DOCSLIB.ORG

William Holman Hunt and the Pre-Raphaelites

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William Holman Hunt and the Pre-Raphaelites Inspired Art Appreciation Series William Holman Hunt and the Pre-Raphaelites (Video Series by Artist & Author Pamela Poole) The Pre-Raphaelite Movement was born in 1848 during a notorious time of unrest and upheaval across Europe. In England, the English way of life was forever changed by the Industrial Age, which brought squalor and despair for the lower classes of citizens and newfound prosperity for the middle-class. The new wealth created a small, connected society who all knew one another, pursued the same amusements and intermarried. From an art perspective, the demand for portraiture rose. Artists who could flatter their subjects could thrive. But customers also wanted brown washes over their paintings that made them drab, almost as though they saw the world through the haze of coal smoke from the industry that provided their lifestyles. A group of artists emerged that are now known as the Pre-Raphaelites. They sought to bring about a meaningful change through their art, through high principles of the Renaissance, as practiced by artists before Raphael. This art movement gleaned inspiration from moral themes in literature by greats like Sir Walter Scott, Shakespeare, Chaucer, William Wordsworth, William Blake, Lord Byron, Percy Shelley, Keats, Robert Browning, and Lord Alfred Tennyson. The three most important members of this group were William Holman Hunt, Dante Gabriel Rossetti, and John Everett Millais. Their paintings were bright and conveyed an intensity of feeling. Their subjects were historical and religious. But it was their youthful idealism that game them a united purpose. In that age, literary high-mindedness and medieval romance were controversial, yet other artists joined the Pre-Raphaelite movement, such as William Morris, whose singularly recognizable style was to become a significant influence in future aesthetics in design. Influential art critic John Ruskin entered the fray of the controversy to support the artists. The Pre-Raphaelites would triumph as an inspiring and influential art movement, shaking off the gloomy coal-smoked mood of the Victorian age. Artist Focus: William Holman Hunt, (1827-1910) We looked at several paintings in the Art Appreciation video: The Light of the World (1854)—Influential art critic John Ruskin declared that this painting was one of the noblest works of sacred art ever produced in any age. Our English Coasts (Strayed Sheep) (1852) The Shadow of Death (1870-73)—Jesus’ cast shadow foreshadows His crucifixion. Painting Focus: The Awakening Conscience (1854)—Hailed by John Ruskin as a master work This is a storytelling picture and the theme is the fate of the woman. It’s a genre scene, a domestic interior painting that comments on the society of the time period. It portrays a moral message and is filled with symbolism. Some symbolic elements: Upon the piano, a Morning Glory bloom in the vase is a flower of deceit, for this flower entangles itself with other plants, much like the complicated situation in the young lady’s life. The clock under glass depicts Chastity binding Cupid, suggesting that the gentleman will not get his way. A painting that hangs on the wall is of the woman caught in adultery in the Bible. The sheet of music on the piano is a nostalgic song of the time, “Oft in the Stilly Night.” This song is about a woman who reflects on her childhood innocence, and these words stung the young lady’s conscience. Unaware of the change in their situation, the gentleman continues to sing while she sees beyond the room. At the bottom of the painting is a roll of music called “Tears Idle Tears,” a musical adaption of a poem by Tennyson. The words contrasted past innocence and present wretchedness. This song, and the one on the piano, tells of the sorrow in the woman’s predicament. The young woman: The first owner of this painting asked Hunt to alter the expression on the woman’s face, because it was so painful that he could not live with it. In this new version, notice that the woman’s eyes are on something distant. In the mirror on the wall behind her, viewers can see that she faces a window full of light. This is a reminder of Hunt’s painting that same year, The Light of the World, and light from the window makes the woman’s face glow. The same warm light also falls on the bottom corner of the piano, where unraveled wool yarn catches the viewer’s eye, symbolic of the painting of sheep and the biblical messages about sheep and the Shepherd—another sign of her change of heart and salvation. She is rising from her seat on the gentleman’s lap, symbolic of leaving him behind. On her hands, we see rings on every finger except the one that should bear a wedding ring. The lacy edges of her skirt tell us this is her petticoat. At her feet is a soiled white glove, showing what her life will become if she stays. The gentleman: This man is enjoying a visit with his mistress, as shown by his hat and a book on the table. He is a well-to-do, well-dressed, educated man who lodges his mistress in a comfortable and modern house. He plays the piano, unaware of her sudden change of heart and mind. Under the table is a cat toying with a bird, but then distracted with the woman’s movements. This seems to give the bird a chance to escape. Suggested lesson from this video: Look up Scripture verses that the artist may have been inspired by for the featured paintings. Compose your own portrayals of these scenes. Use bright, rich jewel tones in your colors. .
