...One of the less well known and appreciated genre’s of art was the Pre-Raphaelite Brotherhood’s style. The first The Pre-Raphaelites, like the Romantics, were great lovers of nature. They believed in showing things as they truly were. Many Romantics, and especially those that belonged to the Pre-Raphaelite Brotherhood, did not agree with the classical beliefs being taught in art schools. These ideals required artists to beautify their subjects. For this reason many followers of this movement painted their landscapes outdoors and used real models4. They also composed their pictures with out any specific formula3. They chose not to use pyramidal constructions and other classical rules that were taught in many of the art schools. Instead of coming across as sloppy and rushed, many of their pictures appeared very realistic; as opposed to the classical compositions that were so formulaic they became boring and stiff. The Pre-Raphaelite Brotherhood was formed in 1848 by John Everett Millais, Dante Gabriel Rossetti and William Holman Hunt2. They had all attended the Royal Academy of arts together and were trained in the classical style of painting5. This style was very routine and repetitive. The three founders wanted to do something more original, something not identical to the late painter Raphael. The origin of their organization's name stemmed from their ambition to get away from the purely Raphaelesque paintings of the day4. Unfortunately, the art critics and general...
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...Nina Guidry Survey of the Arts II 15 April 2015 Waterhouse and The Lady John William Waterhouse was a Romantic painter whose style harked back to the Pre- Raphaelite Brotherhood (PRB) of the mid-nineteenth century. He encompassed elements from the Impressionist art movement of the late nineteenth century to create hauntingly beautiful images in oils on canvas. Three such creations manifested from Alfred, Lord Tennyson’s The Lady of Shalott. This poem, written in four parts, is based on Arthurian legend of an innocent young woman confined in a tower by a curse. She lived on an island overlooking Camelot. Her curse is such that she could not look directly upon Camelot. She viewed the outside world through a mirror in her quarters. Waterhouse painted the three oils in reverse chronology to the poem. In this essay, his composition, balance, use of light, color, movement and symbolism will be discussed. The Lady of Shalott (1888) references Part IV of the poem where she escapes the island by boat only to pay for the brevity of her freedom with her life. She and the boat are the main focus of this painting. Her porcelain skin, flowing red hair, virginal white gown draw eyes to her before slowly drifting over the boat. This scene is balanced by the view of hills through a break in the wooded background. The folds in the fabric of her gown, swallows in flight, and the play of light on the water create a sense of movement. Something was happening...
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...Edward Burne Jones was an English painter, illustrator, and designer and a key figure in the second phase of Pre-Raphaelitism. In 1853 he began studying at Oxford University, intending to train for a priesthood, but his interest was turned to art first by William Morris, his fellow student, and then by Rossetti, who remained the decisive influence on him. He left Oxford without taking a degree in 1856 and settled in London. Rossetti gave him a few informal lessons and he attended life drawing classes for a while, but essentially he was self-taught; his taste was more classical than Rossetti's and his elongated forms owed much to the example of Botticelli. He favoured medieval and mythical (especially Arthurian) subjects and hated such modernists as the Impressionists, describing their subjects as ‘landscape and whores’. His own ideas on painting are summed up as follows: ‘I mean by a picture a beautiful romantic dream, of something that never was, never will be—in a light better than any that ever shone—in a land no-one can define or remember, only desire—and the forms divinely beautiful.’ He had a fairly low-key career until 1877, when he became famous overnight with the showing of eight large paintings at the opening exhibition of the Grosvenor Gallery. Thereafter he acquired huge fame and prestige, not only in Britain, but also on the Continent: he had considerable influence on the French Symbolists, and the ethereally beautiful women who people his paintings, like the more...
