5.2 Major Pre-Raphaelite artists and their works
7 min read•august 13, 2024
The Pre-Raphaelite Brotherhood shook up the art world in 1848. Rossetti, Millais, and Hunt rejected stuffy academic styles, aiming for the sincerity of pre-Renaissance art. They used bright colors, focused on details, and drew inspiration from literature and nature.
These artists left a lasting mark on 19th-century art. Rossetti's sensual paintings, Millais' evolution to mainstream success, and Hunt's unwavering commitment to their principles shaped the movement. Their influenced later artists and challenged traditional artistic norms.
Prominent Pre-Raphaelite Artists
Founding Members and Their Rejection of Academic Style
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- , , and founded the Pre-Raphaelite Brotherhood in 1848
- Rejected the academic style promoted by the Royal Academy
- Sought to revive the sincerity and simplicity of pre-Renaissance art
- Emphasized direct observation, bright colors, and attention to detail
Rossetti's Distinctive Style and Muses
- Rossetti's style featured rich colors, sensual and symbolic images, and a focus on medieval themes and literature
- Often depicted his muses, particularly Elizabeth Siddal (his wife and model)
- Examples: "" (a tribute to Siddal) and "" (featuring Jane Morris)
- Influenced by Italian Renaissance art and Dante Alighieri's poetry
Millais' Evolution and Success
- Millais' early works exemplified the Pre-Raphaelite style with bright colors, sharp detail, and complex compositions
- Examples: "" (depicting the Shakespearean character) and ""
- Later adopted a more conventional style and became a successful society portraitist
- Elected as the President of the Royal Academy in 1896
- Demonstrated the Pre-Raphaelites' impact on the art establishment
Hunt's Unwavering Commitment to Pre-Raphaelite Principles
- Hunt remained committed to the Pre-Raphaelite principles throughout his career
- Emphasized moral and religious themes, brilliant colors, and scrupulous attention to detail
- Examples: "" (a religious allegory) and "" (addressing social issues)
- Traveled to the Holy Land to ensure accuracy in his biblical scenes
Ford Madox Brown's Mentorship and Influence
- , though never an official member, was a mentor to the Pre-Raphaelites
- Influenced their style with his vivid colors, realist approach, and historical subjects
- Examples: "Work" (depicting Victorian social classes) and ""
- Taught at the Working Men's College, influencing the next generation of artists
Burne-Jones and the Second Generation
- , a second-generation Pre-Raphaelite, developed a distinctive style
- Characterized by ethereal, elongated figures, dreamlike atmospheres, and medieval and mythological themes
- Examples: "" (showcasing his decorative style) and "" (inspired by Arthurian legend)
- Collaborated with William Morris on decorative arts projects, extending Pre-Raphaelite principles to other media
Themes and Subjects in Pre-Raphaelite Art
Literary Inspiration and Symbolism
- Pre-Raphaelites drew inspiration from literature, particularly medieval poetry, Shakespeare, and Keats
- Rossetti's "Beata Beatrix" (symbolizing Dante's Beatrice) and "Proserpine" (from Greek mythology)
- Millais' "Ophelia" (depicting the tragic Shakespearean character)
- Hunt's "" (based on a Keats poem)
- Used symbolism to convey deeper meanings and emotions
- Example: the red dove in Rossetti's "" representing the Holy Spirit
Religious and Moral Themes
- Religious and moral themes were prominent in Pre-Raphaelite works
- Hunt's "The Light of the World" (depicting Christ as a source of spiritual enlightenment)
- Hunt's "The Awakening Conscience" (addressing the theme of redemption and social issues)
- Millais' "Christ in the House of His Parents" (humanizing the Holy Family)
- Conveyed spiritual messages through symbolism and detailed, realistic depictions
Medievalism and Historical Subjects
- Pre-Raphaelites had a fascination with medieval culture and history
- Rossetti's "Ecce Ancilla Domini" (a medieval-inspired Annunciation scene)
- Brown's "Chaucer at the Court of Edward III" (depicting the medieval poet and his era)
- Burne-Jones' "The Beguiling of Merlin" (inspired by Arthurian legend)
- Reflected their interest in reviving pre-Renaissance artistic principles and aesthetics
Nature and Landscape
- Celebrated the beauty of the natural world in landscapes and outdoor scenes
- Millais' "" (capturing the melancholic beauty of the season)
- Hunt's "" (showcasing the cliffs of the Isle of Wight)
- Demonstrated their dedication to plein-air painting and meticulous detail
- Used nature symbolically to convey emotions and ideas
- Example: the drowning Ophelia amidst the lush, untamed landscape in Millais' painting
Portraiture and the Female Subject
- Depicted strong, beautiful women as subjects, blurring the lines between portraiture and symbolism
- Rossetti's "The Blessed Damozel" (a symbolic representation of yearning and separation)
- Burne-Jones' "The Golden Stairs" (an ethereal procession of enigmatic female figures)
- Millais' "Ophelia" (combining portraiture with symbolic and narrative elements)
