Pre-Raphaelite Brotherhood

From Wikipedia, the free encyclopedia

Proserpine, by Dante Gabriel Rossetti The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were soon joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form a seven-member "brotherhood". The group's intention was to reform art by rejecting what they considered to be the mechanistic approach first adopted by the Mannerist artists who succeeded Raphael and Michelangelo. They believed that the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite". In particular, they objected to the influence of Sir Joshua Reynolds, the founder of the English Royal Academy of Arts, whom they called "Sir Sloshua". To the Pre-Raphaelites, according to William Michael Rossetti, "sloshy" meant "anything lax or scamped in the process of painting ... and hence ... any thing or person of a commonplace or conventional kind".[1] In contrast, they wanted to return to

the abundant detail, intense colours, and complex compositions of Quattrocento Italian and Flemish art. The Pre-Raphaelites have been considered the first avant-garde movement in art, though they have also been denied that status, because they continued to accept both the concepts of history painting and of mimesis, or imitation of nature, as central to the purpose of art. However, the Pre-Raphaelites undoubtedly defined themselves as a reform-movement, created a distinct name for their form of art, and published a periodical, The Germ, to promote their ideas. Their debates were recorded in the PreRaphaelite Journal.

Contents

1 Beginnings of the Brotherhood 2 Early doctrines 3 Public controversies 4 Later developments and influence 5 List of artists o 5.1 The Pre-Raphaelite Brotherhood o 5.2 Associated artists and figures o 5.3 Loosely associated artists 6 Collections 7 Portrayal in popular culture 8 Books 9 See also 10 Notes 11 References 12 External links

Beginnings of the Brotherhood

Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850 The Pre-Raphaelite Brotherhood was founded in John Millais's parents' house on Gower Street, London in 1848. At the initial meeting, John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt were present. Hunt and Millais were students at the Royal Academy of Arts. They had previously met in another loose association, a sketching-society called the Cyclographic Club. Rossetti was a pupil of Ford Madox Brown. He had met Hunt after seeing his painting The Eve of St. Agnes, which is based on Keats's poem.[2] As an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. By autumn, four more members had also joined, to form a seven-member-strong Brotherhood. These were William Michael Rossetti (Dante Gabriel Rossetti's brother), Thomas Woolner, James Collinson, and Frederic George Stephens.[2] Ford Madox Brown was invited to join, but preferred to remain independent. He nevertheless remained close to the group. Some other young painters and sculptors were also close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. They kept the existence of the Brotherhood secret from members of the Royal Academy.

Early doctrines
The Brotherhood's early doctrines were expressed in four declarations: 1. to have genuine ideas to express 2. to study Nature attentively, so as to know how to express them 3. to sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parodying and learned by rote 4. most indispensable of all, to produce thoroughly good pictures and statues These principles are deliberately non-dogmatic, since the Brotherhood wished to emphasise the personal responsibility of individual artists to determine their own ideas and methods of depiction. Influenced by Romanticism, they thought that freedom and responsibility were inseparable. Nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. This emphasis on medieval culture was to clash with certain principles of realism, which stress the independent observation of nature. In its early stages, the Pre-Raphaelite Brotherhood believed that their two interests were consistent with one another, but in later years the movement divided and began to move in two directions. The realist-side was led by Hunt and Millais, while the medievalist-side was led by Rossetti and his followers, Edward Burne-Jones and William Morris. This split was never absolute, since both factions believed that art was essentially spiritual in character, opposing their idealism to the materialist realism associated with Courbet and Impressionism. The Pre-Raphaelite Brotherhood was greatly influenced by nature and they used great detail to show the natural world using bright and sharp focus techniques on a white canvas. In their attempts to revive the brilliance of colour found in Quattrocento art, Hunt and Millais developed a technique of painting in thin glazes of pigment over a wet white ground. They hoped that in this way their colours would retain jewel-like transparency and clarity. This emphasis on brilliance of colour was in reaction to the excessive use of bitumen by earlier British artists, such as Reynolds, David Wilkie and Benjamin Robert Haydon. Bitumen produces unstable areas of muddy darkness, an effect that the Pre-Raphaelites despised.

