DOCSLIB.ORG

Protection of Cultural Objects Report Exhibition: Love and Desire: Pre-Raphaelite Masterpieces from Tate

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Protection of Cultural Objects Report Exhibition: Love and Desire: Pre-Raphaelite Masterpieces from Tate Protection of Cultural Objects Report Exhibition: Love and Desire: Pre-Raphaelite masterpieces from Tate Venues: National Gallery of Australia 14 December 2018 28 April 2019 Creator: Burne-Jones, Edward C:\Users\janem\AppData\Local\KESoftware\Cache\172\506\BURNE-JONES Fortitude.jpg Title: Fortitude Credit Line: Gift of Moss Davis 1926, Auckland Art Gallery Toi o Tāmaki Date Created: c.1898 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: 304.80 (h) x 121.90 (w) cm Frame 370.00 (h) x 164.00 (w) cm Provenance: with William Hesketh Lever, 1st Viscount Leverhulme, 1925 or before by descent to his son William Lever, 2nd Viscount Leverhulme, 1925 with Moss Davis, Auckland, 1926 who gave it to the Auckland Art Gallery, 1926 Protection of Cultural Objects Report Exhibition: Love and Desire: Pre-Raphaelite masterpieces from Tate Venues: National Gallery of Australia 14 December 2018 28 April 2019 Creator: Brown, Ford Madox C:\Users\janem\AppData\Local\KESoftware\Cache\172\493\BROWN The deeds and fruits of English poetry 1845.jpg Title: The seeds and fruits of English poetry Credit Line: Presented by Mrs W.F.R.Weldon 1920, The Ashmolean Museum Date Created: 1845 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: 36.00 (h) x 46.00 (w) cm Frame 50.00 (h) x 65.20 (w) x 6.50 (d) cm Primary Inscriptions: FORD MADOX BROWN DEST IN ROMA. 1845. COLORAVIT IN HAMPSTEAD. 1853. Provenance: gift of the artist to John Marshall, 1853 by inheritance to Mrs John Marshall, 1911 acquired by Florence Weldon (Mrs Walter Frank Raphael Weldon), Oxford who gave it to the Ashmolean Museum, 1920 Creator: Hunt, William Holman C:\Users\janem\AppData\Local\KESoftware\Cache\172\518\HUNT Plain of Esdraelon from the Heights above Nazareth c.1877.jpg Title: Plain of Esdraelon from the heights above Nazareth Credit Line: Bequeathed by Mrs Thomas Combe 1893, The Ashmolean Museum Date Created: 1870/77 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: 41.00 (h) x 75.00 (w) cm Frame 68.50 (h) x 102.50 (w) x 5.50 (d) Provenance: bought by Martha Combe (Mrs Thomas Combe), Oxford, 1886 who bequeathed it to the University of Oxford,1893 Protection of Cultural Objects Report Exhibition: Love and Desire: Pre-Raphaelite masterpieces from Tate Venues: National Gallery of Australia 14 December 2018 28 April 2019 Creator: Calderon, Philip Hermogenes C:\Users\janem\AppData\Local\KESoftware\Cache\172\508\CALDERON Broken vows 1856.jpg Title: Broken vows Credit Line: Purchased 1947, Tate Date Created: 1856 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: painting 91.40 (h) x 67.90 (w) cm Frame 120.50 (h) x 98.00 (w) x 10.40 (d) cm Provenance: exhibited at the Royal Academy, London, 1857 where it was purchased by an unknown person sold by/through Griffiths of Liverpool, 29 May 1860 where/from whom purchased by Henry Dallis (?) sold by/through Foster H, Wallis, 6 February 1861 where/from whom purchased by Coleman sold by ‘Th. E. P’ (name unreadable [Thomas E. Plint?]), 7 March 1862 where/from whom purchased by Creswick with Anthony Spencer, 1947 or before who sold it to the Tate Gallery, 1947 Creator: Rossetti, Dante Gabriel C:\Users\janem\AppData\Local\KESoftware\Cache\174\648\ROSSETTI Arthur’s tomb 1860.jpg Title: Arthur’s tomb Credit Line: Presented by the Art Fund 1918, Tate Date Created: 1860 Place of Creation: Type: paintings Medium: watercolour on paper Dimensions: 25.60 (h) x 36.80 (w) cm Provenance: with Mrs. M. D. Astely with Mrs Nicholson given by the National Art Collections Fund to the Tate Gallery, 1918 Creator: Millais, John E. C:\Users\janem\AppData\Local\KESoftware\Cache\172\526\MILLAIS The vale of rest 1858–59.jpg Title: The vale of rest Credit Line: Presented by Sir Henry Tate 1894, Tate Date Created: 1858-59 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: 102.90 (h) x 172.70 (w) cm Framed 142.30 (h) x 210.20 (w) x 13.30 (d) Provenance: purchased by art dealer David Thomas White sold to Benjamin Godfrey Windus, London [? possibly by descent to his estate, 1867 ? which possibly sold it through Christie's, London, 14–17 February 1868] with William Graham, Glasgow, 1881 or before by descent to his estate, 1885 which sold it through Christie's, London (lot 87), 2 April 1886 where it was purchased by Dechamps for Sir Henry Tate, who gave it to the Tate Gallery, 1894 Creator: Millais, John E. C:\Users\janem\AppData\Local\KESoftware\Cache\174\597\MILLAIS The order of release 1852–53.jpg Title: The order of release Credit Line: Presented by Sir Henry Tate 1898, Tate Date Created: 1852-53 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: support 102.90 (h) x 73.70 (w) cm Frame 150.50 (h) x 121.00 (w) x 12.50 (d) cm Provenance: exhibited at The Royal Academy, 1853 where it was purchased by Joseph Arden (1799–1879), Rickmansworth, Hertfordshire passed to his estate, 1879 offered at his estate sale, Christie's, London (lot 67), 24 April 1879 where it was purchased by Thomas Agnew & Sons, London with James Hall Renton offered for sale at Christie's, London (lot 89), 30 April 1898 where it was purchased by Thomas Agnew & Sons, London, for Henry Tate (later Sir Henry Tate, 1st Baronet), London who gave it to the Tate Gallery, 1898 Creator: Millais, John E. C:\Users\janem\AppData\Local\KESoftware\Cache\172\335\MILLAIS Ophelia 1851-52.jpg Title: Ophelia Credit Line: Presented by Sir Henry Tate 1894, Tate Date Created: 1851-52 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: 76.20 (h) x 111.80 (w) cm Frame 110.50 (h) x 145.80 (w) x 14.50 (d) cm Provenance: purchased from the artist by Henry Farrer, 1851 who sold it to Benjamin Godfrey Windus, London offered for sale through Christie's, London (lot 55), 19 July 1862 where it was bought by [?Henry] Graves with Ernest Gambart, 1864 or 1866 with William Fuller Maitland, Stanstead, 1872 or before by descent to Mrs [Charlotte] Fuller Maitland, 1876 who sold it to Sir Henry Tate, 1892 who gave it to the Tate Gallery, 1894 Creator: Millais, John E. C:\Users\janem\AppData\Local\KESoftware\Cache\174\651\MILLAIS Mrs James Wyatt Jr and her daughter Sarah c.1850.jpg Title: Mrs James Wyatt Jr and her daughter