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...Christina Rossetti – Unrequited Love Many of Christina Rossetti's poems seem to evoke a sense of thwarted or unrequited love, however in terms of ‘Jessie Cameron’ this unrequited love is reversed into an untypical situation in this patriarchal society of Rossetti’s era. Jessie is described as a ‘careless, fearless girl'. Her ‘mirthful' nature prompts her to take chances and sometimes become ‘heedless' about what she says. Her outgoing personality stands in direct contrast to traditional expectations of a Victorian maiden who the audience would expect to perhaps be of timid or demur characteristics. , Rossetti defies conventions, in said patriarchal society, she gives Jessie an identity, whereas in the Victorian era a girl like Jessie could cease to exist. Jessie demonstrates a sense of female empowerment when Rossetti refers to her as “fearless” a word which is not necessarily associated with power, or even a trait which would be considered as attractive; however it actually serves to set her apart, something that makes her different, and in the eyes of her rejected lover, indeed attractive. This love is so unrequited, to the extent that not once is his name mentioned; he is only known to the audience as the “neighbor’s son”. She does not want to acknowledge him, she is avoiding any form of intimate connection, in fact any form of connection whatsoever. However, this could also be interpreted to illustrate the distance between the two, and to prove they have no relation at...
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...Christina Rossetti’s poetry: the sensuous, which is with some justice associated by critics with Pre-Raphaelitism, and the ascetic, which is not confined to her devotional verse, but speaks also in her secular poems. The critics Sandra M. Gilbert and Susan Gubar have defined the aesthetics of renunciation as the key element of all Rossetti’s writing, and they suggest that her aesthetics derived less from her ascetic Christianity than from her position as a woman poet in Victorian England. The tension between the sensual and the ascetic, between revelry and renunciation, however it may be interpreted, is central to Rossetti’s poetry. One temptation is to view this tension as the meeting of two intellectual movements in Victorian England: the Pre-Raphaelite movement in art and poetry and the Oxford Movement in theology, both of which profoundly influenced Rossetti’s thought and art. The Pre-Raphaelites got their name from their conviction that after the Italian painter Raphael (1483-1520), European art and poetry took a wrong turn toward representational realism and away from symbolism and simplicity. The poetry and art of the English Pre-Raphaelites, consequently, celebrated sensuality, minute detail, formal simplicity, and a symbolic system emulating medieval iconography. It is true, as Rossetti’s most recent critics have maintained, that she cannot be considered merely a passive learner of Pre-Raphaelitism—indeed, she must have influenced it as much as it influenced her. She was there...
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...Cathy Caligiuri ENG 498: Senior Seminar Dr. Alanna Preussner Gilbert & Sullivan Research Paper 5 March 2013 The characters of Gilbert and Sullivan: Real or Fiction? Who inspired some of the famous, and infamous, characters of Gilbert and Sullivan? Although we will never know the exact answer to this question, it is one that has been very highly contemplated, and argued over, for some time. The characters that are most argued over would be Reginald Bunthorne and his rival, Archibald Grosvenor. There have been many speculations about which poets of the time were the inspiration for the characters, but the most likely candidates would have to be Algernon Swinburne, Oscar Wilde, Robert Buchanan, Dante Rossetti, Coventry Patmore, and W. S. Gilbert himself. To begin, the character of Bunthorne has a base mostly in Wilde, Rossetti, and Swinburne. There is plenty of sufficient evidence for any one of these poets to be the primary influence for Bunthorne. At the time Patience was being debuted, Oscar Wilde was just beginning to emerge into society as a well known artist. He began to strut around town in some rather outlandish outfits and was becoming known for his crazy ways. Similarly to Wilde, Bunthorne is described as the “fleshly poet” of the play, and there have been many renditions of the play where Bunthorne is portrayed to look like Wilde was often described as dressing. He would wear velvet knee pants, and would often be carrying a flower of some kind around...
