This unique collection demonstrates the profoundly interdisciplinary nature of Pre-Raphaelitism, and contains contains whole texts and key extracts from key Pre-Raphaelite figures such as William Morris, and from less well-known figures.
The Pre-Raphaelite Movement began in 1848, and experienced its heyday in the 1860s and 1870s. Influenced by the then little-known Keats and Blake, as well as Wordsworth, Shelley and Coleridge, Pre-Raphaelite poetry 'etherialized sensation' (in the words of Antony Harrison), and popularized the notion ofl'art pour l'art - art for art's sake. Where Victorian realist novels explored the grit and grime of the Industrial Revolution, Pre-Raphaelite poems concentrated on more abstract themes of romantic love, artistic inspiration and sexuality. Later they attracted Aesthetes and Decadents like Oscar Wilde, Aubrey Beardsley and Ernest Dowson, not to mention Gerard Manley Hopkins and W.B. Yeats.
Studies in Pre-Raphaelitism in Honour of William E. Fredeman
Author: William Evan Fredeman
Publisher: University of Toronto Press
Category: Literary Criticism
Begun by young rebels committed to revolutionizing the creative arts, Pre-Raphaelitism has moved from the margins of nineteenth-century art and literature to the vanguard of interdisciplinary studies. The term is now used to denote the Pre-Raphaelite, Aesthetic, and Decadent movements in art, culture, and literature, but it has remained as difficult to define as ever. Haunted Texts attempts to meet the challenge of defining and illustrating the full spectrum of Pre-Raphaelitism. Working with a diverse range of Pre-Raphaelite poetry, painting, decorative arts, book illustration, and political prose, the ten contributors to Haunted Texts pursue the critical strategies of such leading figures as Christina Rossetti and Dante Rossetti, William Morris and Oscar Wilde, Walter Pater, and Aubrey Beardsley. The essays consider the bibliocritical issues of archival research concerning the personal letters and diaries of the Rossetti family; the technological issues that challenge conventional methods of scholarship; the gender issues concerning constructions of identity derived from the changing conceptions of love, desire, anxiety, and brotherhood; and the interdisciplinary cultural issues that transgress the borders of high art and popular culture. Haunted Texts pays tribute to the scholarship of Professor William Fredeman who devoted much of his career since the 1950s to establishing a critical foundation that would enable future scholars to define their understanding of the complexity of Pre-Raphaelitism.
Pre-Raphaelitism's influence during the long nineteenth century was far-reaching, affecting artistic and literary thought in places, media, and times far removed from its origins in 1848 London. Worldwide Pre-Raphaelitism examines the movement's development beyond England, from the continental "immortals" glorified by the nascent Pre-Raphaelite Brotherhood to later reactions against and in sympathy with the ideals of the movement after it had ended. This collection of essays by art historians, literary critics, fashion historians, women's studies scholars, and independent researchers from around the world enhances our understanding of the global impact of Pre-Raphaelitism on the art-historical and literary developments of the nineteenth and twentieth centuries.
Drawing on a wealth of unpublished sketchbooks, journals, and writings, this essential guide to John Brett (1831-1902) investigates the painter who was seen as the leader of the Pre-Raphaelite landscape school. In addition to exploring the familiar early works, including The Val d'Aosta and Stonebreaker, it provides rich information on his later, less-known coastal and marine paintings. Brett's turbulent friendship with John Ruskin is discussed, as are his relations with his beloved sister, Rosa, and his partner Mary, with whom he had seven children. His fervent interest in astronomy, his love of the sea, and his lifelong pursuit of wealth and recognition are all examined in this reassessment, which concludes with a catalogue raisonn of his works, prepared by his descendent Charles Brett.