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newsletter fall/winter 2014 Poetry in Beauty: The Pre-Raphaelite Art of Marie Spartali Stillman is on view at the Delaware Art newsletter Museum between now and January 31, 2016. For the full story, see page 7. fall/winter 2015 Call For Publication Grant Applications Each year HBA awards a grant to offset publication costs for a book manuscript or contents peer-reviewed journal article in the field of British art or visual culture that has been a letter from the President 2 accepted for publication. To be eligible for the $600 award, applicants must be current a letter from the Membership Chair 3 members of HBA. To apply, send a 500-word CAA 2016 project description, publication information 4 (correspondence from press or journal review: William Pressly, James Barry’s Murals confirming commitment to publish and 5 at the Royal Society of Arts projected publication date), budget, and 6 travel grant winner CV to Kimberly Rhodes, HBA Prize Committee Chair, [email protected] by exhibition announcement: Poetry in Beauty, January 15, 2016. 7 Delaware Art Museum Image: Marie Spartali Stillman (1844-1927), Self-Portrait, 1871, 9 officers & membership Charcoal and white chalk on paper, 25 3/8 × 20 5/8 in. Delaware Art Museum, Gift of Lucia N. Valentine, 1974. Lamb “regarding our name A PDF file of the October change.” During the 1992–93 1993 newsletter has been academic year, “members added to our newly voted overwhelmingly to call refurbished website, an ourselves the ‘Society of ideal destination for this Historians of British Art’ rather artifact of a late twentieth- than the proposed century print culture! alternative, ‘The British Art Looking through past Club.’” Because of the newsletters, it’s impossible length of the new name, not to be impressed with however, members present the dedication of people at the annual College Art who invested countless Association meeting in hours in keeping HBA’s Seattle in February 1993 membership informed of voted to condense the key news relevant to the name to the less organization. Now, in the cumbersome Historians of age of social media, our British Art. Treasurer and Membership A single anecdote thus Chair, Emily Talbot, provides a glimpse into an brilliantly maintains our a letter from the organization finding its own Facebook page and Kate way, a reminder that things Roach, graciously and with President could have gone differently, good cheer, produces this Dear HBA Members, a reminder that an first-rate newsletter and the organization like ours is monthly e-blasts. Thanks to With the passing of the baton nothing without the good both of them. And thanks from an outgoing to an sense of its membership to all of you for being part incoming HBA President, I working out what kind of of HBA. have had far more fun than I organization it aims to be. Sincerely, would have ever expected Other portions of the going through the HBA newsletter provide a sort of Craig Hanson archives that Colette time-travel experience. A Crossman mailed to me a session on ‘The State of British Associate Professor of Art few weeks ago. The contents Art Today’ asks “How is the History, Calvin College, of these seventeen manila way we research British art Grand Rapids, MI folders stretch back to 1992, changing, for example [email protected] when HBA was founded. I’m regarding computer not sure what’s more striking searches & new databases, call for member news & to me: how much things recently available archives, newsletter contributions have changed or how etc.?” It’s intriguing just trying familiar this organization feels to recall what precisely a Please send ideas for throughout its twenty-three- “computer search” entailed reviews or features, as year history. in 1993! And finally, the back well as items of member The second issue of the page of the newsletter notes news, to the editor, newsletter, dated October that work had begun on a Catherine (Kate) Roach, 1993, begins with a note from New Dictionary of National at [email protected] HBA’s first president Jody Biography. 2 HBA:: FALL/WINTER 2015 and in conversations with fellow HBA is run by a small but very board members. In my new role committed group of as Treasurer and Membership volunteers who care deeply Chair, I hope to meet many about the field of British art more of you at various HBA and support all those who events and through our web contribute to it. We hope you platforms. will continue your affiliation with HBA by renewing your As HBA memberships expire at membership for the 2016 the end of the calendar year, I calendar year (please note also write to encourage you to we also offer a three-year renew your commitment to HBA renewal option for a in 2016. HBA dues directly discounted, one-time support the scholarship of our payment). Membership a letter from the members by funding the annual renewals can be processed Publication Grant and graduate Treasurer & online at: student Travel Award, as well as http://historiansofbritishart.org Membership Chair our panels at CAA. All members /membership/ receive a monthly e-blast, with Dear HBA Members, or by sending a check to me calls for papers, job listings, and directly at the address below. As the new Treasurer and other news, in addition to this If you have any questions Membership Chair of the biannual newsletter, with its about your membership status Historians of British Art, I am book and exhibition reviews, or about HBA in general writing to introduce myself and news from our members, and please do not hesitate to to ask you to continue your updates regarding HBA events contact me at support of HBA by renewing that are held throughout the [email protected] or your memberships for 2016 and year. As part of our initiative to [email protected]. beyond. grow membership, our Thank you for supporting HBA revamped website and I look forward to meeting My relationship with HBA began (historiansofbritishart.org) is now you in Washington, D.C., or in 2009 when I delivered a fully accessible without a log-in elsewhere this year! paper in the CAA session requirement. The website “Collecting and Displaying Art in maintains an archive of all our Sincerely, London and the Empire, 1753- past newsletters in perpetuity, in 2010,” chaired by Anne Nellis addition to full descriptions of Emily Talbot and Morna O’Neill. From that the papers that will be Ph.D. Candidate point on, I enjoyed attending presented at CAA in February, Dept. of the History of Art the annual HBA events hosted and details regarding the HBA University of Michigan at CAA and throughout the Book Prize, Publication Grant, Tappan Hall academic year, finding this and Travel Award. In the same 855 South University Avenue organization to be particularly spirit, our Facebook page Ann Arbor, MI 48109-1357 congenial and supportive of its (www.facebook.com/Historians members and their work in the BritishArt) is accessible to field. After beginning my Ph.D. membership fees members and non-members at the University of Michigan I alike, and we hope it will Student $15 joined HBA’s board in 2011, with become a space for sharing Professional $25* the goal of helping to boost our news with fellow Historians of Benefactor $50 graduate student membership. British Art in the United States Institutional $100 Over the past few years I have and across the globe. If you * Professional members can learned more about HBA’s have not done so already, renew their membership for mission and future goals through please “like” us to receive HBA three years at the reduced rate my work on the HBA announcements in your feed. of $20 per year by making a Communications Committee one-time payment of $60. 3 HBA:: FALL/WINTER 2015 HBA @ CAA 2016 Reforming Pre-Raphaelitism in the Late Twentieth and Twenty-First Centuries: New Contexts, Paradigms, and Visions HBA Session at the 104th Annual Conference of the College Art Association Washington, D.C., Saturday, February 6, 2015, 12:30–2:00pm; Washington 4, Exhibition Level Chaired by Susan P. Casteras, University of Washington Since its formation in 1848, the Pre-Raphaelite Brotherhood and the phenomenon of Pre-Raphaelitism have continued to evolve and reinvent themselves, and in the late twentieth and early twenty-first centuries has been revived in ways that transmit and transform its style, ideas, themes, and influence. This has occurred for numerous reasons, from admiration for selected Pre-Raphaelite tenets and artists (especially Dante Gabriel Rossetti, John Everett Millais, William Morris, and others in their circle) to nostalgia for certain aspects of its imagery in a new, post-modern era of industrial/technological revolution. The heterogeneous responses have proven global, with some ties stronger and more self- consciously claimed, and others more tenuous and subtle. These creative extensions and transformations of Pre-Raphaelitism have generated considerable fluidity in manifestations throughout various media, from the fine arts to film, fashion, literature, photography, book illustration, graphic novels, music performance, popular culture, Steampunk, and in the digital realm, innumerable special websites, blogs, and databases. There are new generations of advocates, including couturiers like Valentino, magazines such as Vogue and Vanity Fair, and reiterations of stunners in super models-cum-muses like Lily Cole. Some materializations of expression come from individuals, others from loosely allied groups who overtly admired Pre-Raphaelitism and were interested in re-adapting and remediating it to their own art, purposes, and era. The online presence is especially revivifying and powerful, e.g., as conveyed via Twitter, Facebook, Instagram, Pinterest, and Tumblr, all testimony to the modes in which Pre-Raphaelitism has not just survived, but thrived in the twenty-first century.
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  • 以『前拉菲爾派』為例 Representation of Shakespeare’S Women in Pre-Raphaelite Art