Public controversies
The first exhibition of Pre-Raphaelite work occurred in 1849. Both Millais's Isabella (18481849) and Holman Hunt's Rienzi (18481849) were exhibited at the Royal Academy, and Rossetti's Girlhood of Mary Virgin was shown at the Free Exhibition on Hyde Park Corner. As agreed, all members of the Brotherhood signed works with their name and the initials "PRB". Between January and April 1850, the group published a literary magazine, The Germ. William Rossetti edited the magazine, which published poetry by the Rossettis, Woolner, and Collinson, together with essays on art and literature by associates of the Brotherhood, such as Coventry Patmore. As the short runtime implies, the magazine did not manage to achieve a sustained momentum. (Daly 1989)

Christ In the House of His Parents, by John Everett Millais, 1850 In 1850 the Pre-Raphaelite Brotherhood became controversial after the exhibition of Millais's painting Christ In The House Of His Parents, considered to be blasphemous by many reviewers, notably Charles Dickens.[3] (Dickens considered Millais' Mary to be ugly.[4] Interestingly enough, Millais had actually used his sister-in-law Mary Hodgkinson as a model for the Mary in his painting). Their medievalism was attacked as backward-looking and their extreme devotion to detail was condemned as ugly and jarring to the eye.[5] According to Dickens, Millais made the Holy Family look like alcoholics and slum-dwellers, adopting contorted and absurd "medieval" poses. A rival group of older artists, The Clique, also used their influence against the Pre-Raphaelite Brotherhood. Their principles were publicly attacked by the President of the Academy, Sir Charles Lock Eastlake. Following the controversy, Collinson left the Brotherhood. They met to discuss whether he should be replaced by Charles Allston Collins or Walter Howell Deverell, but were unable to make a decision. From that point on the group disbanded, though their influence continued to be felt. Artists who had worked in the style still followed these techniques (initially anyway) but they no longer signed works "PRB".

Ophelia, by John Everett Millais However, the Brotherhood found support from the critic John Ruskin, who praised their devotion to nature and rejection of conventional methods of composition. The PreRaphaelites were influenced by Ruskin's theories. As a result, the critic wrote letters to The Times defending their work, later meeting them. Initially, he favoured Millais, who travelled to Scotland in the summer of 1853 with Ruskin and Ruskin's wife, Effie, to paint Ruskin's portrait.[6] Effie's increasing attachment to Millais, among other reasons (including Ruskin's non-consummation of the marriage[7]) created a crisis, leading Effie to leave Ruskin, have the marriage annulled on grounds that it had not been consummated, and marry Millais,[8] which caused a public scandal. Millais abandoned the Pre-Raphaelite style after his marriage, and Ruskin often savagely attacked his later

works. Ruskin continued to support Hunt and Rossetti. He also provided independent funds to encourage the art of Rossetti's wife Elizabeth Siddal.

Later developments and influence

Medea by Evelyn De Morgan, 1889, in quattrocento style Artists who were influenced by the Brotherhood include John Brett, Philip Calderon, Arthur Hughes, Gustave Moreau, Evelyn De Morgan,[9] Frederic Sandys (who came into the Pre-Raphaelite circle in 1857),[9] and John William Waterhouse. Ford Madox Brown, who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles. One follower who developed his own distinct style was Aubrey Beardsley, who was pre-eminently influenced by Burne-Jones.[9] After 1856, Dante Gabriel Rossetti became an inspiration for the medievalising strand of the movement. Dante Gabriel Rossetti became the link to the two different types of Pre Raphaelite painting (nature vs. Romance) after the PRB became lost in the late 1800s. Rossetti, although the least committed to the brotherhood, continued the name and changed the Brotherhoods style drastically. He began painting versions of femme fatales using models like Jane Morris, in paintings such as: Proserpine, the blue silk dress, La Pia de' Tolomei, etc. His work influenced his friend William Morris, in whose firm Morris, Marshall, Faulkner & Co. he became a partner, and with whose wife Jane he may have had an affair. Ford Madox Brown and Edward Burne-Jones also became partners in the firm. Through Morris's company the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in medieval designs, as well as other crafts. This led directly to the Arts and Crafts movement headed by William Morris. Holman Hunt was also involved with this movement to reform design through the Della Robbia Pottery company.

