The Pre-Raphaelite move all started in 1848, and skilled its heyday within the 1860s and 1870s. prompted through the then little-known Keats and Blake, in addition to Wordsworth, Shelley and Coleridge, Pre-Raphaelite poetry "etherialized sensation" (in the phrases of Antony Harrison), and popularized the idea ofl'art pour l'art—art for art's sake. the place Victorian realist novels explored the grit and dirt of the commercial Revolution, Pre-Raphaelite poems focused on extra summary subject matters of romantic love, inventive idea and sexuality. Later they attracted Aesthetes and Decadents like Oscar Wilde, Aubrey Beardsley and Ernest Dowson, let alone Gerard Manley Hopkins and W.B. Yeats.
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Extra info for The Pre-Raphaelites: From Rossetti to Ruskin (Penguin Classics)
I strongly suggest their paintings to readers attracted to Pre-Raphaelitism. William Bell Scott (1811–90) Poet and painter; born in Edinburgh; studied advantageous artwork at Trustees’ Academy, Edinburgh; moved to London, 1837; married Letitia Margery Norquoy, 1839; exhibited on the RA, 1842; met the Rossettis in 1847; contributed to the Germ, 1850; taught on the govt tuition of layout in Newcastle, 1843–64; among 1855 and 1861, painted the Northumbrian historical past Cycle work of art at Wallington, domestic of Pauline Trevelyan; shut pal of ACS, who devoted Poems and Ballads III (1889) to him; Autobiographical Notes (published 1892), during which his serious feedback approximately Rossetti and the PRB have been considered as a betrayal by way of the Pre-Raphaelites and colleagues. Works: Poems by means of a Painter (1854); Poems: Ballads, stories from Nature, Sonnets, and so on. (1875); A Poet’s Harvest domestic, devoted to WMR (1882); Autobiographical Notes (1892). John Ruskin (1819–1900) artwork critic and collector, social critic; born in London to a prosperous kin; knowledgeable at Oxford, the place he received the Newdigate Prize for poetry, 1839; purchaser and mentor to the PRB, DGR specifically; additionally supported Elizabeth Siddal; married Euphemia (‘Effie’) Chalmers grey, 1848; poems privately revealed by way of his father, 1850; defended the PRB painters in letters to the days, 1851 and 1854; portrait painted via JEM, 1854; marriage annulled on flooring of non-consummation, 1854, and then Effie married JEM, 1855; member of the Hogarth membership; grew to become a shopper of EBJ in 1859, and godfather to his son, 1861; elected first Slade Professor of excellent artwork at Oxford, 1869. Works: glossy Painters (1843–60); Pre-Raphaelitism, a pamphlet (1851); The Stones of Venice (1851–3); Sesame and Lilies (1864–5); Poems (1882); The Poems of John Ruskin, vol. 2 (1891); The Works of John Ruskin, vol. 2 (1903). Ford Madox Brown (1821–93) Painter, dressmaker; born in Calais; married Elisabeth Bromley, 1841; she died in 1846; took a studio in London, 1844; tutored DGR in portray; declined formal PRB club simply because he ‘had no religion in coteries’ (FLM 1, 130), yet remained its closest affiliate; most sensible referred to as the painter of labor (1852–65) and The final of britain (1855); married Emma Hill, 1853; equipped a Pre-Raphaelite exhibition, 1857; designed furnishings and stained glass as a companion of Morris, Marshall, Faulkner & Co. , 1861–74; father of OMB, grandfather of novelist Ford Madox Ford; daughter Lucy, additionally a painter, married WMR, 1874; poems seemed within the Germ 1 (January 1850), and within the 1865 exhibition catalogues accompanying his work. Coventry Kersey Dighton Patmore (1823–96) Poet and literary essayist; born in Essex; labored within the published Books division on the British Museum, 1846; married Emily Andrews, 1847, the foundation for The Angel in the home sequence; she died in 1862; at the Cyclographic Society’s ‘List of Immortals’; contributed poems and an editorial on Macbeth to the Germ, 1850; prompt to Ruskin that he come to the defence of the PRB, 1851; connections to significant literary figures of the day, equivalent to Alfred Tennyson and Robert Browning, proved invaluable to the Pre-Raphaelites; organization with them lasted during the 1850s; grew to become a Roman Catholic, 1864, and married Marianne Caroline Byles, whose source of revenue allowed him to hand over the British Museum in 1865; Byles died in 1880 and Patmore married Harriet Robson, 1881.