EXHIBITION COSTS

The fee includes: The following items and costs will be • Around 100 drawings and watercolours covered by the venue, as they arise: • Object labels and interpretation • ‘Nail to Nail’ insurance panels • Crating, as required • Object preparation and condition • Fine Art Transport of the exhibition reporting • Courier expenses • Tour co-ordination by the Ashmolean Museum Registrar’s Department If you would like further information about this exhibition please contact • A selection of 8 images for use in [email protected] the venue’s own press and publicity PRE RAPHAELITES DRAWINGS AND WATERCOLOURS

▲ , Iphis and Anaxarete, 1844- Ashmolean Museum 1896, watercolour with pen and ink Beaumont Street ► , The Day Dream, 1878- Oxford OX1 2PH 1880, pastel and black chalk T 01865 278 000 www.ashmolean.org All images © Ashmolean Museum, University of Oxford

TOURING EXHIBITION | PRE RAPHAELITES TOURING EXHIBITION This stunning exhibition from the life amongst rich and poor, Victorian Ashmolean Museum’s superb formal dress and religious ritual, collection of Pre-Raphaelite drawings atmospheric studies of landscapes and watercolours explores the great and farm buildings, or direct studies variety of styles, subject matter from nature all offer glimpses into the and media in the of the modern life of Victorian Britain. Pre-Raphaelites. Nearly 100 works grouped into seven sections, including The exhibition also explores the sketches and studies, portraits, and enormous range of Pre-Raphaelite landscapes, offer intimate glimpses drawing techniques and media, into the lives of these artists and their including pencil, pen and ink, chalk, friends. watercolour, bodycolour and metallic paints. Sketchy, preparatory works The Ashmolean’s collection includes reveal the very different backgrounds a variety of extraordinary works, from to their artistic formations. Some Hunt’s first ink study for The Light of the drawings, like those by Holman Hunt, World on the back of a tiny envelope, ▲ , Study for ‘The Light of to large, elaborate chalk drawings of the World’, pen and brown ink by Rossetti. A rich selection show an artist who had clearly of portraits throw an intimate light ▲ Frederick Sandys, Charles Augustus Howell, benefited from the rigorous training on the friendships and love affairs of 1882, coloured chalk on pale blue paper of the Royal Academy Schools. In the artists. The Pre-Raphaelites loved ▼ Edward Coley Burne-Jones, Orpheus playing to contrast, drawings by Rossetti and making portraits of each other and Eurydice, c. 1872-5, graphite on paper Burne-Jones reveal relatively untrained artists who are arguably more original of their families, patrons and as a result. friends. Their early portraits are small, direct and in pencil, Oxford has a special place in the perhaps with the addition of history of Pre-Raphaelitism. Thomas watercolour; later on, they Combe (1796-1872), superintendent became proficient in the use of the University’s Clarendon Press, of coloured chalks, giving their encouraged Millais and Holman large portraits the strength and Hunt at a crucial early stage of their solidity of oil paintings. careers, and his collection became the nucleus of the Ashmolean Museum’s The huge variety of subject group of works by the Brotherhood matter contained in the Pre- and their associates. This key role in Raphaelites’ work offers the movement made Oxford, and the a fantastic insight into the Ashmolean, a magnet for important contemporary world of the bequests and acquisitions from which ▲ , Fleur-de-Lys (‘Iris Florentina’), 1871, Brotherhood. Scenes depicting watercolour over graphite on wove paper this superb exhibition is drawn.

TOURING EXHIBITION | PRE RAPHAELITES TOURING EXHIBITION | PRE RAPHAELITES