How to Recognize: The Pre-Raphaelite Brotherhood

Welcome back to the Accessible Art History YouTube channel. Today we will be starting a new series. It is called How to Recognize. This series will help viewers understand and recognize works from different movements, artists, etc. Our inaugural episode will be on the Pre-Raphaelite Brotherhood. The year was 1848 and Europe was consumed by intense political and social upheaval. A group of seven artists decided that it was high time a new style of art was created, something that would reflect their personal ideas of what art should be. Their names were William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederick George Steffens, and Thomas Wulner. These men would debut their work in 1849 at both the Royal Academy and the Free Exhibition. The goal of the Pre-Raphaelites was to take art back to the days of Quattro Cento Italy. It focused on a distinctly late medieval, early renaissance style, literally before Raphael. The group detested the over-analytical art that came from Raphael and Michelangelo and continued into the modern era. Hallmarks of their style were deep, rich colors, intricate details, and subjects about religious, noble, or idealistic stories. Pre-Raphaelite artists focused equally on both the background and the figures, creating a very sharp and realistic composition. They painted from real life, creating a less stiff atmosphere. It was a remarkable shift from art of their era. One of the hallmarks of Pre-Raphaelite art is the use of rich, often jewel-toned colors. Reds, greens, and blues, and various hues and saturations dominate their works. The Pre-Raphaelite artists would paint their art on a pure white background. This would help the colors pop even more. Other artists in the mid-19th century usually used a more neutral mid-tone canvas. But what was the motivation for such vivid colors? Well, this detail would remind viewers of the beautiful reliquaries and tapestries from the medieval world. It was quite obviously Pre-Raphael. Three brilliant examples of this element are Proserpine by Dante Gabriel Rossetti, Mariana by John Everett Millais, and The Hireling Shepherd by William Holman Hunt. Notice how each of these works utilize color to create their story. Proserpine's pomegranate takes center stage, reminding the viewer of her myth. Millais added beautiful stained glass windows to his work Mariana, making the setting come to light. And finally, in The Hireling Shepherd, Hunt used a variety of greens to make the bucolic setting come to life for the viewer. For the Pre-Raphaelites, themes were incredibly important. Not only did the work have to be beautiful, but they also had to convey a message to the viewer. Stories from Shakespeare, mythology, and the Bible were the most popular sources because they exemplified the themes of purity and justice. These ideas provided a sense of stability and peace in a turbulent political and social climate. The following two paintings showcase how Pre-Raphaelites used themes to their advantage. They are Lady Godiva by John Collier, and The Adoration by Dante Gabriel Rossetti. Both of these paintings deal with justice and purity. In English mythology, Lady Godiva promised to ride through the streets naked in order to reduce taxes. However, her beautiful hair helped to cover her body, and she insisted that everyone remain indoors. Her sacrifice, while still remaining pure, helped her people. The Adoration shows the holy family and angels in awe of the infant Jesus. They knew he was important from the moment of his birth, and he would bring peace to the world. One of the most important tenets for the Pre-Raphaelites was creating their work from real life. They believed this would prevent their work from becoming overly analytical. This could best be seen in John Everett Millay's Ophelia. He used the Hogsmill River as his setting. Millay would set up the river for up to 12 hours a day, painting the flora and fauna around him. In fact, his work is so detailed that botanists have been able to identify individual species. Ophelia's pose was created by Millay by instructing his model and muse, Elizabeth Seidel, to lay fully clothed in the bathtub for hours on end. These details give this painting a realism that could not have been achieved otherwise. For many art historians, the Pre-Raphaelite Brotherhood marks the beginning of the modern art movement. The seven men who founded it came together and figured out a set of ideals that would guide them in their creations. They resisted conventions of their day and instead created a unique style all their own. The Pre-Raphaelites maintain a connection with the past while managing to look forward to the future.