- Reflected the Pre-Raphaelites' admiration for and complex relationships with their models and muses
Techniques and Materials of Pre-Raphaelite Artists
Color and Luminosity
- Rejected the use of bitumen and other materials that caused paintings to darken over time
- Opted for pure, bright colors applied directly on a white ground for luminosity
- Examples: the vibrant hues in Millais' "Ophelia" and Hunt's "Our English Coasts"
- Employed a wet-white technique, applying semi-translucent layers of paint over a wet white ground
- Achieved a jewel-like effect and depth of color
- Evident in Rossetti's "Bocca Baciata" and Burne-Jones' "King Cophetua and the Beggar Maid"
Attention to Detail and Naturalism
- Paid meticulous attention to detail, painting each element of the composition with equal precision
- Used fine brushes to achieve intricate, lifelike depictions
- Exemplified in Hunt's "The Hireling Shepherd" and Millais' "Christ in the House of His Parents"
- Frequently painted en plein air to capture the effects of natural light and ensure accuracy
- Millais' "" showcases the artists' commitment to outdoor painting
- Hunt's "" demonstrates the careful study of natural elements
Symbolism and Visual Metaphors
- Used symbolism and visual metaphors to convey deeper meanings and emotions
- The red dove in Rossetti's "Ecce Ancilla Domini" represents the Holy Spirit
- The scattered leaves in Millais' "Autumn Leaves" symbolize the transience of life
- Hunt's "The Light of the World" uses the lantern and closed door as metaphors for spiritual enlightenment and the human soul
Decorative Elements and Medieval Inspiration
- Incorporated intricate, decorative patterns and accessories into their compositions
- Drew inspiration from medieval art, illuminated manuscripts, and decorative arts
- Evident in Burne-Jones' "The Beguiling of Merlin" and Rossetti's "The Blue Silk Dress"
- Collaborated with craftsmen and designers to create decorative objects and interiors
- Morris & Co., founded by William Morris and featuring designs by Burne-Jones and Rossetti
- Reflected the Pre-Raphaelites' desire to unite art and craftsmanship
Impact of Individual Artists on the Movement
Rossetti's Leadership and Aesthetic Vision
- As a founding member and charismatic leader, Rossetti set the tone for the Pre-Raphaelite movement
- Emphasized literary themes, medieval aesthetics, and symbolic imagery
- Examples: "Ecce Ancilla Domini" and "Proserpine"
- His personal style and subject matter influenced the direction of the movement
- Focus on female beauty, sensuality, and poetic inspiration
- Mentor and collaborator to younger artists like Burne-Jones
Millais' Technical Skill and Mainstream Appeal
- Millais' technical skill and ability to blend Pre-Raphaelite principles with mainstream trends helped popularize the movement
- Paintings like "Ophelia" and "The Order of Release" gained critical acclaim
- Elected as an Associate of the Royal Academy in 1853, signaling acceptance of Pre-Raphaelite ideas
- His later success as a society portraitist demonstrated the movement's impact on the art establishment
Hunt's Philosophical Consistency and Religious Themes
- Hunt's unwavering commitment to Pre-Raphaelite ideals provided a consistent philosophical backbone
- Maintained emphasis on religious and moral themes throughout his career
- Examples: "The Light of the World" and "The Scapegoat"
- His dedication to accurate, detailed depictions and plein-air painting set a standard for the movement
Brown's Mentorship and Stylistic Contributions
- Brown's influence as a mentor and his contributions to the Pre-Raphaelite style were crucial to the movement's development
- Taught and inspired younger artists, including Rossetti and Burne-Jones
- His use of vivid colors and realist approach influenced the Pre-Raphaelite aesthetic
- Examples: "Work" and "The Last of England"
Burne-Jones and the Expansion of Pre-Raphaelite Aesthetics
- Burne-Jones' unique interpretation of Pre-Raphaelite principles expanded the movement's aesthetic boundaries
- Developed a distinctive style characterized by ethereal, elongated figures and dreamlike atmospheres
- Examples: "The Golden Stairs" and "King Cophetua and the Beggar Maid"
- His decorative style and collaboration with William Morris influenced the later Aesthetic Movement
Personal Relationships and Artistic Community
- The Pre-Raphaelites' personal relationships fostered a sense of community and shared purpose
- Rossetti's mentorship of Burne-Jones and Elizabeth Siddal's role as a model and artist
- The close friendship between Millais and Hunt, who traveled together and shared studios
- Brown's role as a teacher and mentor to younger artists
- These connections facilitated the exchange of ideas, techniques, and artistic support within the movement
Key Terms to Review (31)
Aestheticism: Aestheticism is an artistic and literary movement that emerged in the late 19th century, emphasizing the importance of beauty, art for art's sake, and sensory experiences over moral or political themes. This movement marked a shift away from the dominant societal norms and focused on the pursuit of beauty as a primary purpose of art, influencing various artistic styles and philosophies.
