The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English The area now called England has been settled by people of various cultures for about 35,000 years, but it takes its name from the Angles, one of the Germanic tribes who settled during the 5th and 6th centuries. England became a unified state in AD 927, and since the Age of Discovery, which began during the 15th century, has had a significant painters Painting is the practice of applying paint, pigment, color or other medium to a surface . The application of the medium is commonly applied to the base with a brush but other objects may be used. In art the term describes both the act and the result which is called a painting. Paintings may have for their support such surfaces as walls, paper,, poets Poetry is a form of literary art in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, its apparent meaning. Poetry may be written independently, as discrete poems, or may occur in conjunction with other arts, as in poetic drama, hymns, lyrics, or prose poetry. It is published in dedicated magazines (, and critics, founded in 1848 by William Holman Hunt, John Everett Millais Sir John Everett Millais, 1st Baronet, PRA was an English painter and illustrator and one of the founders of the Pre-Raphaelite Brotherhood and Dante Gabriel Rossetti Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He was one of the founders of the Pre-Raphaelite Brotherhood in 1848 and was later to be the main inspiration for second generation of artists and writers influenced by the movement. He was also a major precursor of the Aesthetic movement. The three founders were soon joined by William Michael Rossetti Born in London, he was a son of immigrant Italian scholar Gabriele Rossetti, and the brother of Maria Francesca Rossetti, Dante Gabriel Rossetti and Christina Georgina Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner Born in Hadleigh, Suffolk he was a founder-member of the Pre-Raphaelite Brotherhood. Woolner trained with the sculptor William Behnes, exhibiting work at the Royal Academy from 1843 to form a seven-member "brotherhood".

The group's intention was to reform art by rejecting what they considered to be the mechanistic approach first adopted by the Mannerist Mannerism is a period of European art that emerged from the later years of the Italian High Renaissance around 1520. It lasted until about 1580 in Italy, when a more Baroque style began to replace it, but Northern Mannerism continued into the early 17th century throughout much of Europe. Stylistically, Mannerism encompasses a variety of approaches artists who succeeded Raphael Raffaello Sanzio da Urbino , better known simply as Raphael, was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period and Michelangelo Michelangelo di Lodovico Buonarroti Simoni , commonly known as Michelangelo, was an Italian Renaissance painter, sculptor, architect, poet, and engineer. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal. They believed that the Classical Classicism, in the arts, refers generally to a high regard for classical antiquity, as setting standards for taste which the classicists seek to emulate. The art of classicism typically seeks to be formal and restrained: of the Discobolus Sir Kenneth Clark observed, "if we object to his restraint and compression we are simply objecting to the poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic Academic art is a style of painting and sculpture produced under the influence of European academies or universities teaching of art. Hence the name "Pre-Raphaelite". In particular, they objected to the influence of Sir Joshua Reynolds, the founder of the English Royal Academy of Arts. They called him "Sir Sloshua", believing that his broad technique was a sloppy and formulaic form of academic Mannerism. In contrast, they wanted to return to the abundant detail, intense colours, and complex compositions of Quattrocento The cultural and artistic events of 15th century Italy are collectively referred to as the Quattrocento . Quattrocento encompasses the artistic styles of the late Middle Ages (most notably International Gothic) and the early Renaissance Italian and Flemish art.

The Pre-Raphaelites have been considered the first avant-garde Avant-garde means "advance guard" or "vanguard". The adjective form is used in English, to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics movement in art, though they have also been denied that status, because they continued to accept both the concepts of history painting History painting is the painting of scenes with narrative content from classical history, Christian history, and mythology, as well as depicting the historical events of the far or near past. These include paintings with religious, mythological, historical, literary, or allegorical subjects. History painting may embody some interpretation of life and of mimesis Mimesis is a critical and philosophical term that carries a wide range of meanings, which include: imitation, representation, mimicry, imitatio, nonsensuous similarity, the act of resembling, the act of expression, and the presentation of the self. Mimesis has been theorised by Plato, Aristotle, Philip Sidney, Samuel Taylor Coleridge, Sigmund, or imitation of nature, as central to the purpose of art. However, the Pre-Raphaelites undoubtedly defined themselves as a reform-movement, created a distinct name for their form of art, and published a periodical, The Germ, to promote their ideas. Their debates were recorded in the Pre-Raphaelite Journal.