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    國立臺灣師範大學國際與社會科學學院歐洲文化與觀光研究所 碩士論文 Graduate Institute of European Cultures and Tourism College of International Studies and Social Sciences National Taiwan Normal University Master Thesis 莎士比亞女角的再現 - 以『前拉菲爾派』為例 Representation of Shakespeare’s Women in Pre-Raphaelite Art 許艾薇 Ivy Tang 指導教授﹕陳學毅 博士 Dr. Hsueh-I CHEN 中華民國 107 年 06 月 June 2018 Acknowledgement This thesis could not have been written without the assistance of and support from numerous individuals. First and foremost, I would like to thank Professor Hsueh-I Chen for his generous encouragement, consistent guidance, and full support for the completion of this project. I am hugely appreciative to Professor Chen for encouraging me when I faced doubts and questioned myself throughout the process. I am grateful for the guidance and assistance that Professor Dinu Luca provided in the early stages of this thesis. I am fortunate for his close attention and assistance throughout the shaping of this thesis. My appreciation also goes to my thesis committee members Professor Louis Lo and Professor Candida Syndikus, for their careful examination of my thesis. Their comments and advice helped me to consider new interdisciplinary approaches in the study. I thank Professor Lo for the guidance since undergraduate for whom had first introduced me to the study of Ophelia’s madness and representations. Professor Syndikus’s careful reading and probing questioning added depth and coherence to my thesis. This thesis has benefited from the above individual’s vast knowledge of literature, Shakespeare, British art, philosophical theories, Victorian studies, sensitive editing, insightful interpretations of paintings, and sensitive editing. Without the help of them, this thesis would not have been able to be completed.
  • Textileartscouncil William Morrisbibliography V2

