Pre-Raphaelites: from Rossetti to Ruskin Pdf, Epub, Ebook
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DOCTORAL THESIS Vernon Lushington : Practising Positivism
DOCTORAL THESIS Vernon Lushington : Practising Positivism Taylor, David Award date: 2010 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 Vernon Lushington : Practising Positivism by David C. Taylor, MA, FSA A thesis submitted in partial fulfilment of the requirements for the degree of PhD School of Arts Roehampton University 2010 Abstract Vernon Lushington (1832-1912) was a leading Positivist and disciple of Comte's Religion of Humanity. In The Religion of Humanity: The Impact of Comtean Positivism on Victorian Britain T.R. Wright observed that “the inner struggles of many of [Comte's] English disciples, so amply documented in their note books, letters, and diaries, have not so far received the close sympathetic treatment they deserve.” Material from a previously little known and un-researched archive of the Lushington family now makes possible such a study. -
Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university. -
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. -
Hesterna Rosa , Found , Hamlet and Ophelia , and Mary Magdalene
This work has been reproduced on behalf of the author for web publication with minor corrections and formatting changes, and the addition of hyperlinks to images of paintings and illustrations mentioned in the text. Readers wishing to refer to this essay should use the original place of publication: Bentley, D.M.R. “Dante Gabriel Rossetti as Disegnatore: Hesterna Rosa, Found, Hamlet and Ophelia, and Mary Magdalene at the Door of Simon the Pharisee,” Journal of Pre-Raphaelite Studies NS 18 (Fall 2009): 41-67. DANTE GABRIEL ROSSETTI AS DISEGNATORE: HESTERNA ROSA, FOUND, HAMLET AND OPHELIA, AND MARY MAGDALENE AT THE DOOR OF SIMON THE PHARISEE D.M.R. BENTLEY He showed me many designs for pictures: they tossed about everywhere in the room; the floor at one end of the room was covered with them, and with books… He taught me to have no fear or shame of my own ideas, to design perpetually. — Edward Burne-Jones remembering Dante Rossetti (qtd in Georgiana Burne-Jones 1:130, 149) In its entries for “design” as a noun and as a verb, the Oxford English Dictionary traces the origin of the word in both lexical categories to the Renaissance Italian disegno and its cognates, which denote activities and their outcomes that are both representational and intellectual: to design or to make a design is to realize a rational concept (plot, purpose, intention) in a visual form that is often preliminary to a final image. In Painting and Experience in Fifteenth-Century Italy, Michael Baxandall further clarifies the meaning of disegno with reference to Cennino Cennini’s Il Libro dell’Arte (1437), where it is associated with “pencil, lines, the representation of edges, [and] perspective” and distinguished from colorire and its associations (“brush, tones, the representation of surfaces, [and] rilievo”) in a “dichotomy … [that] made drawings and painting … the ‘foundation of the art of painting’” as it would be “taught and … observed” for centuries to come in Europe (139-40). -
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. -
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. -
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. -
William Holman Hunt's Portrait of Henry Wentworth Monk
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 William Holman Hunt’s Portrait of Henry Wentworth Monk Jennie Mae Runnels Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4920 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. William Holman Hunt’s Portrait of Henry Wentworth Monk A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History at Virginia Commonwealth University. Jennie Runnels Virginia Commonwealth University Department of Art History MA Thesis Spring 2017 Director: Catherine Roach Assistant Professor Department of Art History Virginia Commonwealth University Richmond, Virginia April 2017 Contents Acknowledgments Introduction Chapter 1 Holman Hunt and Henry Monk: A Chance Meeting Chapter 2 Jan van Eyck: Rediscovery and Celebrity Chapter 3 Signs, Symbols and Text Conclusion List of Images Selected Bibliography Acknowledgements In writing this thesis I have benefitted from numerous individuals who have been generous with their time and encouragement. I owe a particular debt to Dr. Catherine Roach who was the thesis director for this project and truly a guiding force. In addition, I am grateful to Dr. Eric Garberson and Dr. Kathleen Chapman who served on the panel as readers and provided valuable criticism, and Dr. Carolyn Phinizy for her insight and patience. -
Painted Sermons: Explanatory Rhetoric and William Holman Hunt’S Inscribed Frames
