The greatness of the art of the Pre-Raphaelites is not diminished by time. Their works continue to inspire and fascinate viewers with their unique aesthetics and deep symbolism. However, what makes their art so revolutionary? Let's dive into the world of the Pre-Raphaelites and figure out what makes them unique and great.

Pre-Raphaelite Revelation: A Revolution in Art and Perception

"Art is a bridge between different cultures, languages and times." - Francisco de Goya

 

Amidst a world steeped in tradition and convention, the Pre-Raphaelites emerged as beacons of innovation, challenging the status quo with their radical approach to art. At first glance, their works may appear traditional, with their lush depictions of flowers, ethereal maidens, and timeless narratives drawn from literature and legend. Yet, beneath the surface lies a seismic shift in artistic philosophy, a departure from the established norms of the day.

In rejecting the academic principles that governed much of 19th-century art, the Pre-Raphaelites sought to return to a purer form of expression, unencumbered by the constraints of convention. Eschewing the polished finish and idealized beauty of their contemporaries, they instead embraced a raw, unfiltered aesthetic, imbuing their works with a sense of immediacy and authenticity rarely seen before.

Technically, their paintings were a revelation. Gone were the carefully blended brushstrokes and muted colors of the past, replaced instead by vibrant hues and bold, dynamic compositions. Each stroke of the brush was imbued with emotion, each color chosen for its symbolic significance, resulting in works that pulsated with life and energy.

But perhaps their most revolutionary act was their rejection of the prevailing notion of hierarchy in art. Rather than elevating historical or mythological subjects above the mundane, the Pre-Raphaelites sought inspiration in the everyday, finding beauty in the simple pleasures of nature and domestic life. In doing so, they challenged the very foundations of artistic practice, daring to suggest that art could be found in the humblest of places.

It is this radical spirit of innovation that earned the Pre-Raphaelite Brotherhood its place in history as the first avant-garde movement in Europe. By defying convention and pushing the boundaries of artistic expression, they paved the way for generations of artists to come, inspiring a revolution in art that continues to resonate to this day.

Imagine a time when the mere mention of the Pre-Raphaelites incited outrage and indignation, when their paintings were met not with adulation, but with scorn and derision. In the hallowed halls of the Royal Academy of Art, where tradition reigned supreme, these young upstarts were dismissed as heretics, their radical ideas condemned as nothing more than medieval folly.

Yet, amidst the cacophony of criticism, there lay a kernel of truth: the Pre-Raphaelites were not content to simply follow in the footsteps of their predecessors. They rejected the prevailing aesthetic of their day, opting instead for a return to the purity and honesty of earlier artistic traditions. Theirs was a rebellion against the stifling conformity of academic art, a refusal to bow to the dictates of fashion and convention.

At the heart of their artistic philosophy lay a deep reverence for nature and truth, a belief that art should reflect the world as it truly was, unadorned and unvarnished. Their paintings, with their vibrant colors and meticulous attention to detail, offered a glimpse into a reality untouched by the veneer of civilization, a world where beauty and truth existed in perfect harmony.

But it was perhaps their portrayal of women that incited the greatest controversy. In an age where female beauty was idealized and sanitized, the Pre-Raphaelites dared to depict women as they truly were: complex, passionate, and fiercely independent. Theirs were not the demure, passive figures of traditional portraiture, but vibrant, sensual beings who defied easy categorization.

And so, it was this radical departure from convention that earned the Pre-Raphaelites the ire of their contemporaries. To the establishment, their paintings were an affront to decency and decorum, a challenge to the very foundations of artistic practice. But to those with an open mind and a discerning eye, they were nothing short of revolutionary, heralding a new era in art that would forever change the course of history.

John Everett Millais, "Christ in the House of His Parents"

 

In the tumultuous world of Victorian England, where tradition reigned supreme and conformity was prized above all else, John Everett Millais dared to defy the established norms of artistic representation with his groundbreaking masterpiece, "Christ in the Parental Home." In this provocative work, the sacred figures of the Holy Family are rendered not as ethereal beings of divine perfection, but as flesh-and-blood mortals, steeped in the gritty reality of everyday life.

Gone are the idealized depictions of biblical scenes that had dominated the art world for centuries, replaced instead by a raw, unvarnished portrayal of human emotion and frailty. Joseph's muscular arms, weathered and worn from years of toil, stand in stark contrast to the pristine images of old. St. Anne's aged hands, swollen with the passage of time, tell the story of a life lived in service to others. And at the center of it all, the figure of Christ himself, clad in simple garments, his unkempt hair and disheveled appearance a testament to the harsh realities of existence.