Anti-industrialism: Anti-industrialism is a philosophical and artistic reaction against the rise of industrialization, emphasizing a return to nature, emotion, and individualism over mechanization and urbanization. This movement emerged in response to the negative impacts of industrial progress, such as environmental degradation, alienation, and loss of traditional values. It played a significant role in shaping both Romanticism and the Pre-Raphaelite Brotherhood, reflecting a desire to reconnect with the past and promote human experience over industrial advances.
Autumn Leaves: Autumn leaves refer to the foliage that changes color and eventually falls from deciduous trees during the autumn season. In the context of art, especially among Pre-Raphaelite artists, autumn leaves symbolize transience, the passage of time, and the beauty of nature's cycles. This imagery often evokes deep emotional responses, reflecting themes of mortality and the fleeting nature of beauty, which were significant elements in the works of the Pre-Raphaelite Brotherhood.
Beata beatrix: Beata Beatrix is a significant painting by Dante Gabriel Rossetti, created in 1864, depicting the poet Dante Alighieri's idealized vision of his muse Beatrice. The artwork embodies themes of love, loss, and spiritual transcendence, highlighting the Pre-Raphaelite interest in literary and mythological subjects. Rossetti's use of color, composition, and symbolism makes this piece an iconic representation of the Pre-Raphaelite Brotherhood's artistic ideals.
Chaucer at the Court of Edward III: Geoffrey Chaucer, a prominent poet and author in the 14th century, served in various roles at the court of King Edward III of England. His experiences at the court provided him with insights into the lives and cultures of different social classes, which greatly influenced his literary works, particularly 'The Canterbury Tales.' The dynamic environment of Edward III's court, marked by chivalry and the arts, played a crucial role in shaping Chaucer's narrative style and thematic concerns.
Christ in the House of His Parents: Christ in the House of His Parents is a painting by John Everett Millais, created in 1850, that depicts the young Jesus with his mother Mary and father Joseph in a humble workshop. This work is significant for its realistic portrayal of domestic life and attention to detail, embodying the Pre-Raphaelite movement's focus on vivid colors and naturalism. The painting reflects the group's intent to challenge conventional representations of religious subjects, aiming for an emotional connection with the viewer through ordinary settings and characters.
Dante Gabriel Rossetti: Dante Gabriel Rossetti was an English poet, painter, and a founding member of the Pre-Raphaelite Brotherhood, known for his vibrant use of color and his focus on romantic and medieval themes. He played a crucial role in shaping the goals and aesthetic of the Pre-Raphaelites, emphasizing a return to nature and emotional depth in art, which ultimately influenced the representation of women in 19th century art and was inspired by medieval and early Renaissance styles.
Ecce ancilla domini: The phrase 'ecce ancilla domini', which translates to 'behold the handmaiden of the Lord', is a significant declaration made by the Virgin Mary in the biblical context of the Annunciation. This moment represents Mary's acceptance of her role as the mother of Jesus, making it a pivotal theme in art, especially within the Pre-Raphaelite movement, where artists often sought to depict profound emotional and spiritual moments with intense detail and symbolism.
