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Self-portrait (detail) (1897) |
Sir Lawrence Alma-Tadema
(1836 - 1912) Although Dutch-born, most of Alma-Tadema's career
was spent in England. He was naturalized there in 1873 and knighted
in 1899. His early paintings are of Merovingian and Egyptian scenes,
but after visiting Pompeii in 1863, his focus turned to styles of
classical Greek and Roman. His paintings usually include beautiful
women and are often evocative. Alma-Tadema is also recognized for
his grand rendering of marble, silver, gold, bronze and silks. He
was also an early influence on John William Waterhouse and John William
Godward. Included works here: Ask Me No More,
Expectations, HerEyes
are with Her Thoughts and They are Far Away, The Bath of Caracalla, The Favourite
Poet. [top] |
Drawing by Rossetti (1852) |
Ford Madox Brown (1821 - 1893)
Brown was never an official member of the Pre-Raphaelite Brotherhood,
but had tremendous impact on their technique. His own work was influenced
by the German Nazarenes, who he connected with during his visit to
Rome in 1848. Rossetti became a student of Brown. From this, Brown
became an adviser to the Brotherhood. In the 1850's he began designing
furniture for Charles Seddon, and in 1861, became a founding member
of the William Morris Co. For this, he designed furniture and stained
glass. Included work here: Take Your Son, Sir
[top] |
Edward Burne-Jones with granddaughter |
Sir Edward Coley Burne-Jones
(1833 - 1898) "I mean by a picture, a beautiful romantic dream
of something that never was, never will be - in a better light than
any light that ever shone - in a land that no-one can define or remember,
only desire - and the forms divinely beautiful." Burne-Jones
originally intended to enter the church, but was so inspired after
seeing the works of Rossetti, that in 1856, he decided to paint instead.
He led the second phase of the Pre-Raphaelite movement and became
close friends with William Morris. He became a partner in the William
Morris Co., and produced many designs for stained glass and tapestries.
His style was consciously aesthetic, combining romanticism with medievalism,
to produce sentimental works with high moral tone. Included works
here: Autumn, Day,
Depths of the Sea, Night,
Pan and Psyche, Spring,
The Angel, The Sleeping
Princess [top] |
| John Collier (1850-1934) Collier,
the son of a judge, studied at Slade School under Poynter, and was
encouraged by Alma-Tadema and Millais. He first exhibited at the Royal
Academy in 1874. He painted dramatic subject pictures and landscapes
which catered to the vogue upper-class. Included work here: Lady
Godiva, [top] |
| Charles Allston Collins
(1828-1873) A painter of historical genre, Collins studied at Royal
Academy schools and first exhibited there in 1847. His association
with the Pre-Raphaelites stemmed from his close friendship with Millais,
whom he made several painting expeditions with. His drawing style
is so similar to Millais, in fact, that their work is often confused.
Art never came easy to Collins and he gave it up about 1858 to pursue
writing. He found success in two novels, two travel books and several
periodicals. Collins was married to a daughter of Dickens. Included
work here: Convent Thoughts [top] |
| Frank Cadogan Cowper (1877-1934)
Painter of portraits, historical and fantasy scenes; also decorator
and watercolorist, Cowper studied at St. John's Wood School. He began
exhibition at the Royal Academy in 1899. Although much of his career
was outside the Victorian period, he was strongly influenced by Burne-Jones
and Pre-Raphaelitism. He is credited for carrying the Pre-Raphaelite
ideas into the twentieth century. In 1910, he received a commission
to paint six murals for the Houses of Parliament. Included work here:
La Belle Dame Sans Merci [top] |
Photograph |
Sir Frank Bernard Dicksee (1853-
1928) Dicksee came from a family of painters, and studied under his
father, Thomas Francis Dicksee, for a year before entering the Royal
Academy Schools in 1871. While there, he met Frederic Leighton and
John Millais, establishing his ties to the Pre-Raphaelites. He first
exhibited at the Royal Academy in 1876 and became president in 1924.
Included works here: La Belle Dame Sans
Merci, Miranda [top] |
| John William Godward (1861-1922)
Godward so closely followed the work of Alma-Tadema, that sometimes
their works are confused. He painted mostly classical genre scenes
of lovely ladies in robes, reclining on marble. He began exhibition
at the Royal Academy in 1887. Unfortunately for Godward, the Victorian
standards did not allow for popularity of his kind of work. Subsequently,
he committed suicide in 1922. Included work here: The
Betrothed [top] |
Photograph |
William Holman Hunt (1827-
1910) One of the founders of the Brotherhood, Hunt began his work
at the Royal Academy with permission from his parents at the age of
17. It was there that he met Rossetti and Millais. He only exhibited
at the Royal Academy for two years (1846-47) and was never accepted
as an academician. Although he always remained true to the standards
of the Pre-Raphaelite style, his subjects turned from historical and
literary genre, to more religious as his career progressed. Included
works here: The Awakening Conscience, The
Hireling Shepherd [top] |
Photograph, c.1860 |
Sir Frederic Lord Leighton
(1830-1896) The son of a doctor, Leighton studied under various teachers
in Florence and Rome. His career was launched in 1855 when his first
Royal Academy painting, 'Cimabue's Celebrated Madonna is Carried
in Procession through the Streets of Florence' was bought by Queen
Victoria. In the 1860's, his work moved from medieval and biblical
subjects to classical themes. By the end of his career, Leighton was
a highly esteemed Victorian painter, and was the only English artist
to be given the rank of baron. He received this only one day before
his death. Included works here: Bath of Psyche,
Clytie, Flaming June,
Invocation, Nausicca from Homer's Ulysses,
The Fisherman and the Siren, The
Music Lesson, The Painter's Honeymoon[top] |
Self-Portrait, 1883 |
Sir John Everett Millais
(1829-1896) Clearly a natural talent, Millais entered Royal Academy
schools at age eleven. After meeting Rossetti and Hunt there in 1848,
he became one of the original members of the Pre-Raphaelite Brotherhood.