To the critics of the day, Millais's bold departure from convention was nothing short of blasphemy, a brazen affront to the sanctity of religious imagery. For three centuries, artists had adhered to a rigid canon of representation, faithfully reproducing the grandeur and splendor of the Italian Renaissance. But in Millais's hands, the sacred was stripped of its veneer of perfection, laid bare for all to see in its unadorned glory.

And yet, amidst the uproar and condemnation, there were those who recognized the genius of Millais's vision. For in his daring reinterpretation of biblical scenes, he had breathed new life into age-old stories, infusing them with a sense of humanity and authenticity that resonated deeply with audiences. It was a bold statement of artistic independence, a declaration that the pursuit of truth and beauty should not be bound by the constraints of tradition.

In "Christ in the Parental Home," Millais had shattered the chains of artistic convention, paving the way for a new era of creativity and innovation. And though the critics may have balked at his audacity, history would remember him as a pioneer, a trailblazer who dared to challenge the status quo and redefine the boundaries of art.

Dirty heels and calloused hands

In the hallowed halls of the art academies, three young visionaries—Holman Hunt, Dante Gabriel Rossetti, and John Everett Millais—embarked on a revolutionary quest to breathe new life into the stagnant world of Victorian art. Casting aside the tired conventions of their predecessors, they sought inspiration not in the lofty ideals of the past, but in the vibrant tapestry of everyday life.

With unflinching determination, they turned to the people around them as their muses, summoning parents, siblings, mistresses, and even humble house servants to pose for their canvases. Gone were the idealized figures of the Renaissance masters; in their place stood real, living individuals, their flaws and imperfections laid bare for all to see.

In Rossetti's "The Annunciation," the Virgin Mary is portrayed not as a heavenly apparition, but as his own sister Christina, her features rendered with startling realism. Millais's "Christ in the Parental House" features a motley crew of relatives and neighbors, each contributing their own unique essence to the composition. And Hunt, in his quest for authenticity, traveled to the Holy Land, where he persuaded local rabbis to pose for "The Finding of the Savior in the Temple," capturing the essence of biblical times with painstaking precision.

Yet, it was not just the subjects of their paintings that set the Pre-Raphaelites apart—it was their relentless dedication to capturing every minute detail, no matter how seemingly insignificant. From the reddish tint of eyelashes to the unevenness of nails, no aspect of their subjects' appearance was overlooked. Their canvases pulsated with life, their figures imbued with a sense of vitality rarely seen before in the annals of art history.

But behind the beauty of their compositions lay a darker truth: the toll that their obsessive devotion to their craft took on both themselves and their models. Hours spent in unrelenting pursuit of perfection left them physically and mentally exhausted, their health often suffering as a result.

And yet, despite the challenges they faced, the Pre-Raphaelites pressed on, driven by a singular vision: to peel back the layers of history and mythology and reveal the truth that lay beneath. In doing so, they forever altered the course of art, leaving behind a legacy that continues to inspire and captivate audiences to this day.

King Arthur, Shakespeare and other gods

Indeed, the Pre-Raphaelites did not blaze a trail into uncharted artistic territory with their choice of subjects. Rather, their genius lay in their keen ability to recognize and respond to the shifting tides of their time. In the midst of a Victorian era gripped by a fervent fascination with medieval legends and biblical allegories, they emerged as the vanguard of a new artistic movement, harnessing the zeitgeist to forge a path forward.

The resurgence of interest in King Arthur's legends, fueled by the publication of Thomas Malory's "Le Morte d'Arthur" and Prince Albert's commission of Arthurian frescoes, served as a catalyst for the Pre-Raphaelites' exploration of medieval themes. Meanwhile, the publication of Alfred Tennyson's "Idylls of the King" further stoked the flames of their creative fervor, providing them with a rich tapestry of stories to draw upon.

But theirs was not merely a reactionary response to the demands of the time; it was a bold declaration of artistic independence, a rejection of the staid conventions of academic art in favor of a return to the purity and simplicity of the early Renaissance masters. Like Renoir and Picasso after them, they understood that true artistic innovation arises from a deep understanding of the cultural currents that shape their world.

And so, armed with a profound appreciation for the sincerity and colorfulness of pre-Raphaelite art, they embarked on a quest to revive the spirit of a bygone era, breathing new life into ancient legends and timeless tales. In their hands, the works of Fra Angelico and Piero della Francesca became more than mere relics of the past; they became beacons of inspiration, guiding the Pre-Raphaelites on their quest for artistic truth.