After 1850, both Hunt and Millais moved away from direct imitation of medieval art. Both stressed the realist and scientific aspects of the movement, though Hunt continued to emphasise the spiritual significance of art, seeking to reconcile religion and science by making accurate observations and studies of locations in Egypt and Palestine for his paintings on biblical subjects. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned this reversal of principles. The movement influenced the work of many later British artists well into the twentieth century. Rossetti later came to be seen as a precursor of the wider European Symbolist movement. In the late twentieth century the Brotherhood of Ruralists based its aims on Pre-Raphaelitism, while the Stuckists and the Birmingham Group have also derived inspiration from it. Birmingham Museum & Art Gallery has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young J.R.R. Tolkien,[10] who would later go on to write his novels, such as The Hobbit and The Lord of the Rings, with their influence taken from the same mythological scenes portrayed by the Pre-Raphaelites. In the twentieth century artistic ideals changed and art moved away from representing reality. Since the Pre-Raphaelites were fixed on portraying things with nearphotographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many painters and critics. In particular, after the First World War, British Modernists associated Pre-Raphaelite art with the repressive and backward times in which they grew up. In the 1960s there was a major revival of PreRaphaelitism. Exhibitions and catalogues of works, culminating in a 1984 exhibition in London's Tate Gallery, re-established a canon of Pre-Raphaelite work.[11]

List of artists
The Pre-Raphaelite Brotherhood

Loosely associated artists

James Collinson (painter) William Holman Hunt (painter) John Everett Millais (painter) Dante Gabriel Rossetti (painter, poet) William Michael Rossetti (critic) Frederic George Stephens (critic) Thomas Woolner (sculptor, poet)

Associated artists and figures

John Brett (painter) Ford Madox Brown (painter, designer) Richard Burchett (painter, educator) Edward Burne-Jones (painter,

Sophie Gengembre Anderson (painter) Wyke Bayliss (painter) George Price Boyce (painter) Joanna Mary Boyce (painter) Sir Frederick William Burton (painter) Julia Margaret Cameron (photographer) James Campbell (painter) John Collier (painter) William Davis (painter) Evelyn De Morgan (painter) Frank Bernard Dicksee (painter) John William Godward (painter) Thomas Cooper Gotch (painter) Charles Edward Hall (painter)

designer) Charles Allston Collins (painter) Frank Cadogan Cowper (painter) Fanny Cornforth (artist's model) Henry Holiday (painter, stainedglass artist, illustrator) Walter Howell Deverell (painter) Arthur Hughes (painter, book illustrator) Robert Braithwaite Martineau (painter) Annie Miller (artist's model) Jane Morris (artist's model) Louisa, Marchioness of Waterford (painter and artist's model) May Morris (embroiderer and designer) William Morris (designer, writer) Christina Rossetti (poet and artist's model) John Ruskin (critic) Anthony Frederick Augustus Sandys (painter) Thomas Seddon (painter) Frederic Shields (painter) Elizabeth Siddal (painter, poet and artist's model) Simeon Solomon (painter) Marie Spartali Stillman (painter) Algernon Charles Swinburne (poet) Henry Wallis (painter) William Lindsay Windus (painter)

Edward Robert Hughes (painter) John Lee (painter) Edmund Leighton (painter) Frederic, Lord Leighton (painter) James Lionel Michael (minor poet, mentor to Henry Kendall) Charles William Mitchell (painter) Joseph Noel Paton (painter) John William Waterhouse (painter) Daniel Alexander Williamson (painter) James Tissot (painter) James Abbott McNeill Whistler (painter) Aubrey Beardsley (illustrator)

Collections
There are major collections of Pre-Raphaelite work in the Tate Gallery, Victoria and Albert Museum, Manchester Art Gallery, Lady Lever Art Gallery, Liverpool's Walker Art Gallery and Birmingham Museum and Art Gallery. The Delaware Art Museum has the most significant collection of Pre-Raphaelite art outside the United Kingdom. Andrew Lloyd Webber is an avid collector of Pre-Raphaelite works and a selection of 300 items from his collection were shown at a major exhibition at the Royal Academy in 2003. The National Trust houses at Wightwick Manor, Wolverhampton, and at Wallington Hall, Northumberland, both have significant and representative collections.

