Sir John Everett Millais, 1st Baronet, was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–52.
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.
Sir Edward Coley Burne-Jones, 1st Baronet, was a British painter and designer associated with the Pre-Raphaelite Brotherhood which included Dante Gabriel Rossetti, John Millais, Ford Madox Brown and William Holman Hunt. Burne-Jones worked with William Morris as a founding partner in Morris, Marshall, Faulkner & Co in the design of decorative arts.
Simeon Solomon was a British painter associated with the Pre-Raphaelites who was noted for his depictions of Jewish life and same-sex desire. His career was cut short as a result of public scandal following his arrests and convictions for attempted sodomy in 1873 and 1874.
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.
The Delaware Art Museum is an art museum located on the Kentmere Parkway in Wilmington, Delaware, which holds a collection of more than 12,000 objects. The museum was founded in 1912 as the Wilmington Society of the Fine Arts in honor of the artist Howard Pyle. The collection focuses on American art and illustration from the 19th to the 21st century, and on the English Pre-Raphaelite Brotherhood movement of the mid-19th century.
A Vision of Fiammetta is an oil painting created by Dante Gabriel Rossetti, in the Pre-Raphaelite style, created in 1878. The painting was one half of one of Rossetti's "double works", accompanying his Ballads and Sonnets (1881). Maria Spartali Stillman modelled for the painting. The subject of painting is Boccaccio's muse named Fiammetta.
"The Blessed Damozel" is perhaps the best known poem by Dante Gabriel Rossetti, as well as the title of his painting illustrating the subject. The poem was first published in 1850 in the Pre-Raphaelite journal The Germ. Rossetti subsequently revised the poem twice and republished it in 1856, 1870 and 1873.
Mary Magdalene is a Pre-Raphaelite oil-on-panel painting by the British artist Frederick Sandys, executed in 1858–1860. Mary Magdalene was the only figure from the Bible that Sandys ever painted. Having sharp features reminiscent of Lizzie Siddal, Mary is depicted in front of a patterned forest-green damask. She holds an alabaster ointment cup, a traditional attribute which associates her with the unnamed sinful woman who anointed Jesus' feet in Luke 7:37. Like other Pre-Raphaelite painters, Frederick Sandys gave Magdalene a sensual look.
Lady Lilith is an oil painting by Dante Gabriel Rossetti first painted in 1866–1868 using his mistress Fanny Cornforth as the model, then altered in 1872–73 to show the face of Alexa Wilding. The subject is Lilith, who was, according to ancient Judaic myth, "the first wife of Adam" and is associated with the seduction of men and the murder of children. She is shown as a "powerful and evil temptress" and as "an iconic, Amazon-like female with long, flowing hair."
Found is an unfinished oil painting by Dante Gabriel Rossetti, now in the Delaware Art Museum. The painting is Rossetti's only treatment in oil of a contemporary moral subject, urban prostitution, and although the work remained incomplete at Rossetti's death in 1882, he always considered it one of his most important works, returning to it many times from the mid-1850s until the year before his death.
Proserpine is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.
Pygmalion and the Image is the second series of four oil paintings in the Pygmalion and Galatea series by the Pre-Raphaelite artist Edward Burne-Jones which was completed between 1875 and 1878. The two collections may be seen below, in the Gallery, the first being now owned by Lord Lloyd Webber, and the second housed at the Birmingham Museum & Art Gallery. This article deals with an appraisal of the second series.
Mnemosyne, also titled Lamp of Memory and Ricordanza, is an oil painting by Dante Gabriel Rossetti begun in 1875 or early 1876 and completed in 1881. Jane Morris was the model, and Frederick Richards Leyland bought the painting in 1881 and displayed it in his drawing room with five other Rossetti "stunners." At about the same time Rossetti, a founder of the Pre-Raphaelite Brotherhood, was painting Astarte Syriaca, a larger painting completed in 1877 with Morris in a very similar pose.
Veronica Veronese is an oil painting by Dante Gabriel Rossetti painted in 1872 with Alexa Wilding as the model. The painting was conceived as a companion to Lady Lilith. Rossetti sold the painting to one of his best clients, shipping magnate Frederick Richards Leyland. In 1923 it was acquired by the estate of Samuel Bancroft which donated it in 1935 to the Delaware Art Museum.
Water Willow is an 1871 oil painting by Dante Gabriel Rossetti. It depicts Jane Morris in the river landscape near Kelmscott Manor, with the manor in the left background and Kelmscott Church below the hill to the right.
Venus Consoling Love is an oil-on-canvas painting executed in 1751 by the French artist François Boucher. The painting depicts a mythological scene, where Venus, the goddess of Love, depicted as a charming and supple young woman, is impersonating the French Rococo's beauty ideals. She is about to disarm Cupid, by taking away his arrows, that he uses when shooting at people to make them fall in love.
"In Enlightenment France the dedicated search to define truth engendered a re–evaluation of the natural. The belief that it was right to follow nature, and that the pursuit of pleasure was natural, influenced the prevailing conception of the nude ...
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.
Venus Verticordia (1864–1868) by Dante Gabriel Rossetti is a semi-nude depiction of the goddess Venus, portrayed as a young woman with a golden halo and flowing auburn hair, surrounded by pink flowers in a dark, lush green garden. Her left breast is visible, the right obscured by the golden apple she holds in her left hand. In her right hand she holds an arrow, the point directed towards her own heart, and on which rests a small yellow butterfly. Other similar butterflies ring the halo surrounding her head, and another sits on top of the apple she holds.
