The common thread that joins the essays in this volume is drawn from the rich tapestry of pre-Raphaelite art and literature and its medieval legacy. This edition presents an interdisciplinary view of the interpretation of pre-Raphaelite art and literature. The current intensifying interest in the relationship between the visual arts and narrative and their critical interpretation justifies a look at the earliest use of such orientation in the works of the pre-Raphaelite Brotherhood and its followers. Particularly in the work of Rossetti, Hunt, Millais, and Burne-Jones one can see at work the pre-Raphaelist invention of a personal symbolic language.
In 1859, the historian Lord John Acton asserted: 'two great principles divide the world, and contend for the mastery, antiquity and the middle ages'. The influence on Victorian culture of the 'Middle Ages' (broadly understood then as the centuries between the Roman Empire and the Renaissance) was both pervasive and multi-faceted. This 'medievalism' led, for instance, to the rituals and ornament of the Medieval Catholic church being reintroduced to Anglicanism. It led to the Saxon Witan being celebrated as a prototypical representative parliament. It resulted in Viking raiders being acclaimed as the forefathers of the British navy. And it encouraged innumerable nineteenth-century men to cultivate the superlative beards we now think of as typically 'Victorian'—in an attempt to emulate their Anglo-Saxon forefathers. Different facets of medieval life, and different periods before the Renaissance, were utilized in nineteenth-century Britain for divergent political and cultural agendas. Medievalism also became a dominant mode in Victorian art and architecture, with 75 per cent of churches in England built on a Gothic rather than a classical model. And it was pervasive in a wide variety of literary forms, from translated sagas to pseudo-medieval devotional verse to triple-decker novels. Medievalism even transformed nineteenth-century domesticity: while only a minority added moats and portcullises to their homes, the medieval-style textiles produced by Morris and Co. decorated many affluent drawing rooms. The Oxford Handbook of Victorian Medievalism is the first work to examine in full the fascinating phenomenon of 'medievalism' in Victorian Britain. Covering art, architecture, religion, literature, politics, music, and social reform, the Handbook also surveys earlier forms of antiquarianism that established the groundwork for Victorian movements. In addition, this collection addresses the international context, by mapping the spread of medievalism across Europe, South America, and India, amongst other places.
This illustrated book focuses on the Pre-Raphaelite artists and their radical departure from artistic conventions. Barringer explores the meanings encoded in Pre-Raphaelite paintings and analyses key pictures and their significance within the complex social and cultural matrix of 19th century Britain.
This catalog was "published by the Fine Arts Museums of San Francisco and DelMonico Books (Prestel) on the occasion of the exhibition of the same name at the Legion of Honor, San Francisco, from June 30 to September 30, 2018."
This volume provides an introduction to the diverse field of visual culture in the 19th century. It surveys major changes in the field taking into account photography, theatrical practice, changing land- and cityscapes as well as new technologies for entertainment and information. The inventions and discoveries of the period revolutionized methods of cultural production, provoked new intentions in representation and radically altered the experience of the visual in art as well as everyday life. Hence people had to adapt to new perceptions and their habitual ways of seeing were challenged. At the same time they carved out new positions for themselves vis a vis the visual, defining new identities as spectators and observers. In addition to the introductory overview, the volume offers a collection of articles which concentrate on less well-known aspects of Victorian visual culture, seeking to contribute an explanation in the context of the larger political, thus seeking to disclose new vantage points for explanations in the of the larger political, ideological and psychological context of the era.
Drawn from Birmingham Museums Trust's incomparable collection of Victorian art and design, this exhibition will explore how three generations of young, rebellious artists and designers, such as Edward Burne-Jones, John Everett Millais, and Dante Gabriel Rossetti, revolutionized the visual arts in Britain, engaging with and challenging the new industrial world around them.
Ava has just landed a job as a reporter in Gubinge, a tiny tropical town in Australia's north.Gubinge has a way of getting under the skin. Ava is hooked on the thrill of going hand-to-hand with barramundi, awed by country, and stunned by pindan sunsets. But a bitter collision between a native title group and a Japanese-owned uranium mining company is ripping the community in half.From the rodeos and fishing holes of northern Australia, to the dazzling streets of night-time Tokyo, Ava is swept in pursuit of the story. Will Gerro Blue destroy Burrika country? Or will a uranium mine lift its people from poverty? And can Ava hold on to her principles if she gives in to her desire for Noah, the local Burrika boss?
The Pre-Raphaelite Brotherhood was a group of nineteenth-century artists who challenged contemporary art with their commitment to realism and 'truth to nature'. Renowned as much for their social relationships as for their artistic ideals, the lives of the Pre-Raphaelites - Holman Hunt, Rossetti, Millais, Burne-Jones and Morris - illustrate the full range of human experience, from personal tragedy to triumph. Jan Marsh explores both the individual personalities and the artistic force which bound the circle together.
The term 'Pre-Raphaelite' is widely used but often little understood. This book untangles what Pre-Raphaelitism means. It includes the original Pre-Raphaelite Brothers, William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, and their immediate followers, Edward Burne-Jones and Evelyn De Morgan. It also looks at the assimilation of Pre-Raphaelites ideals and subjects into the Royal Academy tradition and the resurgence of mural painting and tempera in the early twentieth century. Even in the 1970s, the Brotherhood of the Ruralists attempted to recapture its spirit. Today it lives on in fantasy art and film; Lord of the Rings and Game of Thrones.0Rather than seeing Pre-Raphaelitism as an historic style, this publication argues it is a living tradition. Exhibition: City Art Gallery, Southamtpton, UK (18.10.2019-01.02.2020) / Russell-Cotes Art Gallery & Museum, Bornemouth, UK (21.02.-21.06.2020).
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.