Beginnings of the Brotherhood

The Pre-Raphaelite Brotherhood was founded in John Millais's parents' house on Gower Street, London London is a leading global city being the world's largest financial centre alongside New York City, and has the largest city GDP in Europe. Central London is home to the headquarters of most of the UK's top 100 listed companies and more than 100 of Europe's 500 largest. London's influence in politics, finance, education, entertainment, media, in 1848. At the initial meeting, John Everett Millais Sir John Everett Millais, 1st Baronet, PRA was an English painter and illustrator and one of the founders of the Pre-Raphaelite Brotherhood, Dante Gabriel Rossetti Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He was one of the founders of the Pre-Raphaelite Brotherhood in 1848 and was later to be the main inspiration for second generation of artists and writers influenced by the movement. He was also a major precursor of the Aesthetic movement, and William Holman Hunt were present. Hunt and Millais were students at the Royal Academy of Arts. They had previously met in another loose association, a sketching-society called the Cyclographic Club. Rossetti was a pupil of Ford Madox Brown. He had met Hunt after seeing his painting The Eve of St. Agnes, which is based on Keats's poem. As an aspiring poet, Rossetti wished to develop the links between Romantic Romanticism or Romantic Era is a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution. In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the poetry and art. By autumn, four more members had also joined, to form a seven-member-strong Brotherhood. These were William Michael Rossetti Born in London, he was a son of immigrant Italian scholar Gabriele Rossetti, and the brother of Maria Francesca Rossetti, Dante Gabriel Rossetti and Christina Georgina Rossetti (Dante Gabriel Rossetti's brother), Thomas Woolner Born in Hadleigh, Suffolk he was a founder-member of the Pre-Raphaelite Brotherhood. Woolner trained with the sculptor William Behnes, exhibiting work at the Royal Academy from 1843, James Collinson, and Frederic George Stephens. Ford Madox Brown was invited to join, but preferred to remain independent. He nevertheless remained close to the group. Some other young painters and sculptors were also close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro Son of a stone mason, his talents were supported by financial assistance from his father’s employer, the Duchess of Sutherland. He came to London in 1848 to study sculpture under Charles Barry. He exhibited at the Royal Academy from 1849-70, and in the Great Exhibition of 1851. They kept the existence of the Brotherhood secret from members of the Royal Academy.

Early doctrines

The Brotherhood's early doctrines were expressed in four declarations:

1. To have genuine ideas to express;
2. To study Nature attentively, so as to know how to express them;
3. To sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parodying and learned by rote;
4. And, most indispensable of all, to produce thoroughly good pictures and statues.