Portrayal in popular culture

The story of the Brotherhood, from their controversial first exhibition through to their eventual embracement by the art establishment, has been depicted in two BBC television series. The first, The Love School, was broadcast in 1975; the second is the 2009 BBC television drama serial Desperate Romantics by Peter Bowker. Although much of the latter's material is derived from Franny Moyle's factual book Desperate Romantics: The Private Lives of the Pre-Raphaelites,[12] the series occasionally departs from established facts in favour of dramatic licence and is prefaced by the disclaimer: "In the mid-19th century, a group of young men challenged the art establishment of the day. The pre-Raphaelite Brotherhood were inspired by the real world around them, yet took imaginative licence in their art. This story, based on their lives and loves, follows in that inventive spirit."[13] Ken Russell's television film Dante's Inferno (1967) contains brief scenes on some of the leading Pre-Raphaelites but mainly concentrates on the life of Rossetti, played by Oliver Reed.

Books

Andres, Sophia. (2005) The Pre-Raphaelite Art of the Victorian Novel: Narrative Challenges to Visual Gendered Boundaries. Ohio State University Press, ISBN 0-8142-5129-3 Bate, P.H. [1901] (1972) The English Pre-Raphaelite painters : their associates and successors, New York : AMS Press, ISBN 0-404-00691-4 Daly, G. (1989) Pre-Raphaelites in Love, New York : Ticknor & Fields, ISBN 0-89919-450-8 des Cars, L. (2000) The Pre-Raphaelites : Romance and Realism, New York : Harry N. Abrams, ISBN 0-8109-2891-4 Mancoff, D.N. (2003) Flora symbolica : flowers in Pre-Raphaelite art, Munich ; London ; New York : Prestel, ISBN 3-7913-2851-4 Marsh, J. and Nunn, P.G. (1998) Pre-Raphaelite women artists, London : Thames & Hudson, ISBN 0-500-28104-1 Staley, A. and Newall, C. (2004) Pre-Raphaelite vision : truth to nature, London : Tate, ISBN 1-85437-499-0 Townsend, J., Ridge, J. and Hackney, S. (2004) Pre-Raphaelite painting techniques : 184856, London : Tate, ISBN 1-85437-498-2 Watson, M.F. (1997) Collecting the Pre-Raphaelites : the Anglo-American enchantment, Aldershot : Ashgate, ISBN 1-85928-399-3

See also

List of Pre-Raphaelite paintings New English Art Club British art Early Renaissance painting English school of painting Hogarth club Middle Ages in history John Wharlton Bunney Florence Claxton

James Smetham The Light of the World

Notes
1. 2. 3. 4. 5. ^ Hilton, Timothy (1970). The Pre-Raphaelites, p. 46. Oxford University Press. ^ a b Hilton (1970), pp. 2833. ^ Slater, Michael (2009). Charles Dickens, p. 309. Yale University Press. ^ Andres, Sophia (2005). The Pre-Raphaelite Art of the Victorian Novel: Narrative Challenges to Visual Gendered Boundaries, p. 9. Ohio State University Press. ^ The Times, Saturday, May 3, 1851; pg. 8; Issue 20792: Exhibition of the Royal Academy. (Private View.), First Notice: "We canot censure at present, as amply or as strongly as we desire to do, that strange disorder of the mind or the eyes which continues to rage with unabated absurdity among a class of juvenile artists who style themselves "P.R.B.," which being interpreted means Pre-Raphael Brethren. Their faith seems to consist in an absolute contempt for perspective and the known laws of light and shade, an aversion to beauty in every shape, and a singular devotion to the minute accidents of their subjects, including, or rather seeking out, every excess of sharpness and deformity." ^ Dearden, James S. (1999). John Ruskin: A Life in Pictures, pp. 3637. Sheffield Academic Press. ^ Phyllis Rose, Parallel Lives: Five Victorian Marriages, 1983, pp.4994 ^ Dearden (1999), p. 43. ^ a b c Hilton ( 1970), pp. 20205 ^ See, for example, Bucher (2004) for a brief discussion on the influence of the PreRaphaelites on Tolkien. ^ Barringer, Tim (1999). Reading the Pre-Raphaelites, p. 17. Yale University Press. ^ Desperate Romantics press pack: introduction[dead link] BBC Press Office. Retrieved on 2009-07-24. ^ Armstrong, Stephen (5 July 2009). "BBC2 drama on icons among Pre-Raphaelites". The Sunday Times. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/tv_and_radio/article6 626470.ece. Retrieved 2009-07-25.

