masculine Ideals of Dress in the Nineteenth Century
- Sir John Everett Millais, Spring (Apple Blossoms)
- Millais, The Vale of Rest
- Millais, The Vale of Rest
- John Everett Millais, Bubbles
- Hunt, Claudio and Isabella
- Hunt, Claudio and Isabella
- Hunt, Our English Coasts ("Strayed Sheep")
- Hunt, Our English Coasts ("Strayed Sheep")
- Hunt, Our English Coasts
- Hunt, the Awakening Conscience
- Hunt, The Awakening Conscience
- William Holman Hunt, Isabella or the Pot of Basil
- William Holman Hunt, The Lady of Shalott
- William Holman Hunt, The Shadow of Death
- William Holman Hunt, The Scapegoat
- Ford Madox Brown, Work
- Ford Madox Brown, The Last of England
- Ford Madox Brown, The Last of England
- Ford Madox Brown, Work
- Pre-Raphaelites: Curator's choice - Ford Madox Brown's 'Work'
- Rossetti, Ecce Ancilla Domini
- Rossetti, Beata Beatrix
- Rossetti, Proserpine
- Wallis, Chatterton
- Wallis, Chatterton
- William Powell Frith, Derby Day
- Dyce's Pegwell Bay, Kent - a Recollection of October 5th, 1858
- Dyce, Pegwell Bay, Kent - a Recollection of October 5th, 1858
- Emily Mary Osborn, Nameless and Friendless
- John Roddam Spencer Stanhope, Thoughts of the Past
- John Roddam Spencer Stanhope, Thoughts of the Past
- Burne-Jones, The Golden Stairs
- Burne-Jones, The Golden Stairs
- Burne-Jones, King Cophetua and the Beggar Maid
- Burne-Jones, King Cophetua and the Beggar Maid
- Sleeping Beauty — but without the Kiss: Burne-Jones and the Briar Rose series
- Burne-Jones, The Depths of the Sea
- Burne-Jones, Hope
- Burne-Jones, Hope
- Sir Edward Burne-Jones, four stained glass windows at Birmingham Cathedral
- Waterhouse, The Lady of Shalott
- William Butterfield, All Saints, Margaret Street
- William Morris and Philip Webb, Red House
- Pre-Raphaelites
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A Beginner's Guide to the Pre-Raphaelites
By Dr. Rebecca Jeffrey Easby
At first they were three
During a visit to the exhibition of 1848, the young artist and poet Dante Gabriel Rossetti was drawn to a painting entitled The Eve of Saint Agnes by William Holman Hunt. As a subject taken from the poetry of John Keats was a rarity at the time, Rossetti sought out Hunt, and the two quickly became friends. Hunt then introduced Rossetti to his friend John Everett Millais, and the rest, as they say, is history. The trio went on to form the Pre-Raphaelite Brotherhood, a group determined to reform the artistic establishment of Victorian England (1837–1901).
Looking back to look forward
The name “Pre-Raphaelite Brotherhood” (PRB) hints at the vaguely medieval subject matter for which the group is known. The young artists appreciated the simplicity of line and large flat areas of brilliant color found in the early Italian painters before Raphael, as well as in 15th century Flemish art. These were not qualities favored by the more academic approach taught at the Royal Academy during the mid-19th century, which stressed the strong light and dark shading of the . Another source of inspiration for the young artists was the writing of art critic John Ruskin, particularly the famous passage from Modern Painters telling artists
And then they were seven
It was decided that seven was the appropriate number for a rebellious group and four others were added to form the initial Brotherhood. The selection of additional members has long mystified art historians. James Collinson, a painter, seems to have been added due to his short-lived engagement to Rossetti’s sister Christina rather than his sympathy with the cause. Another member, Thomas Woolner, was a sculptor rather than a painter. The final two members, William Michael Rossetti and Frederic George Stephens, both of whom went on to become art critics, were not practicing artists. However, other young artists such as Walter Howell Deverell and Charles Collins embraced the ideals of the PRB even though they were never formally elected as members.