Sarah Credit Line: Purchased 1984, Tate Date Created: c. 1850 Place of Creation: Type: paintings Medium: oil on wood Dimensions: 35.30 (h) x 45.70 (w) cm Frame 57.50 (h) x 67.70 (w) x 6.80 (d) cm Provenance: commissioned by James Wyatt Sr, Oxford, c. 1850 by descent, 1853–1984 offered for sale by descendants of the subjects through Sotheby ’s, 1984 where it was purchased by the Tate Gallery Creator: Martineau, Robert Braithwaite C:\Users\janem\AppData\Local\KESoftware\Cache\172\327\MARTINEAU The last day in the old home 1862.jpg Title: The last day in the old home Credit Line: Presented by E.H. Martineau 1896, Tate Date Created: 1862 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: 107.30 (h) x 144.80 (w) cm Frame 141.80 (h) x 180.80 (w) x 14.00 (d) cm Provenance: by descent from the artist to E.H. Martineau, 1869 who gave it to the Tate Gallery, 1896 Creator: Martineau, Robert Braithwaite C:\Users\janem\AppData\Local\KESoftware\Cache\172\524\MARTINEAU Picciola 1853.jpg Title: Picciola Credit Line: Presented by Miss Helen Martineau 1922, Tate Date Created: 1853 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: painting 63.50 (h) x 81.30 (w) cm Frame 90.70 (h) x 106.00 (w) x 9.00 (d) cm Provenance: by descent from the artist to his daughter Helen Martineau, 1869 who gave it to the Tate Gallery, 1922 Creator: Martineau, Robert Braithwaite C:\Users\janem\AppData\Local\KESoftware\Cache\172\523\MARTINEAU Kit’s writing lesson 1852.jpg Title: Kit’s writing lesson Credit Line: Presented by Mrs Phyllis Tillyard 1955, Tate Date Created: 1852 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: painting 52.10 (h) x 70.50 (w) cm Frame 73.60 (h) x 91.00 (w) x 8.80 (d) cm Provenance: purchased from the artist by Charles Edward Mudie, London by descent to his granddaughter Mrs Phyllis Tillyard (née Phyllis Beatrice Mudie Cooke) who gave it to the Tate Gallery, 1955 Creator: Inchbold, John William C:\Users\janem\AppData\Local\KESoftware\Cache\172\522\INCHBOLD Gordale Scar, Yorkshire exh.1876.jpg Title: Gordale Scar, Yorkshire Credit Line: Presented by the Patrons of British Art through the Friends of the Tate Gallery 1988, Tate Date Created: exh.1876 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: painting 125.40 (h) x 91.30 (w) cm Frame 158.00 (h) x 123.00 (w) x 10.00 (d) cm Provenance: offered for sale by (Messrs Foster, London) (lot 104), 6 June 1888 where it was purchased by George Rae, Birkenhead by descent to his estate, 1902 [whereabouts unknown] offered for sale through Sotheby's, [where?] (lot 90), 17 June 1986 with Julian Hartnoll, 1988 or before who sold it to the Patrons of British Art, 1988 who through the Friends of the Tate Gallery gave it to the Tate Gallery, 1988 Creator: Hughes, Arthur C:\Users\janem\AppData\Local\KESoftware\Cache\172\514\HUGHES April love 1855–56.jpg Title: April love Credit Line: Purchased 1909, Tate Date Created: 1855-56 Place of Creation: Type: paintings Medium: oil on canvas Dimensions: painting 88.90 (h) x 49.50 (w) cm Frame 108.40 (h) x 69.30 (w) x 7.50 (d) cm Provenance: exhibited at The Royal Academy, London, 1856 where it was bought by Edward Burne-Jones on behalf of William Morris, London with James F.