6. 7. 8. 9. 10. 11. 12. 13.

References

Barringer, Tim (1998). Reading the Pre-Raphaelites. New Haven, Conn.: Yale University Press. ISBN 0-300-07787-4. Bucher, Gregory (2004). "Review of Matthew Dickerson. 'Following Gandalf. Epic Battles and Moral Victory in The Lord of the Rings'", Journal of Religion & Society, 6, ISSN 1522-5658, webpage accessed 13 October 2007 Daly, Gay (1989). Pre-Raphaelites in Love. New York: Ticknor & Fields. ISBN 0-89919-450-8. Dickerson, Matthew (2003). Following Gandalf : epic battles and moral victory in the Lord of the rings, Grand Rapids, Mich. : Brazos Press, ISBN 1-58743085-1 Gaunt, William (1975). The Pre-Raphaelite Tragedy (rev. ed. ed.). London: Cape. ISBN 0-224-01106-5. Hawksley, Lucinda (1999). Essential Pre-Raphaelites. Bath: Dempsey Parr. ISBN 1-84084-524-4. Prettejohn, Elizabeth (2000). The Art of the Pre-Raphaelites. Princeton, N.J.: Princeton University Press. ISBN 0-691-07057-1.

Ramm, John (2003). "The Forgotten Pre-Raphaelite: Henry Wallis", Antique Dealer & Collectors Guide, 56 (Mar/April), p. 89

External links
Wikimedia Commons has media related to: Pre-Raphaelite paintings

Collection of links Birmingham Museums & Art Gallery's Pre-Raphaelite Online Resource Pre-Raphaelites exhibition at Tate Britain The Pre-Raphaelites episodes on the BBC Liverpool Walker Art Gallery's Pre-Raphaelite collection Pre-Raphaelite and other Masters: the Andrew Lloyd Webber Collection Pre-Raphaelitism Lecture by John Ruskin Love Revealed: Simeon Solomon and the Pre-Raphaelites Pre Raphaelitism in Poetry Literary Aspects of Pre Raphaelitism: The Cambridge History of English and American Literature Pre-Raphaelite Chronology The Pre-Raphaelite Critic is a collection of full-text and excerpted 19th century reviews of the movement and its individual members. Oscar Wilde, Joseph Worcester, and the English Arts & Crafts Movement an article describing Worcester's desire to establish a brotherhood similar to the Pre-Raphaelites in the SF Bay Area The Pre-Raphaelite Society Pre-Raphaelite online resource project at the Birmingham Museums & Art Gallery The Samuel and Mary R. Bancroft Collection of Pre-Raphaelite Art Pre-Raphaelite Sisterhood: women featured in Pre-Raphaelite art The Pre-Raph Pack Discover more about the artists, the techniques they used and a timeline spanning 100 years. Lizzie Siddal.com Elizabeth Siddal: Pre-Raphaelite model, painter, poet. Siddal is famous for posing as Ophelia by Sir John Everett Millais. She later married Pre-Raphaelite founder Dante Gabriel Rossetti