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...The Tyger’ is found in draft in a notebook that takes the name the ‘Rossetti Manuscript’ from a later owner, the poet and Pre-Raphaelite painter, Dante Gabriel Rossetti. In it Blake entered, over the space of a quarter-century, emblems subsequently used in The Gates of Paradise (1793), decorations for The Marriage of Heaven and Hell (1791), and drafts of prose essays, lyrics and epigrams, together with most of the posthumously published Everlasting Gospel. It is the classic example of a working notebook, in which every corner is filled with jottings and drafts.The Tyger’ is found in draft in a notebook that takes the name the ‘Rossetti Manuscript’ from a later owner, the poet and Pre-Raphaelite painter, Dante Gabriel Rossetti. In it Blake entered, over the space of a quarter-century, emblems subsequently used in The Gates of Paradise (1793), decorations for The Marriage of Heaven and Hell (1791), and drafts of prose essays, lyrics and epigrams, together with most of the posthumously published Everlasting Gospel. It is the classic example of a working notebook, in which every corner is filled with jottings The Tyger’ is found in draft in a notebook that takes the name the ‘Rossetti Manuscript’ from a later owner, the poet and Pre-Raphaelite painter, Dante Gabriel Rossetti. In it Blake entered, over the space of a quarter-century, emblems subsequently used in The Gates of Paradise (1793), decorations for The Marriage of Heaven and Hell (1791), and drafts of prose essays, lyrics...
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...Rossetti"). Rossetti established the Pre Raphaelite Brotherhood in 1843, which revolutionized Victorian art and literature (Encyclopaedia Britannica, "Pre-Raphaelite Brotherhood"). However, it wasn’t until 1853, after the Brotherhood fell apart that Rossetti truly found his calling as an artist. Dante Gabriel Rossetti, originally named Gabriel Charles Dante Rossetti, was born on May 12, 1828 in London, England. His father was an Italian expatriate and Dante scholar who was exiled because he wrote poetry in support of the Neapolitan Constitution of 1819. Rossetti grew up as a part of a very talented family, although he is considered to be the most talented. His older sister “Maria Rossetti, published A Shadow of Dante (1871) and became an Anglican nun; William Michael Rossetti was along with his brother an active member of the Pre-Raphaelite Brotherhood and became an editor, man of letters, and memoirist; the youngest, Christina Georgina Rossetti, became an important and influential lyric poet” (Poetry Foundation, "Dante Gabriel Rossetti"). Rossetti received a general educated at the King’s College junior...
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...Through the inscriptions behind the painting, art historians assumed that Hunt created this painting spontaneously one day during his stay at his uncle farms in Ewell, Surrey . The Pre-Raphaelite idea was to paint a painting that embodied nature the way it physically and spiritually affects the artist. Because Hunt painted the painting in one day, it captured Hunt’s immediate feelings and the worker at that moment as with each new day, different emotions emerge. By painting this painting in one day, I think that Hunt was able to pour his feelings and thoughts into the work coherently. From staring at the painting myself, I feel the heat emitting from the shady yellow wheat and the dull yellow rolls of hays. The worker in the background, most like his uncle who appears to be cutting the wheat, creates a feeling of hard work because to cut that much wheat require much energy, the same amount of energy Hunt applied to this painting...
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...the limitations exist. Aunt Lydia, for example, cannot hold a gun, and the Commander’s Wife must stay in her home at all times. The government’s strict regime of sexual oppression leads to propagation of gender roles as it divides the characters into strict classes. They do not live in a mobile, fluid society where the ability to gain more freedom exists; women cannot change their social class. Painted in the 19th century by artist Arthur Hughes, Fair Rosamund depicts a young girl in a beautiful garden. The painting shows Pre-Raphaelite influences, due to Hughes’ extensive work with the Pre-Raphaelite Brotherhood until his death (“Arthur Hughes (1832-1915)”). A clandestine society, The Pre-Raphaelite Brotherhood formed in London during a period of unrest. Consisting of only seven artists, the group rebelled against the typical art styles of their time and instead found influences in medieval art (Meagher). In addition to his involvement with the Pre-Raphaelites, Hughes often worked with vibrant colors and intricate designs (“BBC News”). Hughes completed the painting Fair Rosamund in 1854 in order to depict the story of ‘Fair’ Rosamund, who was Henry II of England’s mistress (“Fair Rosamund”). In the story, the King developed a secret garden for his mistress and him. Supposedly, the King’s wife found the garden and poisoned Rosamund (“Fair Rosamund”). The story of Fair Rosamund, combined with the depiction of the girl in the painting, shows the issue of sexual oppression, similar...
