The Pre-Raphaelite Brotherhood 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.
William Holman Hunt was an English painter and one of the founders of the Pre-Raphaelite Brotherhood. His paintings were notable for their great attention to detail, vivid colour, and elaborate symbolism. These features were influenced by the writings of John Ruskin and Thomas Carlyle, according to whom the world itself should be read as a system of visual signs. For Hunt it was the duty of the artist to reveal the correspondence between sign and fact. Of all the members of the Pre-Raphaelite Brotherhood, Hunt remained most true to their ideals throughout his career. He was always keen to maximise the popular appeal and public visibility of his works.
Ophelia is an 1851–52 painting by British artist Sir John Everett Millais in the collection of Tate Britain, London. It depicts Ophelia, a character from William Shakespeare's play Hamlet, singing before she drowns in a river.
William James Stillman was an American journalist, diplomat, author, historian, and photographer. Educated as an artist, Stillman subsequently converted to the profession of journalism, working primarily as a war correspondent in Crete and the Balkans, where he served as his own photographer. For a time, he also served as United States consul in Rome, and afterward in Crete during the Cretan insurrections. He helped to train the young Arthur Evans as a war correspondent in the Balkans, and remained a lifelong friend and confidant of Evans. Later in life, he seriously considered taking over the excavation at Knossos from Minos Kalokairinos, who had been stopped from further excavation by the Cretan Assembly; he was, however, prevented from pursuing that goal further by a failure to obtain a firman, or permission to excavate. Stillman wrote several books, one of which, his Autobiography of a Journalist, suggests that he viewed himself primarily as a writer.
William Trost Richards was an American landscape artist. He was associated with both the Hudson River School and the American Pre-Raphaelite movement.
Events from the year 1861 in art.
The following is a list of events from 1857 in art.
Events from the year 1851 in art.
Marie Stillman was a British member of the second generation of the Pre-Raphaelite Brotherhood. Of the Pre-Raphaelites, she had one of the longest-running careers, spanning sixty years and producing over one hundred and fifty works. Though her work with the Brotherhood began as a favourite model, she soon trained and became a respected painter, earning praise from Dante Gabriel Rossetti and others.
John Brett was a British artist associated with the Pre-Raphaelite movement, mainly notable for his highly detailed landscapes.
Charles Allston Collins was a British painter, writer, and illustrator associated with the Pre-Raphaelite Brotherhood.
The Scapegoat (1854–1856) is a painting by William Holman Hunt which depicts the "scapegoat" described in the Book of Leviticus. On the Day of Atonement, a goat would have its horns wrapped with a red cloth – representing the sins of the community – and be driven off.
The Lady of Shalott is a painting of 1888 by the English painter John William Waterhouse. It is a representation of the ending of Alfred, Lord Tennyson's 1832 poem of the same name. Waterhouse painted three versions of this character, in 1888, 1894 and 1915. It is one of his most famous works, which adopted much of the style of the Pre-Raphaelite Brotherhood, though Waterhouse was painting several decades after the Brotherhood split up during his early childhood.
The Heart of the Andes is a large oil-on-canvas landscape painting by the American artist Frederic Edwin Church (1826–1900).
The Awakening Conscience (1853) is an oil-on-canvas painting by the English artist William Holman Hunt, one of the founders of the Pre-Raphaelite Brotherhood, which depicts a woman rising from her position in a man's lap and gazing transfixed out room's window.
John William Hill or often J.W. Hill was a British-born American artist working in watercolor, gouache, lithography, and engraving. Hill's work focused primarily upon natural subjects including landscapes, still lifes, and ornithological and zoological subjects. In the 1850s, influenced by John Ruskin and Hill's association with American followers of the Pre-Raphaelite Brotherhood, his attention turned from technical illustration toward still life and landscape.
The Rocky Mountains, Lander's Peak is an 1863 landscape oil painting by the German-American painter Albert Bierstadt. It is based on sketches made during Bierstadt's travels with Frederick W. Lander's Honey Road Survey Party in 1859. The painting shows Lander's Peak in the Wind River Range of the Rocky Mountains, with an encampment of Native Americans in the foreground. It has been compared to, and exhibited with, The Heart of the Andes by Frederic Edwin Church. Lander's Peak immediately became a critical and popular success and sold in 1865 for $25,000.
Our English Coasts, also known as Strayed Sheep, is an oil-on-canvas painting by William Holman Hunt, completed in 1852. It has been held by the Tate Gallery since 1946, acquired through The Art Fund.
Victorian painting refers to the distinctive styles of painting in the United Kingdom during the reign of Queen Victoria (1837–1901). Victoria's early reign was characterised by rapid industrial development and social and political change, which made the United Kingdom one of the most powerful and advanced nations in the world. Painting in the early years of her reign was dominated by the Royal Academy of Arts and by the theories of its first president, Joshua Reynolds. Reynolds and the academy were strongly influenced by the Italian Renaissance painter Raphael, and believed that it was the role of an artist to make the subject of their work appear as noble and idealised as possible. This had proved a successful approach for artists in the pre-industrial period, where the main subjects of artistic commissions were portraits of the nobility and military and historical scenes. By the time of Victoria's accession to the throne, this approach was coming to be seen as stale and outdated. The rise of the wealthy middle class had changed the art market, and a generation who had grown up in an industrial age believed in the importance of accuracy and attention to detail, and that the role of art was to reflect the world, not to idealise it.
William James Webbe was an English Victorian painter and illustrator, known for his rustic, religious, and book paintings. His landscape style in particular links him to the Pre-Raphaelites, and after travelling to the Middle East in 1862 he painted many Biblical subjects in the spirit of Orientalism.