These principles are deliberately non-dogmatic, since the Brotherhood wished to emphasise the personal responsibility of individual artists to determine their own ideas and methods of depiction. Influenced by Romanticism Romanticism or Romantic Era is a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution. In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the, they thought that freedom and responsibility were inseparable. Nevertheless, they were particularly fascinated by medieval The Middle Ages is a period of European history from the 5th century to the 15th century. The period followed the fall of the Western Roman Empire in 476, and preceded the Early Modern Era. It is the middle period in a three-period division of history: Classical, Medieval, and Modern. The term "Middle Ages" (medium aevum) was coined in culture, believing it to possess a spiritual Spirituality can refer to an ultimate or immaterial reality; an inner path enabling a person to discover the essence of their being; or the “deepest values and meanings by which people live.” Spiritual practices, including meditation, prayer and contemplation, are intended to develop an individual's inner life; such practices often lead to an and creative integrity that had been lost in later eras. This emphasis on medieval culture was to clash with certain principles of realism Realism in the visual arts and literature refers to the general attempt to depict subjects "in accordance with secular empirical rules," as they are considered to exist in third person objective reality, without embellishment or interpretation. As such, the approach inherently implies a belief that such reality is ontologically, which stress the independent observation of nature. In its early stages, the Pre-Raphaelite Brotherhood believed that their two interests were consistent with one another, but in later years the movement divided and began to move in two directions. The realist-side was led by Hunt and Millais, while the medievalist-side was led by Rossetti and his followers, Edward Burne-Jones Sir Edward Coley Burne-Jones, 1st Baronet was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner, and Company. Burne-Jones was closely involved in the rejuvenation of the and William Morris William Morris was an English textile designer, artist, writer, and socialist associated with the Pre-Raphaelite Brotherhood and the English Arts and Crafts Movement. Morris wrote and published poetry, fiction, and translations of ancient and medieval texts throughout his life. His best-known works include The Defence of Guenevere and Other Poems (. This split was never absolute, since both factions believed that art was essentially spiritual in character, opposing their idealism Idealism is the philosophical theory which maintains that the ultimate nature of reality is based on the mind or ideas. In the philosophy of perception, idealism is contrasted with realism in which the external world is said to have an apparent absolute existence. Epistemological idealists claim that the only things which can be directly known for to the materialist In philosophy, the theory of materialism holds that the only thing that exists is matter; that all things are composed of material and all phenomena are the result of material interactions. In other words, matter is the only substance. As a theory, materialism is a form of physicalism and belongs to the class of monist ontology. As such, it is realism associated with Courbet Jean Désiré Gustave Courbet was a French painter who led the Realist movement in 19th-century French painting. The Realist movement bridged the Romantic movement (characterized by the paintings of Théodore Géricault and Eugène Delacroix), with the Barbizon School and the Impressionists. Courbet occupies an important place in 19th century and Impressionism Impressionism was a 19th-century art movement that began as a loose association of Paris-based artists whose independent exhibitions brought them to prominence in the 1870s and 1880s. The name of the movement is derived from the title of a Claude Monet work, Impression, Sunrise , which provoked the critic Louis Leroy to coin the term in a satiric.

In their attempts to revive the brilliance of colour found in Quattrocento art, Hunt and Millais developed a technique of painting in thin glazes A glaze in painting refers to a layer of paint, thinned with a medium, so as to become somewhat transparent. A glaze changes the color cast or texture of the surface. Drying time depends on the amount of medium used in the glaze; a higher ratio of medium to paint (producing a very thin, transparent glaze) decreases drying time, while unadulterated of pigment over a wet white ground. They hoped that in this way their colours would retain jewel-like transparency and clarity. This emphasis on brilliance of colour was in reaction to the excessive use of bitumen Bitumen is a mixture of organic liquids that are highly viscous, black, sticky, entirely soluble in carbon disulfide, and composed primarily of highly condensed polycyclic aromatic hydrocarbons by earlier British artists, such as Reynolds, David Wilkie and Benjamin Robert Haydon. Bitumen produces unstable areas of muddy darkness, an effect that the Pre-Raphaelites despised.

Public controversies

The first exhibition of Pre-Raphaelite work occurred in 1849. Both Millais's Isabella (1848–1849) and Holman Hunt's Rienzi (1848–1849) were exhibited at the Royal Academy, and Rossetti's Girlhood of Mary Virgin was shown at the Free Exhibition on Hyde Park Corner. As agreed, all members of the Brotherhood signed works with their name and the initials "PRB". Between January and April 1850, the group published a literary magazine, The Germ. William Rossetti Born in London, he was a son of immigrant Italian scholar Gabriele Rossetti, and the brother of Maria Francesca Rossetti, Dante Gabriel Rossetti and Christina Georgina Rossetti edited the magazine, which published poetry by the Rossettis, Woolner, and Collinson, together with essays on art and literature by associates of the Brotherhood, such as Coventry Patmore Coventry Kersey Dighton Patmore was an English poet and critic best known for The Angel in the House, his narrative poem about an ideal happy marriage. As the short run-time implies, the magazine did not manage to achieve a sustained momentum. (Daly 1989)