Load more

Recommended publications
  • EVELYN WAUGH NEWSLETTER and STUDIES Volume 27, Number 2 Autumn, 1993
    EVELYN WAUGH NEWSLETTER AND STUDIES Volume 27, Number 2 Autumn, 1993 THE AWAKENING CONSCIENCE IN BRIDESHEAD REVISITED By Elaine E. Whitaker (University of Alabama at Birmingham) Crucial to understanding the emotions which underlie Julia Flyte's renunciation of Charles Ryder in Brideshead Revisited is "Ruskin's description" of "a picture of Holman Hunt's cal.led 'The Awakened Conscience'" (290). Julia, who has not seen the picture, concludes from Ryder's reading of Ruskin, "You're perfectly right. That's exactly what I did feel" (290). That these feelings were aroused by her brother Bridey's statement that Julia was "living in sin" (285, 287) has never been in dispute. However, both the title of Hunt's painting and the location of Ruskin's criticism require further explication. Although Waugh, his editors, and his critics have consistently referred to The Awakened Conscience, the title Holman Hunt assigned to this work was not The Awakened Conscience but rather The Awakening Conscience. Waugh's apparent error links Hunt's painting to its Victorian predecessors, The A wakened Conscience by Richard Redgrave and The Awakened Conscience by Thomas Brooks.' Because Waugh was not a casual observer of these Victorian painters, he should not have been prone to such an error. On the contrary, Waugh indicates his interest not only by the allusion in Brides head but also by his prior claim that "The A wakened Conscience ... is, perhaps, the noblest painting by any Englishman."' Thus, Waugh's alteration of Hunt's title deserves investigation. The painting which Waugh praises but mistitles depicts a young woman who has risen from her lover's lap, though her lover continues to hold her with one arm and to touch the keys of a piano with his free hand.
    [Show full text]
  • Art Et Littérature À L'époque Victorienne. Home Sweet Home Or
    HOME, SWEET HOME OR BLEAK HOUSE ? Art et littérature à l'époque Victorienne Dans la même série, les Annales Littéraires de l'Université de Besançon ont publié en 1977, sous le numéro 198 : THE ARTIST'S PROGRESS Art, littérature et société en Grande-Bretagne Sommaire : PELTRAULT Claude, L'Enfer ou l'architecture de l'illusion. HAMARD Marie-Claire, L'enfant dans l'art anglais du XVIe au XVIIe siècle. CARRÉ Jacques, Alexander Pope et l'architecture. FERRER Daniel, A The Rake 's Progress, Hogarth-Stravinsky. LEHMANN Gilly, L'art de la table en Angleterre au XVIIIe siècle. TATU Chantal, Présence, fonction et signification des arts dans Les Mystères d'Udolphe d'Anne Radcliffe. MARTIN Jean-Paul, Comment Constable peint la peinture. ROSSITER Andrew, La critique d'art de William Thackeray : un aperçu sur la Royal Academy aux alentours de 1840. Cet ouvrage de 161 pages, illustré de 11 planches, est distribué par Les Belles Lettres, 95, Boulevard Raspail, Paris VIe, au prix de 120 FF. Les Annales ont aussi publié en 1982, sous le numéro 267 : LIFT NOT THE PAINTED VEIL... Recherches sur la peinture anglaise et américaine. Sommaire : CARRÉ Jacques, Un aristocrate et son image les portraits de Lord Burlington. BRUCKMULLER-GENLOT Danielle, Un intransigeant victorien : William Holman Hunt, ou la voie étroite du préraphaélitisme. LEHMANN Patrick-André, «Hughes vs Hughes» ou le premier illustra- teur de Tom Brown 's Schooldays. HAMARD Marie-Claire, Les premières années du New English Art Club. HAMARD Marie -Claire, Les illustrateurs du Yellow Book. MARTIN Jean-Pierre, Ce que peint Francis Bacon (tentative de description).