"to go to nature in all singleness of heart . . . rejecting nothing, selecting nothing and scorning nothing." [1]
This combination of influences contributed to the group’s extreme attention to detail, and the development of the that produced the brilliant color for which they are known. The artists even became some of the first to complete sections of their canvases outdoors in an effort to capture the minute detail of every leaf and blade of grass.
And then they were seven
It was decided that seven was the appropriate number for a rebellious group and four others were added to form the initial Brotherhood. The selection of additional members has long mystified art historians. James Collinson, a painter, seems to have been added due to his short-lived engagement to Rossetti’s sister Christina rather than his sympathy with the cause. Another member, Thomas Woolner, was a sculptor rather than a painter. The final two members, William Michael Rossetti and Frederic George Stephens, both of whom went on to become art critics, were not practicing artists. However, other young artists such as Walter Howell Deverell and Charles Collins embraced the ideals of the PRB even though they were never formally elected as members.
The PRB goes public
The Pre-Raphaelites decided to make their debut by sending a group of paintings, all bearing the initials “PRB”, to the Royal Academy in 1849. However, Rossetti, who was nervous about the reception of his painting The Girlhood of Mary Virgin, changed his mind and instead sent his painting to the earlier Free Exhibition (meaning there was no jury as there was at the Royal Academy). At the Royal Academy, Hunt exhibited Rienzi, the Last of the Tribunes, a scene from a historical novel of the same name by Edward Bulwer-Lytton. Millais exhibited Isabella, another subject from Keats, created with such attention to detail that one can actually see the beheading scene on the plate nearest the edge of the table, which echoes the ultimate fate of the young lover Lorenzo in the story. In both paintings, the accurately designed medieval costumes, bright colors and attention to detail produced criticism that the paintings mimicked a “mediaeval illumination of the chronicle or the romance.” [2] Interestingly, no mention was made of the mysterious “PRB” inscription.
Critical reaction
In 1850, however, the reaction to the PRB was very different. By this time, many people knew about the existence of the supposedly secret society, in part because the group had published many of their ideas in a short-lived literary magazine entitled The Germ. Rossetti’s Ecce Ancilla Domini appeared at the Free Exhibition along with a painting by his friend Deverell entitled Twelfth Night. At the Royal Academy, Hunt’s A Converted British Family Sheltering a Christian Priest from the Persecution of the Druids and Millais’s Christ in the House of his Parents, famously abused by Charles Dickens, received the brunt of the criticism. [3] In the aftermath of the humiliating reception of their work, Collinson resigned from the group and Rossetti decided never again to exhibit publicly.
Ruskin to the rescue
Undeterred, Millais and Hunt again continued to exhibit paintings demonstrating the beautiful colors and detail orientation of the mature style of the PRB. The Royal Academy of 1851 included Hunt’s Valentine Rescuing Sylvia, and three pictures by Millais, Mariana, The Woodman’s Daughter, and The Return of the Dove to the Ark as well as Convent Thoughts by Millais’s friend Charles Collins. Although many were still dubious about the new style, the critic John Ruskin came to the rescue of the group, publishing two letters in The Times newspaper in which he praised the relationship of the PRB to early Italian art. Although Ruskin was suspicious of what he termed the group’s “Catholic tendencies,” he liked the attention to detail and the color of the PRB paintings. Ruskin’s praise helped catapult the young artists to a new level.
The dissolution of the PRB
The Brotherhood, however, was slowly dissolving. Woolner emigrated to Australia in 1852. Hunt decided in January 1854 to visit the in order to better paint religious pictures. And, in an event Rossetti described as the formal end of the PRB, Millais was elected as an Associate of the Royal Academy in 1853, joining the art establishment he had fought hard to change.
Lasting impact
Despite the fact that the Brotherhood lasted only a few short years, its impact was immense. Millais and Hunt both went on to establish important places for themselves in the Victorian art world. Millais was to go on to become an extremely popular artist, selling his artworks for vast sums of money, and ultimately being elected as the President of the Royal Academy. Hunt, who perhaps stayed most true to the Pre-Raphaelite aesthetic, became a well-known artist and wrote many articles and books on the formation of the Brotherhood.