In 1850 the Pre-Raphaelite Brotherhood became controversial after the exhibition of Millais's painting Christ In The House Of His Parents Christ in the House of His Parents is a painting by John Everett Millais depicting the Holy Family in Saint Joseph's carpentry workshop. The painting was extremely controversial when first exhibited, prompting many negative reviews, most notably one written by Charles Dickens. It catapulted the previously obscure Pre-Raphaelite Brotherhood to, considered to be blasphemous Blasphemy is irreverence toward holy personages, religious artifacts, customs, and beliefs. The Abrahamic religions condemn blasphemy vehemently. Some countries have laws to punish blasphemy, while others have laws to give recourse to those who are offended by blasphemy. Those laws may discourage blasphemy as a matter of blasphemous libel, by many reviewers, notably Charles Dickens Charles John Huffam Dickens was the most popular English novelist of the Victorian era, and he remains popular, responsible for some of English literature's most iconic characters (Dickens considered Millais' Mary to be ugly. Interestingly enough, Millais had actually used his sister-in-law Mary Hodgkinson as a model for the Mary in his painting). Their medievalism was attacked as backward-looking and their extreme devotion to detail was condemned as ugly and jarring to the eye. According to Dickens, Millais made the Holy Family look like alcoholics and slum-dwellers, adopting contorted and absurd "medieval" poses. A rival group of older artists, The Clique, also used their influence against the Pre-Raphaelite Brotherhood. Their principles were publicly attacked by the President of the Academy, Sir Charles Lock Eastlake.

Following the controversy, Collinson left the Brotherhood. They met to discuss whether he should be replaced by Charles Allston Collins or Walter Howell Deverell, but were unable to make a decision. From that point on the group disbanded, though their influence continued to be felt. Artists who had worked in the style still followed these techniques (initially anyway) but they no longer signed works "PRB".

However, the Brotherhood found support from the critic John Ruskin John Ruskin was an English art critic and social thinker, also remembered as a poet and artist. His essays on art and architecture were extremely influential in the Victorian and Edwardian eras, who praised their devotion to nature and rejection of conventional methods of composition. The Pre-Raphaelites were influenced by Ruskin's theories. As a result, the critic wrote letters to The Times defending their work, later meeting them. Initially, he favoured Millais, who travelled to Scotland with Ruskin and Ruskin's wife, Effie, to paint Ruskin's portrait. Effie's increasing attachment to Millais, among other reasons (including Ruskin's non-Consummation Consummation or consummation of a marriage, in many traditions and statutes of civil or religious law, is the first act of sexual intercourse between a man and woman, following their marriage to each other. Its legal significance arises from theories of marriage as having the purpose of producing legally recognized descendants of the partners, or of the marriage^[1]) created a crisis, leading Effie to leave Ruskin, which caused a public scandal. Millais abandoned the Pre-Raphaelite style after his marriage, and Ruskin often savagely attacked his later works. Ruskin continued to support Hunt and Rossetti. He also provided independent funds to encourage the art of Rossetti's wife Elizabeth Siddal Elizabeth Eleanor Siddal was an English artists' model, poet and artist who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood, including Walter Deverell, William Holman Hunt, John Everett Millais (including Millais' 1852 painting Ophelia) and most of Dante Gabriel Rossetti's early paintings of women.

Later developments and influence

Artists who were influenced by the Brotherhood include John Brett John Brett was an artist associated with the Pre-Raphaelite movement, mainly notable for his highly detailed landscapes. Brett was born near Reigate on 8 December 1831, the son of an army vet. In 1851 he began lessons in art with James Duffield Harding, a landscape painter. He also studied with Richard Redgrave. In 1853 he entered the Royal, Philip Calderon, Arthur Hughes, Gustave Moreau Gustave Moreau was a French Symbolist painter whose main focus was the illustration of biblical and mythological figures. As a painter of literary ideas rather than visual images, Moreau appealed to the imaginations of some Symbolist writers and artists, who saw him as a precursor to their movement, Evelyn De Morgan, Frederic Sandys and John William Waterhouse John William Waterhouse was an English Pre-Raphaelite painter who is most famous for his paintings of female characters from Greek and Arthurian mythology. Ford Madox Brown, who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles.