Load more

Recommended publications
  • Christina Rossetti
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com ChristinaRossetti MackenzieBell,HellenaTeresaMurray,JohnParkerAnderson,AgnesMilne the g1ft of Fred Newton Scott l'hl'lll'l'l'llllftlill MMM1IIIH1I Il'l'l lulling TVr-K^vr^ lit 34-3 y s ( CHRISTINA ROSSETTI J" by thtie s-ajmis atjthoe. SPRING'S IMMORTALITY: AND OTHER POEMS. Th1rd Ed1t1on, completing 1,500 copies. Cloth gilt, 3J. W. The Athen-cum.— ' Has an unquestionable charm of its own.' The Da1ly News.— 'Throughout a model of finished workmanship.' The Bookman.—' His verse leaves on us the impression that we have been in company with a poet.' CHARLES WHITEHEAD : A FORGOTTEN GENIUS. A MONOGRAPH, WITH EXTRACTS FROM WHITEHEAD'S WORKS. New Ed1t1on. With an Appreciation of Whitehead by Mr, Hall Ca1ne. Cloth, 3*. f»d. The T1mes. — * It is grange how men with a true touch of genius in them can sink out of recognition ; and this occurs very rapidly sometimes, as in the case of Charles Whitehead. Several works by this wr1ter ought not to be allowed to drop out of English literature. Mr. Mackenzie Bell's sketch may consequently be welcomed for reviving the interest in Whitehead.' The Globe.—' His monograph is carefully, neatly, and sympathetically built up.' The Pall Mall Magaz1ne.—' Mr. Mackenzie Bell's fascinating monograph.' — Mr. /. ZangwiU. PICTURES OF TRAVEL: AND OTHER POEMS. Second Thousand. Cloth, gilt top, 3*. 6d. The Queen has been graciously pleased to accept a copy of this work, and has, through her Secretary, Sir Arthur Bigge, conveyed her thanks to the Author.
    [Show full text]
  • The Afterglow in Egypt Teachers' Notes
    Teacher guidance notes The Afterglow in Egypt 1861 A zoomable image of this painting is available by William Holman Hunt on our website to use in the classroom on an interactive whiteboard or projector oil on canvas 82 x 37cm www.ashmolean.org/learning-resources These guidance notes are designed to help you use paintings from our collection as a focus for cross- curricular teaching and learning. A visit to the Ashmolean Museum to see the painting offers your class the perfect ‘learning outside the classroom’ opportunity. Starting questions Questions like these may be useful as a starting point for developing speaking and listening skills with your class. What catches your eye first? What is the lady carrying? Can you describe what she is wearing? What animals can you see? Where do you think the lady is going? What do you think the man doing? Which country do you think this could be? What time of day do you think it is? Why do you think that? If you could step into the painting what would would you feel/smell/hear...? Background Information Ideas for creative planning across the KS1 & 2 curriculum The painting You can use this painting as the starting point for developing pupils critical and creative thinking as well as their Hunt painted two verions of ‘The Afterglow in Egypt’. The first is a life-size painting of a woman learning across the curriculum. You may want to consider possible ‘lines of enquiry’ as a first step in your cross- carrying a sheaf of wheat on her head, which hangs in Southampton Art Gallery.
    [Show full text]
  • Angeli, Helen Rossetti, Collector Angeli-Dennis Collection Ca.1803-1964 4 M of Textual Records
    Helen (Rossetti) Angeli - Imogene Dennis Collection An inventory of the papers of the Rossetti family including Christina G. Rossetti, Dante Gabriel Rossetti, and William Michael Rossetti, as well as other persons who had a literary or personal connection with the Rossetti family In The Library of the University of British Columbia Special Collections Division Prepared by : George Brandak, September 1975 Jenn Roberts, June 2001 GENEOLOGICAL cw_T__O- THE ROssFTTl FAMILY Gaetano Polidori Dr . John Charlotte Frances Eliza Gabriele Rossetti Polidori Mary Lavinia Gabriele Charles Dante Rossetti Christina G. William M . Rossetti Maria Francesca (Dante Gabriel Rossetti) Rossetti Rossetti (did not marry) (did not marry) tr Elizabeth Bissal Lucy Madox Brown - Father. - Ford Madox Brown) i Brother - Oliver Madox Brown) Olive (Agresti) Helen (Angeli) Mary Arthur O l., v o-. Imogene Dennis Edward Dennis Table of Contents Collection Description . 1 Series Descriptions . .2 William Michael Rossetti . 