Rossetti became a mentor to a group of younger artists including Edward Burne-Jones and William Morris, founder of the Arts and Crafts Movement. Rossetti’s paintings of beautiful women also helped inaugurate the new Aesthetic Movement, or the taste for Art for Art’s Sake, in the later Victorian era.
To a contemporary audience, the Pre-Raphaelites may appear less than modern. However, in their own time the Pre-Raphaelite Brotherhood accomplished something revolutionary. They were one of the first groups to value painting out-of-doors for its “truth to nature,” and their concept of banding together to take on the art establishment helped to pave the way for later groups. The distinctive elements of their paintings, such as the extreme attention to detail, the brilliant colors and the beautiful rendition of literary subjects set them apart from other Victorian painters.
Notes:
[1] John Ruskin, Modern Painters, 1843.
[2] Athenaeum, 2 June 1849, p. 575.
[3] Charles Dickens, in his magazine Household Words in June 1850 described Christ as a "hideous, wry-necked, blubbering, red-haired boy in a nightgown, who appears to have received a poke playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness that (supposing it were possible for any human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a monster in the vilest cabaret in France or in the lowest gin-shop in England."
Additional resource
Essay by Dr. Rebecca Jeffrey Easby
Want to join the conversation?
- Can anyone tell me the Dickens reference(s) which critiques the group?(6 votes)
- I think the Dickens source is from his article "Old Lamps for New Ones," from the magazine Dickens edited in the 1850s, Household Words. London, June 15th 1850, p. 13. This is cited in Lourena Baldaque's article "The Pre-Raphaelites in the Dickens-Ruskin controversy: Resistance and Defense in the Victorian Era," which can be found at http://dspace.unav.es/dspace/bitstream/10171/21993/1/12.%20Lourenc%CC%A7a%20Baldaque%20Rev.%2007.pdf
Issues of Household Words can be found at www.djo.org.uk(8 votes)
- There is so much reference to the "white ground" used in this section, it would be great to see it discussed here in the intro or have an artists' video showing what it is and how colors show up on it differently.(6 votes)
- communist manifesto of 1848, through a critique of contemporary history and economics, envisages the possibility of a social revolution through political struggle, the Pre-Raphaelite Brotherhood founded the same year, puts forward the programme for a revolution in painting and writing. Is there a way of linking these two critical events, in spite of thier different means and aims? Can anybody respond to this question please, thanks(1 vote)
- Just because things happened in the same year and in the same place does NOT imply that they are related in any way (though they always could be).(5 votes)
- Did Dante Gabriel Rossetti start writing poems after the Pre-Raphaelite brotherhood ended, or did he also write (almost) medieval style of poetry during that time? And why were so many people criticizing this movement and their work? Was it because of the aesthetic values or other things?(2 votes)
- The movement was very controversial at the time. One of the first paintings that the brotherhood did was criticised by acknowledged critics such as charles dickens as being "ugly" and making the family of jesus look "poor". However they existed to be controversial and create a new movement of art. Any art movement that is new or different to its era is most inevitably going to receive criticism. Their love of nature and emphasis on certain aspects of art meant that their art had different meanings and sparked new thoughts and ideas which were controversial at the time.(1 vote)
- are there more articles that are very similar to the one here ??(2 votes)
- Would these painters actually sign the letters "P.R.B." anywhere on their works?(1 vote)
- Yes: Look on the stool on which Isabella sits in Millais's work of the same name. The initials appear carved into it (although of course it's paint.) :)(3 votes)
- what are the efcets of these pantings(2 votes)
- How was the author Christina Rossetti (Dante Gabrieal Rossettis sister) affected by the brotherhood and how does her work portray this?(1 vote)
- this sounds like a good topic for a term paper, a master's thesis, or even a doctoral dissertation. Go for it!(1 vote)
- Can I cite from this article in a paper for the university? If I can, where is the bibliographical information?(1 vote)
- Cite this page as: Dr. Rebecca Jeffrey Easby, "A beginner’s guide to the Pre-Raphaelites," in Smarthistory, August 9, 2015, accessed October 4, 2017, https://smarthistory.org/a-beginners-guide-to-the-pre-raphaelites/.(1 vote)