    [Show full text]
  • Dante Gabriel Rossetti - Poems
    Classic Poetry Series Dante Gabriel Rossetti - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Dante Gabriel Rossetti(12 May 1828 – 9 April 1882) Rossetti was born, the son of an Italian patriot and political refugee and an English mother, in England. He was raised in an environment of cultural and political activity that, it has been suggested, was of more import to his learning than his formal education. This latter was constituted by a general education at King's College from 1836 to 1841 and, following drawing lessons at a school in central London at the age of fourteen, some time as a student at the Royal Academy from 1845 onwards. Here he studied painting with William Hollman Hunt and John Everett Millais who, in 1848, would set up the Pre-Raphaelite Brotherhood with Rossetti, Rossetti's younger brother and three other students. The school's aspirations, in this its first incarnation, was to paint true to nature: a task pursued by way of minute attention to detail and the practice of painting out of doors. Rossetti's principal contribution to the Brotherhood was his insistence on linking poetry and painting, no doubt inspired in part by his earlier and avaricious readings of Keats, Shakespeare, Goethe, Sir Walter Scott, Byron, Edgar Allan Poe and, from 1847 onwards, the works of William Blake. 'The Germ' lasted however for only four issues, all published in 1850. In 1854 Rossetti met and gained an ally in the art critic John Ruskin and, two years later, meetings with Edward Burne-Jones and William Morris set a second phase of the Brotherhood into movement.
    [Show full text]
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
    Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.
    [Show full text]
  • Art in the Modern World
    Art in the Modern World A U G U S T I N E C O L L E G E Beata Beatrix 1863 Dante Gabriel ROSSETTI The Girlhood of Mary 1849 Dante Gabriel ROSSETTI Ecce ancilla Domini 1850 Dante Gabriel ROSSETTI Our English Coasts William Holman HUNT | 1852 Our English Coasts detail 1852 William Holman HUNT The Hireling Shepherd 1851 | William Holman HUNT The Awakening Conscience 1853 William Holman HUNT The Scapegoat 1854 | William Holman HUNT The Shadow of Death 1870-73 William Holman HUNT Christ in the House of His Parents 1849 | John Everett MILLAIS Portrait of John Ruskin 1854 John Everett MILLAIS Ophelia 1852 | John Everett MILLAIS George Herbert at Bemerton 1851 | William DYCE The Man of Sorrows 1860 | William DYCE Louis XIV & Molière 1862 | Jean-Léon GÉRÔME Harvester 1875 William BOUGUEREAU Solitude 1890 Frederick Lord LEIGHTON Seaside 1878 James Jacques Joseph TISSOT The Awakening Heart 1892 William BOUGUEREAU The Beguiling of Merlin 1874 | Edward BURNE JONES Innocence 1873 William BOUGUEREAU Bacchante 1894 William BOUGUEREAU The Baleful Head 1885 Edward BURNE JONES Springtime 1873 Pierre-Auguste COT The Princesse de Broglie James Joseph Jacques TISSOT A Woman of Ambition 1883-85 James Joseph Jacques TISSOT Prayer in Cairo Jean-Léon GEROME The Boyhood of Raleigh 1870 | John Everett MILLAIS Flaming June 1895 Frederick Lord LEIGHTON Lady Lilith 1864 Dante Gabriel ROSSETTI Holyday 1876 | James Joseph Jacques TISSOT Autumn on the Thames 1871 James Joseph Jacques TISSOT A Dream of the Past: Sir Isumbras at the Ford 1857 | John Everett MILLAIS A Reading
