Pre-Raphaelite Brotherhood

The 19th century was a time of great progress in art, as well as an age of exploration in how women were portrayed in painting. It was a period in which "modern art" as we presently define it truly began to develop. Without nineteenth century artists such as William Holman Hunt, John Waterhouse, and Gustave Klimt, there is a significant chance that what we know as the art scene today would be radically different. This was an era that shaped the medium of studio art into one with great creative freedom

In pre-Raphaelite paintings, a famously known model, Elizabeth Siddal appears as an idealised form of female body. In the 19th century, she was the central figure of the muse that often combined with man’s fantasy and sensuality with poetic idealism. Although Rossetti and Siddal’s marriage was not so idealised rather a tragedy, but they formed a relationship of an artist and the muse. After the death of Siddal, Rossetti departed from the notion of ideal women but he was preoccupied with the theme

plethora of influences which he twisted, transformed, to eventually come up with his singular style. Beardsley was especially influenced by Burne-Jones and Pre-Raphaelites: The first thing to notice is that Beardsley's immensely rapid assimilation of all influences, [...]. He nearly absorbs the influence of Burne-Jones and the Pre-Raphaelites, those

The Pre-Raphaelite ideals manifested while painting themes and characters from Shakespeare’s play. He gave these characters a different Psychological contrast unlike Shakespeare. In the process of painting, the idea of breaking Victorian dichotomy of pious/profane

crafts movement, a change in Vitoria since the time of the popular taste. Published from 1868 to 1870 narrative poems on the ground "paradise", the ancient Greece to the medieval legends express block in chest. He is also an important member of the pre Raphaelite paintings, but rarely

Christina Rossetti, an English Victorian poet lived an early life full of hardships with her relations. When she was seventeen years old a painter named James Collinson proposed to her. She accepted, but later in 1850 she broke off the engagement because Collinson reverted to Catholicism. She refused a second proposal from linguist Charles Bagot Cayley for his religious beliefs, and also a third from the painter John Brett. In addition to her relationships, earlier Rossetti’s father had been diagnosed

If in the 19th century French writer, Baudelaire, in his essay ‘painter of modern life’ (1865) said that “every dress style is beautiful in its own time” To investigate if this was true or not I looked and researched into an Art movement back from the era that had a big impact on nearly everyone and how it changed the style of everything so much. My chosen art movement was the Arts and Crafts movement as well as how the Islamic/Japanese art influenced the work of William Morris; I researched all

Like his fellow Pre-Raphaelite artists, Edward Burne-Jones' paintings often included an array of mythological subjects, from ancient Greece to the bible. Burne-Jones was extremely interested in mythology from a young age, creating a dream world for himself to compensate for his harsh upbringing at the hands of the strict housekeeper. This fascination with myths, particularly the Arthurian legend, continued for his whole life and Burne-Jones' art was reaction against the `moral ugliness' of the industrial

Victorian Themes in Imagination: Goblin Market in Relation to Romanticism There were two principle views concerning imagination, the Victorians and the Romantics, who didn’t accept each other’s ideas about imagination. But, despite their clashes on the status and views of imagination, the Romantics and Victorians share similar ideas through different angles of perspective, which we could assume are linked in part to their era. The long poem, named Goblin Market, written by Christina Rossetti

Morris married Jane Burden, a beautiful model who appears in many Pre-Raphaelite paintings (it is she who sat for nearly all Rossetti's later works). Jane, together with her sister Bessie, did embroideries for Morris's firm. Philip Webb designed much of the furniture, metalwork, and many tiles. For stained glass, Morris generally