In turning back the clock, they forged a path forward, ushering in a new era of artistic expression that would forever change the landscape of English art. For the Pre-Raphaelites were not simply heroes of their time—they were visionaries, pioneers, and revolutionaries, whose legacy continues to inspire and captivate audiences to this day.

William Michael Rossetti, brother of Dante Gabriel Rossetti, explained the principles of the Pre-Raphaelite Brotherhood: “Among the things they all certainly liked was the convincing simplicity of early Italian art, the spirit of reverence and piety that reigned in it, the absence of tricks and rigid canons, but here it should be explained that we were talking about those canons that were instilled with indisputable pedantry in all art academies; finally, diligent attention to detail, a fresh and light taste of personal bias, devoid of even a hint of the desire to show off one’s skill. On the other hand, among the things they couldn’t stand were the weakness and inarticulateness of the methods of modern art, its pretended ease and self-sufficiency, slipping into superficiality and pretentiousness; poverty of ideas, hiding ignorance behind it: no depth of feeling, no richness of imagination, no pictorial precision; cutesy spinelessness and flabby cleverness; indifference to the logic of the plot and inaccuracy of details.”

But as in the case of the great revolutionary Caravaggio, for example, who did not invent new subjects and responded to the demands of the time (moreover, to a direct order), what is important is not what they wrote, but how they wrote. 20 years before the Impressionists, they went to get wet in the rains and burn in the sun, were eaten by mosquitoes and hastily knocked down huts for protection from the wind. They went plein air.

Connecting Threads: Botany, Geology and White Paint in Art

"Artistic freedom lies in the ability to create diversity in unity." - Vincent van Gogh

 

 

Amidst the swirling currents of the industrial revolution, with its relentless march of progress and innovation, the Victorian era found itself at a crossroads. As steamships plied the seas, railways crisscrossed the countryside, and factories churned out goods at an unprecedented pace, England stood on the brink of a new age of mechanization and mass production. Yet, amidst the clamor of progress, there lingered a sense of unease—a nagging feeling that something essential had been lost amidst the relentless march of progress.

In the midst of this tumultuous period, the Pre-Raphaelites emerged as a beacon of hope, a voice of dissent against the soulless machinery of modernity. For while the world marveled at the grandiose spectacle of the First World Exhibition, with its towering steamships and whirring machinery, the Pre-Raphaelites turned their gaze inward, seeking to restore order to a society teetering on the brink of moral decay.

At the heart of their mission lay a simple yet profound truth: that beauty, craftsmanship, and integrity were not relics of the past, but guiding principles that should inform every aspect of human endeavor. In the eyes of John Ruskin, the influential art critic and champion of the Pre-Raphaelite cause, the industrial revolution represented not progress, but regression—a betrayal of the very values that had once made England great.

Under Ruskin's patronage, the Pre-Raphaelites found both a mentor and a manifesto—a rallying cry for a return to the principles of nature, truth, and authenticity. With his impassioned rhetoric ringing in their ears, they set about their task with a fervor bordering on zeal, determined to revolutionize not just art, but every aspect of Victorian society.

And so, armed with Ruskin's vision and their own unyielding determination, the Pre-Raphaelites embarked on a quest to restore beauty to a world overrun by ugliness, to bring order to chaos, and to reclaim the lost art of craftsmanship from the clutches of mass production. It was a mission fraught with challenges and setbacks, but one that ultimately bore fruit in the form of a cultural renaissance—a rebirth of beauty, creativity, and meaning in an age of mechanical reproduction.

 

Nestled on the tranquil banks of the Hogsmill River, Millet and Hunt embarked on a botanical odyssey, immersing themselves in the rich tapestry of nature that would inspire their masterpieces. With keen eyes and nimble brushes, they meticulously captured the intricate beauty of flowers and trees, each stroke a testament to their unwavering dedication to authenticity.

In Millais' "Ophelia," the landscape unfolds with such botanical precision that it became a veritable classroom for eager students of rural England. One London teacher, recognizing the unparalleled accuracy of Millais' depiction, eschewed traditional excursions in favor of bringing his pupils to study the painting firsthand—a testament to the transformative power of art in the pursuit of knowledge.

Meanwhile, Hunt, in his quest for true-to-life color, pioneered a groundbreaking technique that would revolutionize the world of painting. By applying a base of white paint to his canvas, he discovered a way to capture the vibrant hues of nature with unparalleled accuracy. With delicate watercolor brushes, he painstakingly rendered every leaf and petal, imbuing his works with the scientific precision of botanical illustration.

The impact of their meticulous field sketches extended far beyond the realm of art, heralding a new era in design and craftsmanship. No longer bound by the constraints of tradition, artists and artisans alike found inspiration in the living tapestry of nature, weaving its vibrant hues and delicate forms into the fabric of their creations.

