pre-raphaelite art & artists english 313 victorian literature university of richmond
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Pre-Raphaelite Art & Artists
English 313
Victorian Literature
University of Richmond
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Many of the images in this presentation were taken from The Pre-Raphaelite Collection, a web-site maintained by Julia Kerr.
http://www.webmagick.co.uk/prcoll
Other sources include Brian Yoder’s Art Gallery: http://www.primenet.com/~byoder/art.htm
Carol Gerten’s Fine Art: http://cgfa.kelloggcreek.com/Thomas Tobin’s The Pre-Raphaelite Critic: http://www.engl.duq.edu/servus/PR_Critic
The Rossetti Archive: http://jefferson.village.virginia.edu/rossetti/rossetti.html
The Web Museum: http://metalab.unc.edu/wm/paint/auth/rossetti/
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The Pre-Raphaelite Brotherhood
• William Holman Hunt, b. 1827
• Dante Gabriel Rossetti, b. 1828
• John Everett Millais, b. 1829
• William Michael Rossetti, b. 1829– Other members: James Collinson, Thomas
Woolner, Fredric George Stephens
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“The Immortals”
• Jesus
• Shakespeare and the author of Job– Homer, Dante, Chaucer, Leonardo, Goethe,
Keats, Shelley, King Alfred, Landor, Thackeray, George Washington, Robert Browning
– Others including Elizabeth Barrett Browning, Boccaccio, Newton, Poe, etc.
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Principles of Royal Academy Art
• Objects drawn with firm, solid outlines
• Composition in S or triangle shape
• Colors subdued, landscape brown
• Light:Shadow :: 1:3 or 1:4
• “All human figures painted free from deformity, dressed in clean new clothes”
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Principles of Pre-Raphaelite Art
• Rejecting the “mannered formalism” of Academy Art, of artists following Raphael
• Reclaiming an Italian tradition (suggested by Ruskin) of naturalism
• Concern for morality in art
• Mythic/religious/poetic subjects
• Subjects drawn from nature
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Religious Subjects
Early paintings by the PRB
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John Everett Millais, “Christ in the House of his Parents,” 1850
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Dante Gabriel Rossetti,
“The Girlhood of Mary Virgin,” 1849
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Dante Gabriel Rossetti,
“The Annunciation,” 1850
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William Holman Hunt,
“The Light of the World,” 1853
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William Holman Hunt, “The Scapegoat,” 1854-55
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William Holman Hunt, “The Awakening Conscience,”
1853
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Literary Subjects: The Lady of Shalott
The Lady was a favorite subject of Pre-Raphaelite artists and others inspired by the PRB. Nina Auerbach notes that Tennyson’s poem explored the mind of a woman/artist; these paintings make her an
object of art.
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William Holman Hunt, “The Lady of Shalott,”
1889-92
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John William Waterhouse, “The Lady of Shalott,” 1888
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Sidney Harold Meteyard, “The Lady of Shalott”
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More Literary Subjects: Ophelia
Ophelia is also a favorite subject of many of the PRB. In some versions, she is strikingly like Tennyson’s
Lady.
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Arthur Hughes, “Ophelia,” 1852
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John Everett Millais, “Ophelia,” 1852. The model is Elizabeth Siddal.
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Dante Gabriel Rossetti, “The First Madness of
Ophelia,” 1864
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John William Waterhouse, “Ophelia,”
1894
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Rossetti on Women:
Two of Rossetti’s favorite models were his mistress, fianceé, and later wife, Elizabeth Siddal, and the wife of his friend William Morris, Jane Morris (neé Burdon). Other favorites were Annie
Miller (seen in his friend Holman Hunt’s painting, “The Awakening Conscience”), and Fanny Cornforth (“Found,” “La Ghirlandata,”
and many others).
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Dante Gabriel Rossetti, “Found” (unfinished), 1854
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'There is a budding morrow in midnight:'- So sang our Keats, our English nightingale. And here, as lamps across the bridge turn pale In London's smokeless resurrection-light, Dark breaks to dawn. But o'er the deadly blight Of Love deflowered and sorrow of none avail, Which makes this man gasp and this woman quail, Can day from darkness ever again take flight?
Ah! gave not these two hearts their mutual pledge, Under one mantle sheltered 'neath the hedge In gloaming courtship? And, O God! to-day He only knows he hold her; - but what part Can life now take? She cries in her locked heart, - "Leave me - I do not know you - go away!"
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Dante Gabriel Rossetti, Elizabeth Siddal, 1854
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Dante Gabriel Rossetti, Elizabeth Siddal, 1854
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“In an Artist’s Studio,” Christina Rossetti, 1856/1896
One face looks out from all his canvases,
One selfsame figure sits or walks or leans
We found her hidden just behind those screens,
That mirror gave back all her loveliness.
A queen in opal or in ruby dress,
A nameless girl in freshest summer-greens,
A saint, an angel; --every canvas means
The same one meaning, neither more nor less.
He feeds upon her face by day and night,
And she with true kind eyes looks back on him
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
Not as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.
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Dante Gabriel Rossetti, Pen sketch of Jane Burdon, later
Morris, 1858
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Dante Gabriel Rossetti, “Mariana,” 1870
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John Everett Millais, “Mariana,” 1851
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Dante Gabriel Rossetti, “Water Willow,” 1871
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Dante Gabriel Rossetti, “The Daydream”
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Dante Gabriel Rossetti, “Proserpine,” 1874
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Afar away the light that brings cold cheer Unto this wall, - one instant and no more Admitted at my distant palace-door. Afar the flowers of Enna from this drear Dire fruit, which, tasted once, must thrall me here. Afar those skies from this Tartarean grey That chills me: and afar, how far away, The nights that shall be from the days that were.
Afar from mine own self I seem, and wing Strange ways in thought, and listen for a sign: And still some heart unto some soul doth pine, Whose sounds mine inner sense is fain to bring, Continually together murmuring, - "Woe's me for thee, unhappy Proserpine!"
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Dante Gabriel Rossetti, “Astarte Syriaca,” 1877
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Dante Gabriel Rossetti, “Boca Baciata,” 1859
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Dante Gabriel Rossetti, “Venus Verticordia,” 1864-
1868
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Dante Gabriel Rossetti,
“The Beloved” (“The Bride”),
1865-66
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Dante Gabriel Rossetti, “Lady Lilith”
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Dante Gabriel Rossetti, “La Ghirlandata,” 1873
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Dante Gabriel Rossetti, “The Blessed Damozel,” 1875-78