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The 1800 S Flower Child by W SIGNAL Tuesday. March L. !99f> College Life 11 College Life Editor Lauren Swartzentruber Associate Editor Todd Harris College Life The 1800 s Flower Child By W. John Naughton Staff Writer They didn't have soap operas back in the 1800s, but if they did, the Pre- Raphaelites would have made a perfect model for one. It might have been called something like, "Artists And Models." The Pre-Raphaelite Brother­ hood was a group of artists who enjoyed living life on the edge, and reveled in pushing society's taboos. They were well-known for their excellent use of color and close attention to detail. That, plus their great diversity of themes and styles, makes Pre-Raphaelite art well worth seeing. Now, 100 years or more later, The High Museum of Art proudly presents "Visions of Love and Life: Pre-Raphaelite Art From the Birmingham Collection, England." In 1848, seven artists banded together to form their brotherhood. They were all young (none over 30) and they all hated the art produced after Raphael — hence the name, Pre-Raphaelites. Their initial goal was to fur­ ther the style of traditional art, and they began with the medieval art style and developed from there. All of their work is typified by their close observation and attention to details and their bold use of color. Each of the seven artists developed his own theme, and three of them stood out as the leaders: William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. But don't overlook the social commentary theme of Henry Wallis; some of his work is outstanding. Hunt and Millais' work is medieval in style. Rossetti's style was based on literary works and Arthur Hughes style was that of romance. And now, back to "Artists And Models." Elizabeth Siddal (shown inr "Beata Beatrix") started out as Rossetti's model, and he married her in 1860. Her's was a tragic life. After losing her baby at birth, she committed sui­ cide — allegedly by drinking liquid opium (laudanum). It was readily avail­ able back then. But her home life wasn't much, either. Fanny Cornforth, a prostitute, was another of Rossetti's models, and he actually had her living in his house while his wife was still there. But he got his. He met Jane Burden (later Jane Morris) in 1857, another of his models, and allegedly The infamous Dante by Gabriel Rossetti. had an affair with her while things were going sour with Elizabeth. But Special photo Burden married Pre-Raphaelite artist, William Morris, and it is said that they like. Rossetti was driven nearly insane, spending the rest of his life pining away The first work you'll see, guiding you to the entrance of the exhibit, is Ford for the love of Jane (shown in "Proserpine"). Madox Brown's "Pretty Baa-Lambs." That painting shows a pastoral scene, and There's more. Effie Gray married John Ruskin, but when she found out is typical of the Pre-Raphaelites. They were well known for the scenic land­ he was impotent, she left him for Millais. And Simeon Solomon, who was scapes and realistic use of color. For example, look how well the yellow tones openly homosexual, got into trouble in Italy over his young male model are repeated. even though the model was fully clothed in the painting. "Pygmalion and the Image" is one of the more popular groups of paintings in The Pre-Raphaelites the exhibit. They illustrate the story of Pygmalion's statue being brought to life are on the fourth floor of by Venus, and many people like it because it resembles Renaissance art. "1 like the High, and the exhibit is the use of color," one woman said, "and I like the way he uses light and shading. organized to lead you It almost looks ethereal, like something from the Old Masters." Edward Burne- through the progression Jones, the artist, would have been pleased to hear that. and various themes of their Right around the corner is another popular group — the stained glass win­ art. The exhibit starts with dows. Those windows, by Rossetti and Morris, tell the story of St. George killing a literary theme and ends the dragon. And if you look closely, you can even see the brush strokes. The with the romantic scenic windows combine the themes of religion and nationalism — St. George is the landscape. patron saint of England. But even if you're not particularly religious and over­ The Pre-Raphaelites look the story, the superb beauty and outstanding quality of the windows can­ prided themselves in their not be missed. close attention to detail Another major theme is social commentary, and it is difficult to say which and experimental use of painting shows this best. But many people seem to linger over "The color, and that clearly Stonebreaker," by Wallis. Unlike the vibrant tones which typify the Pre- shows through in all their Raphaelites, this one is somber and muted. But it works well. The stonebreaker work. People frequently is obviously tired after a long hard day, and many people say that that is Wallis' are heard saying things like: commentary on the plight of the working class and laborers. The toned down "I love the use of color; colors are realistic and show a true life situation without shouting "pity me." some of them are so vivid," But believe it or not, despite the actions of Rossetti, the Pre-Raphaelites were and "it's good, very differ- the feminists of their day. They showed women in their broad spectrum, from ent from the other stuff, the nurturer of "Pretty Baa-Lambs," to Rossetti's prostitute in "Found." Their Elizabeth Siddal in "Beata Beatrix" painted to and very realistic." This is positions on sex, love, friendship, betrayal, desire, loss and marriage were defi- honor her after her death. an exhibit where everyone Special photo can fjnci something that See "Flower," page 23 .
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