2 Diaries . ...5 Manuscripts . .6 Financial Records . .7 Subject Files . ..7 Letters . 9 Miscellany . .15 Printed Material . 1 6 Christina Rossetti . .2 Manuscripts . .16 Letters . 16 Financial Records . .17 Interviews . ..17 Memorabilia . .17 Printed Material . 1 7 Dante Gabriel Rossetti . 2 Manuscripts . .17 Letters . 17 Notes . 24 Subject Files . .24 Documents . 25 Printed Material . 25 Miscellany . 25 Maria Francesca Rossetti . .. 2 Manuscripts . ...25 Letters . ... 26 Documents . 26 Miscellany . .... .26 Frances Mary Lavinia Rossetti . 2 Diaries . .26 Manuscripts . .26 Letters . 26 Financial Records . ..27 Memorabilia . .. 27 Miscellany . .27 Rossetti, Lucy Madox (Brown) . .2 Letters . 27 Notes . 28 Documents . 28 Rossetti, Antonio . .. 2 Letters . .. 28 Rossetti, Isabella Pietrocola (Cole) . ... 3 Letters . ... 28 Rossetti, Mary . .. 3 Letters . .. 29 Agresti, Olivia (Rossetti) .
    [Show full text]
  • St Barnabas and St Paul, with St Thomas the Martyr Parish Profile
    September 2018 St Barnabas and St Paul, with St Thomas the Martyr Parish profile Unity and Mutual Respect United, friendly and welcoming – we hope that is the impression our congregation might Why I worship here: make on a first-time visitor to our principal service, the 10.30am Sunday High Mass at St Traditional liturgy with Barnabas. Ours is not a predominantly elderly congregation: we have young families as well its timeless beauty and as people who have worshipped here for many decades, and everything in between. holiness. Originally worshippers came predominantly from the parish itself, then an industrial suburb; now they come from all over Oxford and beyond – indeed, all over the world – drawn by our Tractarian heritage, with its beautiful liturgy, excellent music, and sound but concise sermons. The congregation also reflects Oxford’s place in the wider world; many nationalities and backgrounds are represented, pointing to the profound truth that we are one Contents: in Christ. Unity and Mutual Respect Our New Incumbent History Liturgy and Worship Music Church Life Parish Links About the Parish Vicarage Properties Challenges and Opportunities From the Bishop The Oxford Deanery This fellowship is also expressed socially. The newly-installed kitchen/servery at the west Appendices: end of the church not only encourages a lively coffee-time after Mass but enables us to Summary Accounts 2017 gather for Lent courses and study days over a shared lunch and to celebrate feast days in some style. Motion & Statement of Need Map of Parish Throughout this profile the reader will find occasional statements headed ‘Why I worship here’.
    [Show full text]
  • Pre-Raphaelite Sisters
    Mariëlle Ekkelenkamp exhibition review of Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Mariëlle Ekkelenkamp, exhibition review of “Pre-Raphaelite Sisters ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.13. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ekkelenkamp: Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Pre-Raphaelite Sisters National Portrait Gallery, London October 17, 2019–January 26, 2020 Catalogue: Jan Marsh and Peter Funnell, Pre-Raphaelite Sisters. London: National Portrait Gallery Publications, 2019. 207 pp.; 143 color illus.; bibliography; index. $45.58 (hardcover); $32.49 (paperback) ISBN: 9781855147270 ISBN: 1855147279 The first exhibition devoted exclusively to the contribution of women to the Pre-Raphaelite movement opened in the National Portrait Gallery in London in October. It sheds light on the role of twelve female models, muses, wives, poets, and artists active within the Pre- Raphaelite circle, which is revealed as much less of an exclusive “boys’ club.” The aim of the exhibition was to “redress the balance in showing just how engaged and central women were to the endeavor, as the subjects of the images themselves, but also in their production,” as stated on the back cover of the catalogue accompanying the exhibition. Although there have been previous exhibitions on the female artists associated with the movement, such as in Pre-Raphaelite Women Artists (Manchester City Art Galleries, Birmingham Museum and Art Gallery, Southampton City Art Gallery, 1997–98), the broader scope of this exhibition counts models and relatives among the significant players within art production and distribution.
