Pre-Raphaelitism

The second volume was influential on the early development of Pre-Raphaelitism.

Birmingham was already being recognised as a centre of Pre-Raphaelitism by the 1850s.

At the other extreme, the approach can be Whistlerian or dreamy to the point of pre-Raphaelitism.

These renounce Pre-Raphaelitism in favour of an often eroticised classicism.

The flattened modelling, emphasis on pattern making, and imagery of embroidery were all characteristic features of Pre-Raphaelitism.

He at first fell under the influence of the Norwich school, but his maturer works, which show much poetic feeling, bear traces of pre-Raphaelitism.

Collinson was a devout Christian who was attracted to the devotional and high church aspects of Pre-Raphaelitism.

In his essay, Joel Hoffmann asks, "What is Pre-Raphaelitism, Really?"

It is notable for the fact that it marks the beginnings of Millais's move away from the highly detailed Pre-Raphaelitism of his early years.

This new scheme combined Neo-Classicism with Pre-Raphaelitism, and included a gilded cross in the ceiling above the site of the original altar.

In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds.

Edward Robert Hughes (1851-1914) was an English painter who worked in a style influenced by Pre-Raphaelitism and Aestheticism.

Such a group appeared at Balliol in Matthew Arnold's time, and rather later, at various colleges, in the dawn of Pre-Raphaelitism.

In an article published in a 1936 journal, he wrote, "How could Salvador Dalí fail to be dazzled by the flagrant surrealism of English Pre-Raphaelitism.

Almost twenty years later Hunt retaliated by launching a scathing attack on Stephens in the second edition of his Pre-Raphaelitism and the Pre-Raphaelite Brotherhood (1914).

Yet it also connects to an almost frightening array of artistic and literary tendencies past and present: French Symbolism, Surrealism, Pre-Raphaelitism and Neo-Classicism.

Though there is not so much as a hint of emotion in his images, the artist often verges on Pre-Raphaelitism but tends to fall short of technical standards set by the brotherhood.

In the late 20th century the Brotherhood of Ruralists based its aims on Pre-Raphaelitism, while the Stuckists and the Birmingham Group have also derived inspiration from it.

In his autobiography Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, Hunt relates the first reaction to the painting by art dealer Ernest Gambart:

It also includes the workshops of old masters like Rubens and Rembrandt, as well as movements like Pre-Raphaelitism, Dada, Surrealism and Bauhaus.

Though not evident in his seascapes, the Pre-Raphaelitism that molded William Trost Richards is very obvious in his 1874 "Forest Interior," where every leaf gets its due.

When Dante Gabriel Rossetti wrote a very critical review of Stone's work in return, Stone launched an outright assault on Pre-Raphaelitism, initiating the controversy that engulfed the movement.

The satirical and critical aspects of Hogarth's style work in tandem with Brown's Pre-Raphaelitism, with its intense concentration on the complication of the pictorial surface in conflicting details.

The Influence of Christine de Pisan, Pre-Raphaelitism and Medievalism in the Arts By Liana Cheney, Edwin Mellen Press, 1992.

Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism and contributed to The Germ.