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • This Book Reconsiders and Revises Our Understanding of Pre-Raphaelite
    Cambridge University Press 0521824680 - Pre-Raphaelite Painting and Nineteenth-Century Realism Marcia Werner Frontmatter More information PRE-RAPHAELITE PAINTING AND NINETEENTH-CENTURY REALISM This book reconsiders and revises our understanding of Pre-Raphaelite painting: its philosophy of art, its sources, its cohesiveness, and its relationship to the broader context of contemporary European Realism. Challenging several long-standing be- liefs about the PRB, which is often characterized as a disparate group who pursued divergent, even antithetical, goals, Marcia Werner proposes that the Pre-Raphaelites developed and shared an artistic philosophy comprehensive enough to embrace all of their differences. Werner reconstructs this credo through careful study of writings by Pre-Raphaelite artists and their associates. She also examines unexplored and neglected contemporary intellectual and philosophical sources, particularly those of John Stuart Mill and Thomas Carlyle, whose works are shown to be critical to an understanding of Pre-Raphaelite painting. Supporting her ideas through sustained analyses of key works, the author also argues that John Ruskin’s importance to the Pre-Raphaelites has been misunderstood and overstated. Marcia Werner is Adjunct Associate Professor of Art History at Temple University in Philadelphia. © Cambridge University Press www.cambridge.org Cambridge University Press 0521824680 - Pre-Raphaelite Painting and Nineteenth-Century Realism Marcia Werner Frontmatter More information Pre-Raphaelite Painting and Nineteenth-Century
    [Show full text]
  • Pre-Raphaelites and the Book
    Pre-Raphaelites and the Book February 17 – August 4, 2013 National Gallery of Art Pre-Raphaelites and the Book Many artists of the Pre-Raphaelite circle were deeply engaged with integrating word and image throughout their lives. John Everett Millais and Edward Burne-Jones were sought-after illustrators, while Dante Gabriel Rossetti devoted himself to poetry and the visual arts in equal measure. Intensely attuned to the visual and the liter- ary, William Morris became a highly regarded poet and, in the last decade of his life, founded the Kelmscott Press to print books “with the hope of producing some which would have a definite claim to beauty.” He designed all aspects of the books — from typefaces and ornamental elements to layouts, where he often incorporated wood- engraved illustrations contributed by Burne-Jones. The works on display here are drawn from the National Gallery of Art Library and from the Mark Samuels Lasner Collection, on loan to the University of Delaware Library. front cover: William Holman Hunt (1827 – 1910), proof print of illustration for “The Lady of Shalott” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (9) back cover: Dante Gabriel Rossetti (1828 – 1882), proof print of illustration for “The Palace of Art” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (10) inside front cover: John Everett Millais, proof print of illustration for “Irene” in Cornhill Magazine, 1862, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (11) Origins of Pre-Raphaelitism 1 Carlo Lasinio (1759 – 1838), Pitture a Fresco del Campo Santo di Pisa, Florence: Presso Molini, Landi e Compagno, 1812, National Gallery of Art Library, A.W.