After 1856, Rossetti Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He was one of the founders of the Pre-Raphaelite Brotherhood in 1848 and was later to be the main inspiration for second generation of artists and writers influenced by the movement. He was also a major precursor of the Aesthetic movement became an inspiration for the medievalising strand of the movement. His work influenced his friend William Morris William Morris was an English textile designer, artist, writer, and socialist associated with the Pre-Raphaelite Brotherhood and the English Arts and Crafts Movement. Morris wrote and published poetry, fiction, and translations of ancient and medieval texts throughout his life. His best-known works include The Defence of Guenevere and Other Poems (, in whose firm Morris, Marshall, Faulkner & Co. he became a partner, and with whose wife Jane he may have had an affair. Ford Madox Brown and Edward Burne-Jones also became partners in the firm. Through Morris's company the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in medieval designs, as well as other crafts. This led directly to the Arts and Crafts movement headed by William Morris. Holman Hunt was also involved with this movement to reform design through the Della Robbia Pottery company.

After 1850, both Hunt and Millais moved away from direct imitation of medieval art. Both stressed the realist and scientific aspects of the movement, though Hunt continued to emphasise the spiritual significance of art, seeking to reconcile religion and science by making accurate observations and studies of locations in Egypt and Palestine for his paintings on biblical subjects. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned this reversal of principles.

The movement influenced the work of many later British artists well into the twentieth century. Rossetti later came to be seen as a precursor of the wider European Symbolist movement. In the late twentieth century the Brotherhood of Ruralists based its aims on Pre-Raphaelitism, while the Stuckists and the Birmingham Group have also have derived inspiration from it.

The Birmingham Museum and Art Gallery has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young J.R.R. Tolkien,^[2] who would later go on to write his novels, such as The Hobbit and The Lord of the Rings, with their influence taken from the same mythological scenes portrayed by the Pre-Raphaelites.

In the twentieth century artistic ideals changed and art moved away from representing reality. Since the Pre-Raphaelites were fixed on portraying things with near-photographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many critics. Since the 1970s there has been a resurgence in interest in the movement.

List of artists

Collections

There are major collections of Pre-Raphaelite work in the Tate Gallery, Victoria and Albert Museum, Manchester Art Gallery, Lady Lever Art Gallery, Liverpool's Walker Art Gallery and Birmingham Museum & Art Gallery. The Delaware Art Museum has the most significant collection of Pre-Raphaelite art outside of the United Kingdom.

Andrew Lloyd Webber is an avid collector of Pre-Raphaelite works and a selection of 300 items from his collection were shown at a major exhibition at the Royal Academy in 2003.

The National Trust houses at Wightwick Manor, Wolverhampton, and at Wallington Hall, Northumberland, both have significant and representative collections.

Portrayal in popular culture

The story of the Brotherhood, from their controversial first exhibition through to their eventual embracement by the art establishment, has been depicted in two BBC television series. The first, The Love School, was broadcast in 1975. The second is the 2009 BBC television drama serial Desperate Romantics by Peter Bowker. Although much of the material is derived from Franny Moyles' factual book Desperate Romantics: The Private Lives of the Pre-Raphaelites,^[3] the series occasionally departs from established facts in favour of dramatic licence and is prefaced by the disclaimer: "In the mid-19th century, a group of young men challenged the art establishment of the day. The pre-Raphaelite Brotherhood were inspired by the real world around them, yet took imaginative licence in their art. This story, based on their lives and loves, follows in that inventive spirit."^[4] Ken Russell's 1967 film Dante's Inferno concentrates on the life of Rossetti, with brief scenes on the other leading Pre-Raphaelites.

Books

• Bate, P.H. [1901] (1972) The English Pre-Raphaelite painters : their associates and successors, New York : AMS Press, ISBN 0-404-00691-4
• des Cars, L. (2000) The pre-Raphaelites : romance and realism, New York : Harry N. Abrams, ISBN 0-81092-891-4
• Mancoff, D.N. (2003) Flora symbolica : flowers in Pre-Raphaelite art, Munich ; London ; New York : Prestel, ISBN 3-7913-2851-4
• Marsh, J. and Nunn, P.G. (1998) Pre-Raphaelite women artists, London : Thames & Hudson, ISBN 0-500-28104-1
• Staley, A. and Newall, C. (2004) Pre-Raphaelite vision : truth to nature, London : Tate, ISBN 1-85437-499-0
• Townsend, J., Ridge, J. and Hackney, S. (2004) Pre-Raphaelite painting techniques : 1848-56, London : Tate, ISBN 1-85437-498-2
• Watson, M.F. (1997) Collecting the Pre-Raphaelites : the Anglo-American enchantment, Aldershot : Ashgate, ISBN 1-85928-399-3

