Overview

Tracing the Pre-Raphaelite movement through its chronological development rather than by artist, this volume concentrates on the vital years from 1848 (when the Brotherhood was formed) to 1860, but also includes a substantial group of works from the following 20 years - a period during which the movement took new directions. The full range of Pre-Raphaelite painting is represented, from the hard-edged style of Millais's early work to the sensuousness of Rossetti's and Burne-Jones's painting in the 1870s. Altogether 250 works from collections all over the world are illustrated and discussed by scholars such as Mary Bennett, Judith Bronkhurst, John Christian, Alastair Grieve, Benedict Read and Malcolm Warner. In his introduction, Sir Alan Bowness surveys the development of Pre-Raphaelitism and examines to what extent it was ever a shared style. The chronological arrangement of the book is designed to focus on the same question and to suggest the numerous cross-currents of the movement.

Full Product Details

Author:   Leslie Parris ,  Sir Alan Bowness (formerly Director, Tate Gallery, London)
Publisher:   Tate Publishing
Imprint:   Tate Publishing
Edition:   New edition
Dimensions:   Width: 23.50cm , Height: 2.40cm , Length: 29.70cm
Weight:   1.660kg
ISBN:  

9781854371447

ISBN 10:   1854371444
Pages:   312
Publication Date:   January 1995
Audience:   General/trade ,  College/higher education ,  Professional and scholarly ,  General ,  Undergraduate
Format:   Paperback
Publisher's Status:   Active
Availability:   In Print  
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Reviews

This book was originally published to coincide with the huge Pre-Raphaelite exhibition held at the Tate Gallery, London, in 1984 - one of its most popular exhibitions. With 100 colour and 189 black-and-white illustrations, considerable demand has kept it in print. The founding fathers of the Brotherhood were surprisingly young (Holman Hunt 21, Rossetti 20 and Millais 19) and their somewhat naive idealism was later criticized and ridiculed. Nevertheless, their aims: 'to have genuine ideas to express... to study Nature attentively... to sympathize with what is direct and serious and heartfelt in previous art... and most indispensable of all, to produce thoroughly good pictures and statues' dealt a blow to the dull, revivalist ideas prevalent in contemporary art. Their distinctive and endlessly fascinating works have admirers and critics in equal measures, but were the product of a uniquely inspired and successful experiment. (Kirkus UK)

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