Edward Burne-Jones: Edward Burne-Jones was a prominent English painter and designer associated with the Pre-Raphaelite Brotherhood, known for his romantic, mythological, and medieval-themed works. He played a crucial role in the revival of decorative arts and is celebrated for his contributions to stained glass, tapestries, and illustrations, embodying the aesthetic ideals of the Pre-Raphaelite movement.
Exhibition of the Pre-Raphaelites: The Exhibition of the Pre-Raphaelites refers to a series of art exhibitions held in the mid-19th century that showcased works by the Pre-Raphaelite Brotherhood, a group of English painters, poets, and critics founded in 1848. These exhibitions played a crucial role in introducing the Brotherhood's innovative approach to art, which rejected the conventions of the Royal Academy and embraced vivid colors, detailed realism, and themes drawn from literature and nature.
Ford Madox Brown: Ford Madox Brown was a prominent English painter associated with the Pre-Raphaelite Brotherhood, known for his detailed narrative style and vibrant color palette. His works often incorporated themes of social justice, literature, and history, marking him as a significant figure in 19th-century art. Brown's contributions helped to shape the direction of the Pre-Raphaelite movement and he is celebrated for blending realism with romanticism in his paintings.
Gemma di vergine: The gemma di vergine refers to a specific artistic motif often depicted in Pre-Raphaelite works, symbolizing purity, innocence, and femininity. This motif typically features a young woman in a state of grace, embodying the ideals of beauty and moral virtue that were central to the Pre-Raphaelite movement. The gemma di vergine highlights the artists' fascination with medieval themes, nature, and the representation of women as both ethereal and strong.
Isabella and the Pot of Basil: Isabella and the Pot of Basil is a narrative poem by John Keats, based on a story from Boccaccio's 'Decameron.' It tells the tragic tale of Isabella, who falls in love with Lorenzo, a man from a lower social class. After Lorenzo is murdered by Isabella's brothers, she discovers his head buried in a pot of basil and mourns over it, symbolizing her eternal love and loss. This work showcases key characteristics of the Pre-Raphaelite movement, particularly the emphasis on emotion, nature, and medieval themes.
John Everett Millais: John Everett Millais was a prominent British painter and one of the founding members of the Pre-Raphaelite Brotherhood, known for his vivid colors, detailed realism, and emphasis on symbolic meaning in art. His work played a significant role in shaping the goals and ideals of the Pre-Raphaelites, focusing on a return to nature, an appreciation for medieval themes, and a redefined representation of women in 19th-century art.
Medievalism: Medievalism refers to the artistic and cultural movement that draws inspiration from the Middle Ages, often romanticizing or idealizing its values, aesthetics, and themes. This movement influenced various forms of art, architecture, literature, and design, as artists sought to revive and reinterpret medieval styles and ideals, leading to a renewed interest in Gothic art and architecture.
Oil painting: Oil painting is a technique that uses pigments suspended in oil, typically linseed, to create artwork. This medium gained prominence during the Renaissance and became the dominant method of painting in Europe, especially during the 19th century. Its versatility allows artists to achieve rich colors, detailed textures, and a wide range of effects, making it particularly suited for various art movements and styles.
Ophelia: Ophelia is a character from William Shakespeare's play 'Hamlet,' often depicted as a tragic figure embodying themes of innocence, madness, and femininity. Her portrayal in art, particularly during the 19th century, reflects the Pre-Raphaelite Brotherhood's focus on emotional depth and natural beauty, connecting her to broader discussions about women's representation in that era and the influence of medieval and early Renaissance aesthetics.
Our English Coasts: 'Our English Coasts' is a painting created by the Pre-Raphaelite artist William Holman Hunt in 1852. This artwork reflects the Pre-Raphaelite commitment to vivid detail and naturalism, showcasing the beauty and ruggedness of the English coastline. The painting also embodies themes of contemplation and the interplay between nature and human emotion, inviting viewers to connect with both the landscape and the personal narrative of the figures depicted within it.
Proserpine: Proserpine, also known as Persephone in Greek mythology, is the goddess of spring and the queen of the underworld. She represents themes of duality, transformation, and femininity, often depicted in art as a figure caught between the worlds of life and death. This duality connects her to significant explorations in both Pre-Raphaelite works and the representation of women in 19th century art, reflecting cultural attitudes toward female identity and power.
