Post on 07-Apr-2018
transcript
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Why ‘Pre Raphaelite’? • they were initially in
reaction against whatthey felt were the‘frivolous art of the
day’• They deeply admired
the integrity andsimplicities of the early15thC
• Their aim to bring backart to a ‘greater truth tonature’
Lord Leighton
Flaming June
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• The brotherhood wasfounded in London in 1848
• The initials PRB werepainted on GabrielleRosetti’s painting ‘ The
girlhood of the Mary Virgin’
in 1849• Was quickly adopted by the
other ‘Pre Raphaelites’
The Girlhood of Mary Virgin –
Dante Gabriel Rossetti
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The initial members• Gabrielle Rossetti,• Holman Hunt• John Everett Millais• Soon the group included seven
artists.
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Title: Portrait of Sir JohnEverett Millais 1871
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Millais in his Studio by Rupert Fuller. 1886.
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Gentlemen rebels
• They felt they were inrebellion to:
• the theatricality of Raphael• Victorian hypocrisy• And the pomp of the
academic art tradition.
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Thomas Coutoure 1847 masterpiece, Romans in the Decadence of the Empire
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Soap Bubbles
During his lifetime, Couture taught such
later luminaries of the art world as
Edouard Manet, Henri Fantin-Latour, andPierre Puvis de Chavannes.
THOMAS COUTURE (1815-1879)was an influential French historypainter and teacher.• He failed the prestigious Prix de
Rome competition at the École six
times, but he felt the problem waswith the École, not himself.• Couture finally did win the prize in
1837.• In 1840, he began exhibiting
historical and genre pictures at the
Paris Salon, earning several medalsfor his works, in particular for his1847 masterpiece, Romans in theDecadence of the Empire,
• Shortly after his this success,Couture opened an independentatelier meant to challenge the Écoledes Beaux-Arts by turning out thebest new history painters.
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The Thorny Path
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The Little Confectioner
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A secret society
• The pre Raphaelitebrotherhood
• In deference to thesincerity of the earlyRenaissance
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High Morality• They adopted a high moral stance painting only ‘serious- usually religious or
romantic-subjects.• Their style was clear and sharply focussed• They adopted a sometimes unwieldy combination of symbolism and realism• That insisted on painting everything from direct observation.• The Lad Of Shalott John William Waterhouse
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Their Spokesman The group was championed by the writer John
Ruskin
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Sir John Everett Millais – John
Ruskin
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Slightly Disturbing• Whilst being laboriously truthful became• Became progressively old-worldish• This decision to live in the past whilst deploying the judgements of the present can make the
work disturbingly disjointed
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The Blind Girl Sir John EverettMillais
Response to the Paintings
• Initially the group caused outrage aftertheir first exhibition in 1849.
• Their religious and realist themes alsoagainst the popular Historical painting ofthe day
• The Royal academy continued showingthe work and after 1852 they gained inpopularity.
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A Deep concern for truth?• Maybe a somewhat overindulgence in
sentimentality• A world of emotional responses devoid of the
experiences of reality
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Shakespeare’s Ophelia • a young noblewoman of Denmark, the
daughter of Polonius, sister of Laertes, andpotential wife of Prince Hamlet.
• Driven to madness and suicide by Hamlet’smurder of her father Polonius
• Alexander Cabanel
• John William Waterhouse
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Ophelia: Sir John Everett Millais, 1851
P i t d f N t
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Painted from Nature• Was modelled on a real body surrounded by a body of genuine wildflowers• Millais spent four months painting the background vegetation on the same spot in
Surrey England• He then returned to London to paint his model Elizabeth Siddal in the bath tub
An Odd dislocation• The result is oddly dislocated• It’s as if the setting, woman, flowers did not belong together each keeping its own
truth and ignoring that of the others.