"Pre-Raphaelite Brotherhood" The Oxford Dictionary of Art and Artists. Ed Ian Chilvers. Oxford University Press 2009Oxford Reference Online. Oxford University Press. York University. 23 October 2011 http://www.oxfordreference.com.ezproxy.library.yorku.ca/views/ENTRY.html?subview =Main&entry=t3.e1985 "Pre-Raphaelitism" A Dictionary of Modern and Contemporary Art by Ian Chilvers and John Glaves-Smith. Oxford University Press Inc. Oxford Reference Online. Oxford University Press. York University. 23 October 2011 <http://www.oxfordreference.com.ezproxy.library.yorku.ca/views/ENTRY.html?subvie w=Main&entry=t5.e2179>

v t e

The Pre-Raphaelite Brotherhood

James Collinson William Holman Hunt John Everett Millais Dante Gabriel Rossetti Frederic George Stephens Thomas Woolner William Michael Rossetti

Associated artists and figures

John Brett Ford Madox Brown Richard Burchett Edward Burne-Jones Charles Allston Collins Frank Cadogan Cowper Henry Holiday Walter Howell Deverell Arthur Hughes Frederic Leighton Robert Braithwaite Martineau Jane Morris William Morris Louisa Beresford, Marchioness of Waterford Christina Rossetti John Ruskin Anthony Frederick Augustus Sandys Thomas Seddon Elizabeth Siddal Simeon Solomon John Roddam Spencer Stanhope Marie Spartali Stillman Algernon Charles Swinburne Henry Wallis John William Waterhouse William Lindsay Windus Ophelia Proserpine Christ in the House of His Parents Paolo and Francesca da Rimini A Converted British Family Sheltering a Christian Missionary from the Persecution

Well-known works (period and post-period)

of the Druids The Awakening Conscience The Hireling Shepherd Bocca Baciata A Vision of Fiammetta Pygmalion and the Image series The Beloved Flaming June Elizabeth Siddal Fanny Cornforth Alexa Wilding Annie Miller Effie Gray Jane Morris Marie Spartali Stillman

Models

v t e

Art movements

5th to 18th century

Merovingian Carolingian Ottonian Romanesque International Gothic Renaissance (14th15th) Mannerism (16th) Caravaggisti (16th) Baroque Classicism (17th) Rococo Neoclassicism Romanticism (18th) Nazarene Realism Historicism Biedermeier Grnderzeit Barbizon school Pre-Raphaelites Academic Peredvizhniki Impressionism Post-Impressionism Neo-impressionism Divisionism

19th century

Pointillism Cloisonnism Les Nabis Synthetism Symbolism Hudson River School Amazonian pop art Cubism Orphism Purism Synchromism Expressionism Scuola Romana Abstract expressionism Kinetic art Neue Knstlervereinigung Mnchen Der Blaue Reiter Die Brcke New Objectivity Dada Fauvism Neo-Fauvism Precisionism Art Nouveau Bauhaus De Stijl Art Deco Op art Vienna School of Fantastic Realism Pop art Photorealism Futurism Metaphysical art Rayonism Vorticism Suprematism Surrealism Color Field Minimalism Minimalism (visual arts) Nouveau ralisme Social realism Lyrical Abstraction Tachisme COBRA Action painting International Typographic Style Fluxus

20th century

Lettrism Letterist International Situationist International Conceptual art Installation art Land art Performance art Systems art Video art Neo-expressionism Neo-Dada Outsider art Lowbrow New media art Young British Artists Art intervention Hyperrealism Stuckism International Remodernism Pseudorealism Sound art Superstroke Superflat SoFlo Superflat Relational art Video game art List of art movements Modern art Modernism Late modernism Postmodern art Avant-garde

21st century

Related articles

Retrieved from "http://en.wikipedia.org/w/index.php?title=PreRaphaelite_Brotherhood&oldid=509869958" Categories:

British artist groups and collectives 19th-century art groups Pre-Raphaelite Brotherhood 1848 establishments in England British art Victorian era

Hidden categories:

All articles with dead external links Articles with dead external links from January 2011

Source Material: http://en.wikipedia.org/wiki/Pre-Raphaelite_Brotherhood More Info: http://www.preraphaelites.org/ http://www.dlc.fi/~hurmari/preraph.htm