When he became an associate to the Royal Academy in 1853, the Brotherhood
was officially dissolved. Although he retained some Pre-Raphaelite
qualities, his later works became more academic and sentimental. He
was elected president of the Royal Academy in 1896, the same year
of his death. Included works here: Ophelia
, The Black Brunswicker [top] |
| Evelyn deMorgan (1855-1919)
After studying at the Slade School in 1873, de Morgan became a pupil
of her uncle, Spencer Stanhope. She was greatly influenced by him
and Burne-Jones, as well. In 1887, as Evelyn Pickering, she married
the Pre-Raphaelite potter William de Morgan. Included works here:
Flora, Helen of Troy
[top] |
Photograph, aged 23 |
William Morris Morris was a painter,
designer, craftsman, poet, and social reformer. He began his career
as an architect, but soon switched careers after meeting Rossetti
and Burne-Jones. After building a home for his family in 1859 (the
"Red House"), Morris' furnishing and decorating style opened
the doors to the idea for his decorating firm. In 1861, under the
title Morris, Marshall, Faulkner and Company, Morris and Company
was established. Morris' frustration with the current style of home
decorations propelled his creativity, through his company, to produce
furniture, stained glass, wallpaper, decorated tiles, jewelry, embroideries,
and tapestries. The designs created by him and his colleagues set
a president in Victorian style. Included works here: Queen
Guinevere [top] |
| Emily Mary Osborn (1834-1893)
A Painter of genre, she was the daughter of a London clergyman. She
studied at Dicken's Academy and first exhibited at the Royal Academy
in 1851. Her themes focus a lot on the "damsel in distress",
but she also produced historical works and paintings of children.
Included work here: Golden Daydream
[top] |
Photograph, c. 1860 |
Dante Gabriel Rossetti
As a young man, Rossetti was dissatisfied with formal academic training.
The strength of his personality led him to be the founder and leader
of the Pre-Raphaelite Brotherhood in 1848. Although his own work did
not adhere at all to the Brotherhood's principles, his subject matter
did. His paintings illustrate many themes from Dante and Arthurian
legend. As well, because Rossetti was a poet and drew close connections
between his canvas art and poetry, many of his illustrations have
accompanying poetry. His later works evolved into a kind of worship
of an unattainable and indifferent idealized woman. He gave these
women qualities of mysticism and sensuality. Included works here:
Found, Lilith,
Proserpine, Sea-Spell,
The Blessed Damozel, The
Wedding of St. George and Princess Sabra, Veronica
Veronese [top] |
| Frederick Augustus Sandys
(1829-1904) Sandys studied at the Norwich School where his father
was a minor painter. He began his exhibiting in the Royal Academy
in 1851. In 1857, he painted a parody of a work by Millais, and through
this, was able to meet Rossetti and become part of the Pre-Raphaelite
circle. His works include portraits, illustrations and woodcuts. Included
works here: Gentle Spring [top] |
| John Melhuish Strudwick
(1849-1935) He studied at South Kensington and Royal Academy Schools
with little success. His found his focus while working as a studio
assistant for Spencer Stanhope and Burne-Jones. Although inspired
by them, he was able to find his own style. His great attention to
detail and use of rich glowing colors, made his otherwise static,
lifeless paintings highly decorative. Included works here: An
Angel, [top] |
| Annie Louisa Swynnerton
(1844-1933) Swynnerton was born in Kersal to a solicitor as Annie
Louisa Robinson. She later married Joseph Swynnerton, who was a Manx
sculptor in Rome. She studied at the Manchester School of Art, and
started exhibiting at the Royal Academy in 1879. She was elected Associate
of the Royal Academy in 1922, the first woman to receive academic
honors in 154 years. Included work here: The
Sense of Sight [top]
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Photograph |
John William Waterhouse
(1849-1917) Waterhouse as a young boy in Rome, engulfed his mind with
ancient history, myths and allegories. When his artistic talent bloomed,
these topics were the natural subjects for his paintings. His paintings
are known for their grand story-telling abilities, and are laced with
details of his own imagination. The majority of his works were painted
at his Primrose Hill Studio in London, where he painted numerous women
in typical Pre-Raphaelite style. Included works here: A
Mermaid, A Naiade, A
Song of Springtime, After the Dance,
Circe Offering the Cup to Ulysses, Destiny,
Echo and Narcissus, Hylas
and the Nymphs, "I am Half-Sick of Shadows",
said the Lady of Shalott, La Belle Dame
Sans Merci, La Fileuse, Miranda,
The Tempest, My Sweet Rose, Nymphs
Finding the Head of Orpheus, Ophelia,
Ophelia, Psyche Entering
Cupid's Garden, Psyche Opening the Golden
Box, Sleep and His Half-brother Death,
The Awakening of Adonis, The
Lady of Shallot, The Lady of Shallot, The
Magic Circle, The Shrine, The
Siren, The Sorceress, Tristram
and Isolde, Ulysses and the Sirens,
Windflowers [top] |
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