PAINTED SERMONS: EXPLANATORY RHETORIC AND WILLIAM HOLMAN HUNT’S INSCRIBED FRAMES Karen D. Rowe A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2005 Committee: Sue Carter, Advisor Catherine Cassara Graduate Faculty Representative Thomas Wymer Richard Gebhardt Bruce Edwards ii ABSTRACT Sue Carter, Advisor This study was undertaken to determine the rhetorical function of the verbal texts inscribed on the frames of the paintings of the Victorian Pre-Raphaelite artist William Holman Hunt. The nineteenth century expansion of the venues of rhetoric from spoken to written forms coupled with the growing interest in belle lettres created the possibility for the inscriptions to have a greater function than merely captioning the work. Visits were made to museums in the United States and Great Britain to ascertain which of Hunt’s paintings have inscribed frames. In addition, primary sources at the Bodleian Library, Oxford, and the British Library, London, were consulted to determine if the artist had recorded his design plans or stated any specific purpose for the inscriptions. Contemporary reviews and exhibition catalogs were also consulted at these libraries. In addition, secondary sources were examined for relevant discussions of Hunt’s works. It was concluded that the inscribed works fit the parameters of explanatory rhetoric, a form informational and didactic rather than persuasive in nature. The common nineteenth century venue for explanatory rhetoric was the pulpit, instructing converted parishioners about Church doctrines and their Christian duties. It was also concluded that this shift in rhetorical purpose was not new to the Victorian era, rather that there is a long history of explanatory rhetoric going back at least to Augustine. -
291 Index © in This Web Service Cambridge
Cambridge University Press 978-0-521-89515-6 - The Cambridge Companion to the Pre-Raphaelites Edited by Elizabeth Prettejohn Index More information INDEX Adam Bede (Eliot), 19 ‘Art and Industry in the Fourteenth Century’ ‘Adieu’ (‘Wavering whispering trees’) (Morris), 207 (D.G. Rossetti), 95 Art and Poetry: Being Thoughts towards Adoration of the Kings and Shepherds Nature, Conducted principally by (Burne-Jones), 237–8 Artists, 3, 83. See also The Germ Adoration tapestry (Morris & Co.), 219–20 ‘The Art Catholic’, 166 Aesthetic Movement Art Journal, 38, 39 Brown, 148, 160 ‘Art News from London’ (W.M. Rossetti), Hunt, 42, 74 257 Morris, 216 ‘The Art of the People’ (Morris), 207 The Age of Rossetti, Burne-Jones and Watts: ‘Art Under Plutocracy’ (Morris), 207 Symbolism in Britain 1860–1910 269 Arts and Crafts movement, 40, 213, 218 Aids to Reflection (Coleridge), 71 Arundel Society, 35, 39 Albrecht Dürer on the Balcony of his House Aspecta Medusa (D.G. Rossetti), 28 (Scott), 40 Astrophel and Other Poems (Swinburne), Allingham, William, 16, 19–20, 57, 191–2 240–1 The Altar, or Meditations in Verse on Atalanta in Calydon (Swinburne), 27, 238, the Great Christian Sacrifice 244 (Williams), 167 The Athenaeum, 80, 161 American exhibition of Pre-Raphaelite Atlantic Monthly, 258 art, 258 ‘August’ (Swinburne), 243–4 ‘Anactoria’ (Swinburne), 242 Aurora Leigh (E.B. Browning), 17 Angel in the House (Patmore), 17 Autobiographical Notes (Scott), 238 Angiolieri, Cecco, 90 Autumn Leaves (Millais), 142–3, 256 The Annunciation (Tintoretto), 22, 35 ‘Ave’ (D.G. Rossetti), 93–4 antiquarianism, 33 The Awakening Conscience (Hunt), 39, 121, Brown, 151–2 124–5, 128, 251 Morris, 196 Aylott and Jones, 83 ‘Antwerp and Bruges’ (D.G. -
3. Pre-Raphaelite Brotherhood
• 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’. 1 • 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. -
2. Pre-Raphaelite Brotherhood
The paintings produced by the Pre-Raphaelite Brotherhood or PRB are today regarded as staid and irrelevant Victorian pictures. I will show that at the time there were controversial and even revolutionary. The brotherhood was founded in 1848, the year of revolutions across Europe. There was a very large Chartist meeting on 10th April in Kennington Common but luckily confrontation was avoided and the petition with six million signatures was handed in to Downing Street. House of Commons clerks estimated the true figure to be 1.9 million signatures and some joke signatures were publicized to undermine the credibility of the movement. John Everett Millais and Holman Hunt accompanied the crowd from Russell Square but at the Common they were careful to remain outside the rails. In September of that year they met in Millais’s parents house to form the Pre-Raphaelite Brotherhood. The term ‘brotherhood’ was later of concern to critics as it suggested anarchy and a revolution. 1 Top row, left to right: William Holman Hunt, John Everett Millais, (b. 1829 – d. 1896) John Everett Millais, William Holman Hunt, 1854, (1827-1910) William Holman Hunt, Dante Gabriel Rossetti, 1853, (1828-1882) Bottom row, left to right: Dante Gabriel Rossetti, Thomas Woolner, 1852 (1825-1892, sculptor and poet), National Portrait Gallery James Collinson, self-portrait, undated (1825-1881, only 1848-50, a devout Christian who resigned when Millais painted Christ in the House of His Parents) John Everett Millais, Frederic George Stephens (1828-1907, art critic) Dante Gabriel Rossetti, William Michael Rossetti (1829-1919, writer and art critic) Seven ‘Brothers’ • The three years 1849-1851 were an exceptional event in the history of art because rarely do you find a group of artists who set out to radically change the status quo and who take on the leading art establishment – the Royal Academy.