Strayed sheep: In the context of Nineteenth Century Art, 'strayed sheep' often refers to a symbolic representation of innocence lost or individuals who have deviated from societal norms and expectations. This imagery, prevalent in the works of Pre-Raphaelite artists, conveys themes of redemption, moral dilemmas, and the consequences of straying from a righteous path, often drawing on religious and pastoral imagery.
Tennyson's Poems: Tennyson's poems refer to the body of work created by Alfred Lord Tennyson, a prominent British poet of the 19th century known for his lyrical and narrative verse. His poetry often explores themes of love, loss, nature, and mythology, resonating with the Pre-Raphaelite movement which sought to express deep emotional experiences through vivid imagery and symbolism. Tennyson's influence on contemporary art and literature, particularly among the Pre-Raphaelite artists, is significant as they often illustrated scenes and ideas from his works in their own paintings.
The awakening conscience: The awakening conscience refers to a moment of realization or self-awareness, often depicted in art, where a character becomes aware of their moral and ethical dilemmas. This concept is closely tied to the themes of redemption, enlightenment, and the struggle between desire and duty, particularly prevalent in the works of the Pre-Raphaelite Brotherhood.
The Beguiling of Merlin: The Beguiling of Merlin is a captivating painting created by the Pre-Raphaelite artist Edward Burne-Jones, depicting the legendary wizard Merlin in a trance as he is enchanted by the seductive figure of Nimue. This artwork exemplifies the Pre-Raphaelite movement's focus on intricate detail, rich color, and themes drawn from mythology and literature, showcasing their fascination with romanticism and the mystical elements of storytelling.
The Blind Girl: The Blind Girl is a poignant painting created by the Pre-Raphaelite artist, John Everett Millais, in 1856. This artwork captures the essence of compassion and human emotion, showcasing a young blind girl being led by her sister while holding a flower. The portrayal not only reflects the themes of disability and innocence but also emphasizes the deep bond between siblings and the emotional connections that transcend physical limitations.
The germ: In the context of art, 'the germ' refers to the initial idea or concept that serves as the foundation for a larger creative work. It represents the inspiration or seed from which an artist develops their vision, often linked to emotional and thematic depth. This concept is crucial when examining major artists and their works, as well as understanding how earlier art movements influenced the Pre-Raphaelites.
The Golden Stairs: The Golden Stairs is a significant painting created by the Pre-Raphaelite artist, Edward Burne-Jones, in the late 19th century, which exemplifies the movement's emphasis on medieval themes, beauty, and craftsmanship. The artwork features a group of young women descending a staircase bathed in golden light, symbolizing the journey of life and the passage of time. The painting reflects key characteristics of Pre-Raphaelite art, such as attention to detail, vibrant color palettes, and an idealized portrayal of women.
The Light of the World: The Light of the World is a significant painting created by the Pre-Raphaelite artist William Holman Hunt in 1851. This work portrays Jesus standing at a door, symbolizing Christ's invitation to humanity to accept him into their lives. The painting incorporates rich symbolism and detail, reflecting the Pre-Raphaelite emphasis on realism and narrative, as well as Hunt's interest in religious themes and morality.
Truth to nature: Truth to nature refers to the artistic principle that emphasizes an accurate and honest representation of the natural world, focusing on observation and fidelity to the subject matter. This approach is particularly relevant in the context of both Realism and the Pre-Raphaelite Brotherhood, as artists sought to depict the world around them authentically, often challenging established norms and conventions in art.
Watercolor: Watercolor is a painting method in which pigments are mixed with water and applied to a surface, usually paper. This technique is known for its translucent quality, allowing light to reflect off the white surface and create a luminous effect. Watercolors were particularly favored for their versatility and ease of use, making them a popular choice among artists during the 19th century.
William Holman Hunt: William Holman Hunt was a British painter and a founding member of the Pre-Raphaelite Brotherhood, known for his detailed and vibrant works that often included religious and literary themes. His artistic vision aimed to revive the attention to detail and vivid color found in art before Raphael, aligning with the Brotherhood's goals of authenticity and emotional depth in representation.
Work: In the context of art, 'work' refers to the creation of a piece that embodies the vision, techniques, and messages of the artist. It encompasses not just the physical artwork itself, but also the conceptual processes, themes, and emotional resonance behind it. Understanding a work involves considering its context, including the influences of its creator and the artistic movements they were part of.