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Neoclassicism and Romanticism
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(Neoclassicism,
Romanticism and
Art Styles in 19th century -
Art Map)
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Pre-Raphaelite
Stained Glass Windows
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Edward Coley Burne-Jones
(b Birmingham, 28 Aug 1833; d London, 17 June 1898).
English painter and decorative artist. He was the leading figure in the
second phase of the Pre-Raphaelite movement. His paintings of subjects
from medieval legend and Classical mythology and his designs for stained
glass, tapestry and many other media played an important part in the
Aesthetic Movement and the history of international Symbolism.
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Ford Madox Brown
born April 16, 1821, Calais, France
died October 6, 1893, London, England
English painter whose work is associated with that of the
Pre-Raphaelite Brotherhood, although he was never a member.
Brown studied art from 1837 to 1839 in Bruges and Antwerp, Belgium.
His early work is characterized by sombre colour and dramatic
feeling suited to the Byronic subjects that he painted in Paris
during 1840–43, such as Manfred on the Jungfrau (c. 1840) and
Parisina's Sleep (1842). Already concerned with the
accuratere presentation of natural phenomena, he drew from corpses in
University College Hospital in London when painting his Prisoner of
Chillon (1843). During a visit to Italy in 1845, he met Peter von
Cornelius, a member of the former Lukasbund, or Nazarenes. This
meeting undoubtedly influenced both Brown's palette and his style.
His interest in brilliant, clear colour and neomedievalism first
appears in Wyclif Reading His Translation of the Scriptures to John
of Gaunt (1847). In 1848 Brown briefly accepted Dante Gabriel
Rossetti as a pupil, and in 1850 Brown contributed to the
Pre-Raphaelites' magazine, Germ. Like William Holman Hunt, Brown
painted in the open air to obtain naturalistic accuracy.
His most famous picture, Work (1852–63), which can be seen as a
Victorian social document, was first exhibited at a retrospective
exhibition held in London (1865), for which he wrote the catalog. He
also worked as a book illustrator with William Morris; produced
stained glass, at, among other sites, St. Oswald's, Durham
(1864–65); and between 1879 and 1893 completed a series of 12 murals
for the Manchestertown hall, depicting scenes from the city's
history.
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Dante Gabriel Rossetti
(b London, 12 May 1828; d Birchington on Sea, Kent, 9
April 1882).
Painter, designer and poet.
Despite his Italian parentage, Rossetti never visited Italy. An early
disposition for drawing and literature led him to illustrate his sister
Maria’s copy of the Iliad in 1840. Three years later his first
poem, ‘Sir Hugh the Heron’, was privately printed by his maternal
grandfather, Gaetano Polidori.
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Arthur Hughes
(b London, 27 Jan 1832; d Kew Green, London,
22 Dec 1915).
English painter and illustrator. In 1846 he
joined the School of Design at Somerset House, London, under
Alfred Stevens. The following year he won an art
studentship to the Royal Academy Schools, where in 1849 he
won the silver medal for antique drawing. In the same year
he showed his first painting at the Royal Academy,
Musidora (Birmingham, Mus. & A.G.), a conventionally
painted nude. In 1850, while still a student, he saw a copy
of the periodical The Germ, which converted him to
PRE-RAPHAELITISM and led to his meeting William Holman Hunt,
Dante Gabriel Rossetti and Ford Madox Brown, though he never
became an official member of the Pre-Raphaelite Brotherhood.
Hughes’s first exhibited work in the new style, Ophelia
(exh. RA 1852; Manchester, C.A.G.), was admired by Millais,
whose own Ophelia (1851–2; London, Tate) was in the
same exhibition. They became friends and Hughes sat for
Millais’s The Proscribed Royalist (exh. RA 1853; priv.
col.). From about 1852 to 1858
Hughes shared a studio with the sculptor Alexander Munro.
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William
Morris
(b Walthamstow [now in London], 24 March 1834;
d London, 3 Oct 1896).
English designer, writer and activist. His importance as both a designer
and propagandist for the arts cannot easily be overestimated, and his
influence has continued to be felt throughout the 20th century. He was a
committed Socialist whose aim was that, as in the Middle Ages, art
should be for the people and by the people, a view expressed in several
of his writings. After abandoning his training as an architect, he
studied painting among members of the Pre-Raphaelites. In 1861 he
founded his own firm, Morris, Marshall, Faulkner & Co. (from 1875 Morris
& Co.), which produced stained glass, furniture, wallpaper and fabrics.
Morris’s interests constantly led him into new activities such as his
last enterprise, the Kelmscott Press. In 1950 his home at Walthamstow
became the William Morris Gallery. The William Morris Society was
founded in 1956, and it publishes a biannual journal and quarterly
newsletter.
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