The meaning in the Flowers
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The meaning in the Flowers• Poppies = death Daisies = innocence Roses = youth Violets = fruitfulness and early
death Pansies = love in vain.Ophelia John William Waterhouse 1889
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The Model• Was modelled on a real body surrounded by a
body of genuine wildflowers• Millais spent four months painting the
background vegetation on the same spot inSurrey England• He then returned to London to paint his model
Elizabeth Siddal in the bath tub
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‘On English coasts
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‘On English coastsIt is a political allegoryIts theme is strayed and unprotected sheep
An unpleasant taste
The weirdly acidic colours strike unpleasantly on the eyesThe story is believable but forcedThe bright yellow is garishly bright as is the aggressive greens of the sea.
Luminous Colours
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Luminous ColoursThey painted pure colours onto a canvass pre-prepared with whiteSometimes this would be applied freshly each day to give the colours fresh
resonance.
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The Inspiration• Their paintings was a
combination of artistic andliterary sources
• They drew heavily inShakespeare, Dante, and poetslike Robert Browning and AlfredLord Tennyson
• Rossetti was himself greatly
attracted to Tennyson’sreworking of the Arthurianlegends
• He specialised in pictures ofmaidens with extraordinary looksfor his romantic themes
• Used a beautiful but neuroticmodel Elizabeth Siddal
• After her untimely deathRosetti’s model was WilliamMorris’s wife Janey (a Siddallook alike) seen in the painting
‘The day dream’.
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• Rossetti was himself greatly attracted to Tennyson’sreworking of the Arthurian legends
• He specialised in pictures of maidens withextraordinary looks for his romantic themes
• Used a beautiful but neurotic model Elizabeth Siddal • After her untimely death Rosetti’s model was William
Morris’s wife Janey (a Siddal look alike) seen in thepainting ‘The day dream’.
'Lady Lilith', (detail)1868 by Dante C.G. Rossetti
Eli b h Sidd l
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Elizabeth SiddelShe was discovered by Walter Deverell in amilliner's shop in 1850. At the time he wassearching for a model for Voila in his paintingTwelfth Night. Later he told William Holman
Hunt, ‘By Jove! she’s like a queen,magnificently tall, with a lovely figure, a statelyneck, and a face of the most delicatemodelling; the flow of surface from thetemples over the cheek is exactly like thecarving of a Pheidean goddess.
Wait a minute! I haven’t done; she has greyeyes, and her hair is like dazzling copper, andshimmers with lustre as she waves it down.And now, where do you think I lighted on thisparagon of beauty? Why, in a milliner’s back
workroom where I went out with my mothershopping. Having nothing to amuse me, whilethe woman was tempting my mother withsomething, I peered over the blind of a glassdoor at the back of the shop, and there wasthis unexpected jewel.’
A drawing by Rosetti of Elizabeth painting
Elizabeth "Lizzie" Siddal was the living breathing epitome of the Pre-Raphaelite woman
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Walter H. Deverell . Twelfth Night , 1850
Elizabeth Lizzie Siddal was the living, breathing epitome of the Pre Raphaelite woman.With her sensuous full lips, heavy-lidded eyes, and above all her incredible waist-lengthauburn hair, she could only be described as a "stunner".
• Elizabeth led a tormented life.
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Elizabeth led a tormented life.• She worked as a milliner in her teenage years, her engagement to Rossetti was broken
off several times, and she was always afraid of being replaced with a younger muse.• She also suffered from an addiction to laudanum.• After bearing a stillborn daughter, she overdosed on laudanum.• Her possible suicide was covered up, as it would have prevented her from receiving a
proper burial.
• Study by Rossetti• Photo of Elizabeth• Self Portrait
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Dante Gabriel Rossetti(1828-82)• Born into a wealthy and
intellectual Italian family
• Throughout the 1840’s hispoetry and painting prosperedand he completed manysymbolic Historic paintings
• He met Elizabeth Siddal in1850, married her in 1860 she
died only two years laterleaving him a broken man
• He placed his poetrymanuscripts in her coffinwhich he then retrieved in 1869by exhuming her body
• He fell into a depression and in1872 attempted suicide but didnot die
• He lingered on in a druginduced haze until his death in1882
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• After gaining an acceptance the work of the Pre Raphaelites has since become one of the most