The Pre-Raphaelitesand Beyond

Pre-Raphaelite Brotherhood1849-early 1850s

Emulated the art of late medieval and early Renaissance Europe until the time of Raphael minute description of detaila luminous palette of bright colors that recalls the

tempera paint used by medieval artists, subject matter of a noble, religious, or moralizing nature.

A message of artistic renewal and moral reform: seriousness, sincerity, and truth to nature

Dante Gabriel Rossetti William Holman Hunt John Everettt Millais

William Michael Rossetti Ford Madox Brown Christina Rossetti

William Holman Hunt, The Finding of Salvation in the Temple

John Everett Millais, Isabella

Dante Gabriel Rossetti,The Girlhood of the Virgin Mary

Ford Madox, Brown, Work

Critical Reception

Opposition to their pietism, archaicism, intensely sharp focus, flattening of forms, stark coloration

Championed by John Ruskin (1819–1900), an ardent supporter of painting from nature and a leading exponent of the Gothic Revival in England.

Experience served to foster individual identities and styles. By the early 1850s, the Brotherhood dissolved, though several of the artists remained close friends and collaborators for the rest of

their careers.

Evolution Second generation of Pre-Raphaelites – Edward Burne-Jones and William

Morris – mentored by D.G. Rossetti  Retained the saturated palette and

exhaustive detail of the earliest Pre-Raphaelites, but shifted the focus.

Subjects taken from poetry and medieval legend—such as the tales of King Arthur and the Divine Comedy of Dante—they presented an aesthetic of beauty for its own sake.

Eroticized medievalism and portrayals of female vice and virtue

Aesthetic Movement Arts and Crafts Movement

Aestheticism

“Art for art’s sake” A cult of beauty: Life should imitate Art Strong connection between visual and

literary arts Anti-Victorian reaction, post-Romantic roots The Arts should provide refined sensuous

pleasure, rather than convey moral or sentimental messages

William Morris

Aubrey Beardsley

Algernon Swinburne

Sir Edward Burne-Jones

Oscar Wilde

D,G, Rossetti, Lady Lilith

Body’s Beauty by Dante Gabriel Rossetti

Of Adam's first wife, Lilith, it is told('The witch he loved before the gift of Eve,)That, ere the snake's, her sweet tongue could deceive,And her enchanted hair was the first gold.And still she sits, young while the earth is old,And, subtly of herself contemplative,Draws men to watch the bright web she can weave,Till heart and body and life are in its hold.

The rose and poppy are her flowers; for whereIs he not found, O Lilith, whom shed scentAnd soft-shed kisses and soft sleep shall snare?Lo! as that youth's eyes burned at thine, so wentThy spell through him, and left his straight neck bentAnd round his heart one strangling golden hair.

Edward Burne-Jones, Love Song

William Morris, La Belle Iseult

Edward Burne-Jones,The Beguiling of Merlin

Edward Burne-Jones, Faith. Hope and Charity, Christ Church, Oxford

William Morris, The Red House

Main entrance to the Red House

Morris Chair

Gerard Manley Hopkins, 1844-1889 Poet, Jesuit priest,

professor Known for his

innovations with “sprung rhythm” and imagery

Extensive use of rhyme effects: alliteration, assonance, onomatopoeia, end and internal rhyme.

Bridge between the Pre-Raphaelites and the Modernists

Pied Beauty

Glory be to God for dappled things—  For skies of couple-colour as a brinded cow;    For rose-moles all in stipple upon trout that swim;Fresh-firecoal chestnut-falls; finches' wings;  Landscape plotted and pieced—fold, fallow, and plough;    And áll trádes, their gear and tackle and trim.

All things counter, original, spare, strange;  Whatever is fickle, freckled (who knows how?)    With swift, slow; sweet, sour; adazzle, dim;He fathers-forth whose beauty is past change:                Praise him.

Rudyard Kipling, 1865-1936

• Poet, novelist, short story writer, and journalist

• Explored British imperialism

• First English-language author to receive Nobel Prize for Literature (1907)

• Best known poems include “Gunga Din,” “Mandalay,” “If--”

If -- If you can keep your head when all about youAre losing theirs and blaming it on you;If you can trust yourself when all men doubt you,But make allowance for their doubting too:If you can wait and not be tired by waiting,Or being lied about, don’t deal in lies,Or being hated don’t give way to hating,And yet don’t look too good, nor talk too wise;

If you can dream—and not make dreams your master;If you can think—and not make thoughts your aim,If you can meet with Triumph and DisasterAnd treat those two impostors just the same:If you can bear to hear the truth you’ve spokenTwisted by knaves to make a trap for fools,Or watch the things you gave your life to, broken,And stoop and build ’em up with worn-out tools;

If you can make one heap of all your winningsAnd risk it on one turn of pitch-and-toss,And lose, and start again at your beginningsAnd never breathe a word about your loss:If you can force your heart and nerve and sinewTo serve your turn long after they are gone,And so hold on when there is nothing in youExcept the Will which says to them: ‘Hold on!’

If you can talk with crowds and keep your virtue,Or walk with Kings—nor lose the common touch,If neither foes nor loving friends can hurt you,If all men count with you, but none too much:If you can fill the unforgiving minuteWith sixty seconds’ worth of distance run,Yours is the Earth and everything that’s in it,And—which is more—you’ll be a man, my son!