See also

• List of Pre-Raphaelite paintings
• British art
• Early Renaissance painting
• English school of painting
• Hogarth club
• Middle Ages in history
• John Wharlton Bunney
• Florence Claxton
• James Smetham
• The Light of the World

Notes

1. ^ Phyllis Rose, Parallel Lives: Five Victorian Marriages, 1983, pp.49-94
2. ^ See, for example, Bucher (2004) for a brief discussion on the influence of the Pre-Raphaelites on Tolkien.
3. ^ Desperate Romantics press pack: introduction BBC Press Office. Retrieved on 2009-07-24.
4. ^ Armstrong, Stephen (5 July 2009). "BBC2 drama on icons among Pre-Raphaelites". The Sunday Times. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/tv_and_radio/article6626470.ece. Retrieved 2009-07-25.

References

• Barringer, Tim (1998). Reading the Pre-Raphaelites. New Haven, Conn.: Yale University Press. ISBN 0-300-07787-4.
• Bucher, Gregory (2004). "Review of Matthew Dickerson. 'Following Gandalf. Epic Battles and Moral Victory in The Lord of the Rings'", Journal of Religion & Society, 6, ISSN 1522-5658, webpage accessed 13 October 2007
• Daly, Gay (1989). Pre-Raphaelites in Love. New York: Ticknor & Fields. ISBN 0-89919-450-8.
• Dickerson, Matthew (2003). Following Gandalf : epic battles and moral victory in the Lord of the rings, Grand Rapids, Mich. : Brazos Press, ISBN 1-58743-085-1
• Gaunt, William (1975). The Pre-Raphaelite Tragedy (rev. ed. ed.). London: Cape. ISBN 0-224-01106-5.
• Hawksley, Lucinda (1999). Essential Pre-Raphaelites. Bath: Dempsey Parr. ISBN 1-84084-524-4.
• Prettejohn, Elizabeth (2000). The Art of the Pre-Raphaelites. Princeton, N.J.: Princeton University Press. ISBN 0-691-07057-1.
• Ramm, John (2003). "The Forgotten Pre-Raphaelite: Henry Wallis", Antique Dealer & Collectors Guide, 56 (Mar/April) , p. 8–9

External links

• Collection of links
• Birmingham Museums & Art Gallery's Pre-Raphaelite Online Resource
• Liverpool Walker Art Gallery's Pre-Raphaelite collection
• Pre-Raphaelite People and Principles
• The Millais Site includes many pictures and a complete list of his works
• Pre-Raphaelite and other Masters: the Andrew Lloyd Webber Collection
• Pre-Raphaelitism Lecture by John Ruskin
• Love Revealed: Simeon Solomon and the Pre-Raphaelites
• Pre Raphaelitism in Poetry
• Literary Aspects of Pre Raphaelitism: The Cambridge History of English and American Literature
• The Pre-Raphaelite Brotherhood in the History of Art
• Pre-Raphaelite Chronology
• Lizzie Siddal website
• The Pre-Raphaelite Critic is a collection of full-text and excerpted 19th century reviews of the movement and its individual members.
• Oscar Wilde, Joseph Worcester, and the English Arts & Crafts Movement an article describing Worcester's desire to establish a brotherhood similar to the Pre-Raphaelites in the SF Bay Area
• The Pre-Raphaelite Society
• The Samuel and Mary R. Bancroft Collection of Pre-Raphaelite Art
• Pre-Raphaelite Sisterhood, an homage to the women featured in Pre-Raphaelite art
• The Pre-Raph Pack Discover more about the artists, the techniques they used and a timeline spanning 100 years.

Categories: British artist groups and collectives | 19th-century art groups | Pre-Raphaelite Brotherhood | 1848 establishments | British art | Victorian era

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