    [Show full text]
  • Literary Influences in the Art of Dante Gabriel Rossetti
    Literary influences in the art of Dante Gabriel Rossetti Item Type text; Thesis-Reproduction (electronic) Authors Oswald, Artell Pikka, 1945- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 18:19:44 Link to Item http://hdl.handle.net/10150/347796 LITERARY INFLUENCES IN THE ART OF DANTE GABRIEL ROSSETTI by Artell Pikka Oswald A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 2 STATEMENT BY AUTHOR This thesis has been submitted in partial ful­ fillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permis­ sion for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED APPROVAL BY THESIS CO-DIRECTORS This thesis has been approved on the date shown below; <r - 3 ~ 7 ROBERT W.
    [Show full text]
  • Pre-Raphaelite Poetry
    Dr.Pem Prakash Pankaj Asst.Professor,English Dept Vanijya Mahavidyalaya,PU Mob-8210481859 [email protected] For B.A (English Hons.) Part-1/ English Alternative Part-1 (50 marks) PRE-RAPHAELITE POETRY The Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" modelled in part on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse. Pre-Raphaelite Brotherhood (PRB), founded in September 1848, is the most significant British artistic grouping of the nineteenth century. Its fundamental mission was to purify the art of its time by returning to the example of medieval and early Renaissance painting. Although the life of the brotherhood was short, the broad international movement it inspired, Pre-Raphaelitism, persisted into the twentieth century and profoundly influenced the aesthetic movement, symbolism, and the Arts and Crafts movement. First to appear was Dante Gabriel Rossetti's Girlhood of Mary Virgin (1849), in which passages of striking naturalism were situated within a complex symbolic composition. Already a published poet, Rossetti inscribed verse on the frame of his painting. In the following year, Millais's Christ in the House of His Parents (1850) was exhibited at the Royal Academy to an outraged critical reception.
    [Show full text]
  • Dante Gabriel Rossetti •William Holman Hunt •John Everett Millais
    ArtH 2257 19th Century Art Realism vs. Symbolism Robert Campin: The Merode Altarpiece, 1425-28 Robert Campin: The Merode Altarpiece, 1425-28 Jan van Eyck: Arnolfini Wedding. 1434 Jan van Eyck, Arnolfini Wedding, 1434 Augustus Egg: Past and Present, 1858 Augustus Egg: Past and Present, 1858 Augustus Egg: Past and Present, 1858 Augustus Egg: Past and Present, 1858 Augustus Egg: Past and Present, 1858 Augustus Egg: Past and Present, 1858 Augustus Egg: Past and Present, 1858 G.F. Watts: Found Drowned, 1849-50 Richard Redgrave: The Poor Teacher, 1845 Gustave Dore: Orange Court, Drury Lane, illustration in in B. Jerrold, London, a Pilgrimage,1872 The Pre-Raphaelite Brotherhood Founded 1848 by: •Dante Gabriel Rossetti •William Holman Hunt •John Everett Millais Rossetti Millais Hunt Julia Margaret Cameron: William Holman Hunt, 1850 WH Hunt: Early Britons Sheltering Christian Missionary from Druids, 1850 William Holman Hunt, The Hireling Shepherd, 1851 William Holman Hunt, The Hireling Shepherd, 1851 William Holman Hunt, The Hireling Shepherd, 1851 WH Hunt: The Awakening Conscience, 1852 WH Hunt: The Awakening Conscience, 1852 WH Hunt: The Awakening Conscience, 1852 WH Hunt: The Awakening Conscience, 1852 WH Hunt: The Awakening Conscience, 1852 Jan van Eyck: Arnolfini Wedding. 1434 Ford Maddox Brown, Take Your Son, Sir!, 1852-59; 1892 (unfinished) Ford Maddox Brown, Take Your Son, Sir!, 1852-59; 1892 (unfinished) John E. Millais: Lorenzo and Isabella, 1849 John E. Millais: Ophelia, 1851-2 John E. Millais: Ophelia, 1851-2 John E. Millais: Mariana, 1851 John E. Millais: Mariana, 1851 John E. Millais: Mariana, 1851 John E. Millais: Mariana, 1851 John E.
    [Show full text]