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...Associate Level MaterialAppendix C Salvatore Cinque Art/101 03/14/2014 Mrs.Sweat Design Movements The following matrix comprises some major design movements of the late 19th and 20th centuries. Fill in the middle column with one example of a representative artist per movement. Add two more design movements with respective examples at the bottom of the chart. Additionally, include approximate dates for each movement. Name of Movement | Representative Artist | Approximate Dates of Movement | Arts and Crafts Movement | [William Morris- was an English artist, writer, textile designer and socialist associated with the Pre-Raphaelite Brotherhood and English Arts and Crafts Movement] [1] | Was an international design movement that flourished between 1860 and 1910 [2] | Art Nouveau | Gustav Klimt- Austrian painter Gustav Klimt was Vienna's most renowned advocator of Art Nouveau, or, as the style was known in Germany, Jugendsti. [2] | That was most popular during 1890–1910[1] | Art Deco | AJM Cassandre - Ukrainian painter, poster artist, theatre designer and typographer.[2] | 1920s and developed into a major style in western Europe and the United States during the 1930s.[1] | Digital Art | Alberto Seveso[2]- is an Italian artist that often mixes photography with illustration to produce stunning works of art. You might recognize Seveso as the artist that produced the cover illustration for the Photoshop CS6 packaging. In this article, we will take a look at some of...
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...The six works of American art that I have chosen all represent women. These paintings show how women were depicted by American artists. Some of the works of art show only women or children, while one of the portraits shows a couple. John Singleton Copley painted Portrait of Mr. and Mrs. Thomas Mifflin (Sarah Morris). This is the only portrait that I have selected that shows both man and woman. I feel that these six works of art show the growth of how women were presented from 1671-1893. The works of art that I have selected are Mrs. Elizabeth Freake and Baby Mary(1671-74), Mr. and Mrs. Thomas Mifflin(1773), The White Girl(1862), Miss Amelia Van Buren(1891), A Virgin(1892-93),and Lady Agnew of Lachnaw(1892-93. I believe that these paintings are similar in many ways, yet different as well. Anonymous, Mrs. Elizabeth Freake and Baby Mary, This painter, although unknown, can be attributed to half-dozen portraits that were painted in Boston. This colonial painter shows their knowledge of traditional British portraiture that is derived from representations of Elizabeth I. As you can see by looking at this painting, this artist gave more attention to the clothing that Mrs. Elizabeth Freake is wearing then to Mrs. Freake’s characteristics. This portrait was done in oil on a 42 ½ X 36 ¾ “ canvas. One way that I feel that this painting is different than the other paintings is that it is a pendant portrait. This was painted to hang next to the portrait of Mr. Freake. These paintings...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...John Keats John Keats (/ˈkiːts/ 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets, along with Lord Byron and Percy Bysshe Shelley, despite his work having been in publication for only four years before his death.[1] Although his poems were not generally well received by critics during his lifetime, his reputation grew after his death, and by the end of the 19th century, he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. This is typical of romantic poets, as they aimed to accentuate extreme emotion through the emphasis of natural imagery. Today his poems and letters are some of the most popular and most analysed in English literature. 1 1.1 Biography Life mask of Keats by Benjamin Haydon, 1816 Early life John Clarke’s school in Enfield, close to his grandparents’ house. The small school had a liberal outlook and a progressive curriculum more modern than the larger, more prestigious schools.[11] In the family atmosphere at Clarke’s, Keats developed an interest in classics and history, which would stay with him throughout his short life. The headmaster’s son, Charles Cowden Clarke, also became an important...
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