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    TAC Virtual Travels: The Arts and Crafts Heritage of William and May Morris, August 2020 Bibliography Compiled by Ellin Klor, Textile Arts Council Board. ([email protected]) William Morris and Morris & Co. 1. Sites A. Standen House East Grinstead, (National Trust) https://www.nationaltrust.org.uk/standen-house-and-garden/features/discover-the- house-and-collections-at-standen Arts and Crafts family home with Morris & Co. interiors, set in a beautiful hillside garden. Designed by Philip Webb, taking inspiration from the local Sussex vernacular, and furnished by Morris & Co., Standen was the Beales’ country retreat from 1894. 1. Heni Talks- “William Morris: Useful Beauty in the Home” https://henitalks.com/talks/william-morris-useful-beauty/ A combination exploration of William Morris and the origins of the Arts & Crafts movement and tour of Standen House as the focus by art historian Abigail Harrison Moore. a. Bio of Dr. Harrison Moore- https://theconversation.com/profiles/abigail- harrison-moore-121445 B. Kelmscott Manor, Lechlade - Managed by the London Society of Antiquaries. https://www.sal.org.uk/kelmscott-manor/ Closed through 2020 for restoration. C. Red House, Bexleyheath - (National Trust) https://www.nationaltrust.org.uk/red-house/history-at-red-house When Morris and Webb designed Red House and eschewed all unnecessary decoration, instead choosing to champion utility of design, they gave expression to what would become known as the Arts and Crafts Movement. Morris’ work as both a designer and a socialist were intrinsically linked, as the creation of the Arts and Crafts Movement attests. D. William Morris Gallery - Lloyd Park, Forest Road, Walthamstow, London, E17 https://www.wmgallery.org.uk/ From 1848 to 1856, the house was the family home of William Morris (1834-1896), the designer, craftsman, writer, conservationist and socialist.
  • Pre-Raphaelite Sisters

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  • 'Art of a Second Order': the First World War from the British Home Front Perspective

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  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists

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    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.
  • 2018 Annual Report

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  • 4 Wightwick Bank, Wightwick, Wolverhampton, West Midlands

    4 Wightwick Bank, Wightwick, Wolverhampton, West Midlands

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  • Speaking of Kisses in Paradise: Burne-Jones's Friendship with Swinburne John Christian

    Speaking of Kisses in Paradise: Burne-Jones's Friendship with Swinburne John Christian

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  • The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915

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    THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange.
  • Realismus – Impressionismus – Symbolismus

    Realismus – Impressionismus – Symbolismus

    Realismus – Impressionismus – Symbolismus Wintersemester 2018/2019 9. Vorlesung 24.01.2019 •Barringer, Timothy J. [Hrsg.]: Pre-Raphaelites. Victorian Avant-Garde, London 2012. •Hönnighausen, Gisela [Hrsg.]: Die Präraffaeliten. Dichtung, Malerei, Ästhetik, Rezeption. Stuttgart 2000. •Kemp, Wolfgang: John Ruskin. Leben und Werk, München [u.a.] 1993. •Waggoner, Diane: The Pre-Raphaelite lens. British photography and painting, 1848 – 1875, Washington 2010. Presenting the female body: Challenging a Victorian fantasy John William Waterhouse, Hylas and the Nymphs, 1896, Manchester „Our removal of Waterhouse’s naked nymphs painting ‘Members of the public have stuck Post-it notes on the wall giving was art in action“ – Sonia Boyce their reaction.’ Photograph: Manchester Art Gallery Triumphe der Kunst über die Realität? Edward Burne-Jones, left, with William Morris at the Grange, Ramsgate, in 1874. Photograph: National Portrait Gallery London Laus Veneris (In Praise of Venus) by Sir Edward Coley Burne- Jones, Bt ARA. 1873-75. Oil on canvas, 47 x 71 inches. The Laing Art Gallery, Newcastle-upon- Tyne. Study for Laus, Veneris, Sir Edward Variant Study for Head of the Queen Coley Burne-Jones, Bt ARA (1833- in Laus Veneris - Sir Edward Burne- 1898), Pencil,8 1/4 x 6 1/2 inches Jones St. Cecilia window by Sir Edward Burne-Jones in Second Presbyterian Church, Chicago, IL, installed 1903. Sir Edward Coley Burne-Jones, Bt 1833–1898, King Cophetua and the Beggar Maid, Oil paint on canvas, 293,4 x 135,9 cm, London: Tate Gallery Edward Burne-Jones (1833–1898), Georgiana Burne-Jones, their children Margaret and Philip in the background, 1883, oil on canvas, 76 x53 cm, Source: Sotheby's Edward Burne-Jones (1833–1898), Phyllis and Demophoon, 1870, Bodycolour and watercolour with gold medium and gum arabic on composit layers of paper on canvas, 93,8 x 47, 5 cm, Birmingham Museum and Art Gallery.
  • Edward Burne–Jones

    Edward Burne–Jones

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  • Social History Following Hot on the Heels of the Aesthetic Movement

    Social History Following Hot on the Heels of the Aesthetic Movement

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