| Pre-Raphaelite Brotherhood - The History | | | | Pre-Raphaelitism was all about expressing |
| Pre-Raphaelite was an art movement started in | | | | absolute, uncompromising truth by a meticulous |
| 1848 in London, by a group of young English | | | | rendition of the subject to the smallest detail. The |
| painters, critics, and poets, against the mechanistic | | | | landscapes were painted to the last touch and the |
| approach of Mannerism. The term 'Pre-Raphaelite' | | | | portraits were replicated to every minute |
| stems from the group's rejection of Raphael's | | | | accessory. Their aim was to go back to the |
| (Italy, 1483-1520) Renaissance art style, and their | | | | medieval art culture from the slovenly and |
| fascination for the Medieval Art of the 14th | | | | imperfect style of Mannerism. Pre-Raphaelites |
| century. John Everett Millais (painter, 1829-96), | | | | viewed art as a means to convey high moral |
| Dante Gabriel Rossetti (poet & painter, | | | | principles and ideals to the people, resulting in |
| 1828-82), and William Holman Hunt (painter, | | | | artwork related to moral and religious themes. |
| 1827-1910) founded the genre. The group soon | | | | Pre-Raphaelites were artisans, who believed in |
| expanded into a seven member 'brotherhood' | | | | completeness and not just the decoration of |
| with William Michael Rossetti (art critic, 1829-1919), | | | | canvas in bright colors. |
| James Collinson (painter, 1825-81), Frederic | | | | The Artworkso "Isabella" (1849), "Christ In The |
| George Stephens (art critic, 1828-1907), and | | | | House of His Parents" (1850) - John Millaiso "Rienzi" |
| Thomas Woolner (sculptor & poet, 1825-92). | | | | (1849), "The Shadow of Death" (1873), "The |
| Soon, umpteen associated artists, such as Ford | | | | Miracle of The Holy Fire" (1899) - Holman Hunto |
| Madox Brown (painter, 1821-93), Arthur Hughes | | | | "Girlhood of Mary Virgin" (1849), "Ecce Ancilla |
| (painter, 1832-1915), John Brett (painter, | | | | Domini" (1850), "A Vision of Fiammetta" (1878) - |
| 1831-1902), and Philip Calderon (painter, 1833-98), | | | | Gabriel Rossettio "The Landlady" (1856), "The Holy |
| joined the society. Few artists, such as James | | | | Family" (1878) - James Collinson |
| Campbell (painter, 1828-93), John Collier (painter, | | | | Conclusion |
| 1850-1934), John Lee (painter, 1850-70), and | | | | The formation of the society and its prime belief |
| others chose to work independently, loosely | | | | that the principles on which art has been taught |
| adopting and influencing the 'brotherhood' principles. | | | | over the years are wrong, has received heavy |
| Hunt and Millais were the students of Royal | | | | criticism from across the world. Nevertheless, the |
| Academy of Arts, the 'Rules for Painting' of | | | | pictures painted on their principles are the great |
| which, the Pre-Raphaelites scorned. All the artists | | | | works of art that have received extensive |
| of the genre signed their works with 'PRB' initials, | | | | popularity. The basic principle of Pre-Raphaelitism, |
| along with their respective name. The group also | | | | to capture total truth instead of abstracts of |
| published a periodical 'The Germ' and | | | | truth, was a laborious requirement, which |
| 'Pre-Raphaelite Journal' to stay connected to their | | | | restricted the artists' creativity, including the art |
| associates. | | | | movement. |
| The Details | | | | |