    [Show full text]
  • PRE-RAPHAELITES: DRAWINGS and WATERCOLOURS Opening Spring 2021, (Dates to Be Announced)
    PRESS RELEASE 5 February 2021 for immediate release: PRE-RAPHAELITES: DRAWINGS AND WATERCOLOURS Opening Spring 2021, (dates to be announced) Following the dramatic events of 2020 and significant re-scheduling of exhibition programmes, the Ashmolean is delighted to announce a new exhibition for spring 2021: Pre-Raphaelites: Drawings and Watercolours. With international loans prevented by safety and travel restrictions, the Ashmolean is hugely privileged to be able to draw on its superlative permanent collections. Few people have examined the large number of Pre-Raphaelite works on paper held in the Western Art Print Room. Even enthusiasts and scholars have rarely looked at more than a selection. This exhibition makes it possible to see a wide range of these fragile works together for the first time. They offer an intimate and rare glimpse into the world of the Pre-Raphaelite Brotherhood and the artists associated with the movement. The exhibition includes works of extraordinary beauty, from the portraits they made of each other, studies for paintings and commissions, to subjects taken from history, literature and landscape. Dante Gabriel Rossetti (1828–1882) In 1848 seven young artists, including John Everett Millais, William The Day Dream, 1872–8 Holman Hunt and Dante Gabriel Rossetti, resolved to rebel against the Pastel and black chalk on tinted paper, 104.8 academic teaching of the Royal Academy of Arts. They proposed a × 76.8 cm Ashmolean Museum. University of Oxford new mode of working, forward-looking despite the movement’s name, which would depart from the ‘mannered’ style of artists who came after Raphael. The Pre-Raphaelite Brotherhood (PRB) set out to paint with originality and authenticity by studying nature, celebrating their friends and heroes and taking inspiration from the art and poetry about which they were passionate.
    [Show full text]
  • 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.
    [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]
  • Movimiento Prerrafaelista
    06/02/2007 1845 MOVIMIENTO PRERRAFAELISTA: ORÍGENES, DESARROLLO 1870 Y CONSECUENCIAS 1894 Sir John Everett Millais. John Ruskin. 1854 jamp'07 1 jamp'07 2 ALGUNAS OBRAS: Modern Painters (1843) Modern Painters II (1846) The Seven Lamps of Architecture (1849) Pre-Raphaelitism (1851) The Stones of Venice I (1851) The Stones of Venice II and III (1853) Architecture and Painting (1854) Modern Painters III (1856) The Harbours of England (1856) Political Economy of Art (1857) The Two Paths (1859) The Elements of Perspective (1859) Modern Painters IV (1860) RAFAEL (1483-1520): La Unto This Last (1862) Transfiguración 1518-20 jamp'07 3 jamp'07 4 The Pre-Raphaelite Brotherhood was created in 1848 by seven artists: Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, John Everett Millais, Frederic George Stephens, Thomas Woolner and William Holman Hunt. Their goal was to develop a naturalistic style of art, throwing The Pre-Pre-RaphaeliteRaphaelite away the rules and conventions that were drilled into students' BrotherhoodBrotherhood:: heads at the Academies. Raphael was the artist they considered to have achieved the highest degree of perfection, PRB so muchthttdth so that students were encourage dtdfd to draw from his examples rather than from nature itself; thus they became the "Pre-Raphaelites". The movement itself did not last past the 1850s, but the style remained popular for decades, influencing the Arts and Crafts Movement, the Symbolist painters and the Art Nouveau jamp'07 5 jamp'07 6 1 06/02/2007 El planteamiento inicial de
    [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]
  • 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.
    [Show full text]