As the unshakable academic rules of the past began to crumble, a new aesthetic emerged—one rooted in the raw beauty of the natural world. Gone were the conventional trees and flowers of yore, replaced instead by living herbs and vines bathed in the warm glow of the sun—a testament to the enduring power of art to shape the world around us. And thus, with each brushstroke, a new chapter in the history of creativity was written—one defined by innovation, authenticity, and the boundless wonders of nature.

Arts, Crafts and Money

 

Bolstered by the unwavering support of John Ruskin, whose influence knew no bounds in England, the Pre-Raphaelites swiftly ascended to fame and fortune. They were pioneers in every sense, the first group of artists in Europe whose work transcended the confines of elite galleries to reach the masses. With Ruskin's endorsement echoing across the land, their art became a cultural phenomenon, captivating audiences far and wide.

Art dealers clamored to acquire their paintings, and soon, grandiose exhibition tours swept through cities across England, igniting a fervor for Pre-Raphaelite art that knew no bounds. From the bustling streets of London to the far-flung corners of America, Australia, Canada, and New Zealand, their works captivated hearts and minds, sparking a global renaissance in artistic appreciation.

In 1857, Hunt, Millet, and Rossetti received a prestigious commission to illustrate an edition of Tennyson's poems—a watershed moment that ushered in a golden age of book illustration in England. With their exquisite engravings adorning the pages of literary classics, they brought beauty and wonder to the printed word, enchanting readers with their ethereal visions.

But it was not just their paintings that captivated the public imagination—it was their ability to transform everyday life into art. Rossetti's haunting "Proserpina" was reproduced countless times, while Hunt's iconic "The Light of the World" became a symbol of spiritual enlightenment for generations to come. And then there was Millais' "Bubbles," a whimsical portrayal of childhood innocence that captured the hearts of millions. So ubiquitous was its image that it found its way into every English home, adorning walls and mantelpieces alike, a testament to the enduring power of art to transcend the mundane.

But perhaps the most remarkable legacy of all is the story of Millet's grandson, immortalized in the iconic painting. As he grew to manhood, he would follow in his grandfather's footsteps, rising to become an admiral in the Royal Navy—a fitting tribute to the enduring legacy of the Pre-Raphaelites, whose influence would continue to shape the world for generations to come.

 

But beyond the whimsical realm of advertising soap, the true merit of Pre-Raphaelite art lay in its profound impact on the world around it. Long before the rise of the Nabi group and the emergence of Art Nouveau, the Pre-Raphaelites were pioneers in the quest to reshape society according to the dictates of art. And indeed, there was much in need of transformation: a society weary from centuries of austerity and restraint, now intoxicated by the possibilities of newfound wealth and industrial progress.

In this era of opulence and excess, Englishmen of means sought to adorn their homes with lavish displays of wealth and taste. From ornate draperies and gilded furniture to elaborate wallpapers and intricate textiles, every aspect of interior design was fair game. Yet amidst this sea of ostentation, a quiet revolution was brewing—a rebellion against the garish excesses of Victorian eclecticism.

Enter William Morris, the visionary designer and protégé of Rossetti, whose friendship and collaboration with the Pre-Raphaelites would forever alter the course of design history. Alongside his comrades at Morris, Marshall, Faulkner & Co, Morris set out to redefine the very concept of design, crafting household items, wallpaper, and textiles inspired by the principles of art and beauty.

With Rossetti, Burne-Jones, and Madox Brown at his side, Morris embarked on a quest to create a new aesthetic—one rooted in simplicity, integrity, and authenticity. Together, they revolutionized the world of stained glass, furniture, and tapestries, infusing each creation with a sense of purpose and meaning.

In their hands, the vulgar excesses of Victorian eclecticism gave way to a new era of artistic expression—one defined by clarity of vision and purity of form. No longer content to simply adorn walls and mantelpieces, Pre-Raphaelite art now sought to transform the very fabric of daily life, infusing it with beauty, meaning, and purpose.

And so, as ideas and images flowed forth from the studios of Morris and his cohorts, a new chapter in the history of design was written—one that would forever change the way we view the world around us. For the Pre-Raphaelites were not merely artists; they were visionaries, whose legacy continues to inspire and captivate audiences to this day.

In conclusion, Pre-Raphaelite art is an excellent example of revolutionary art in the 19th century. Characteristics of their work, such as a commitment to realism, a return to classical themes and legends, and an emphasis on detail and symbolism, made their art unique and inspiring. The Pre-Raphaelites didn't just create beautiful paintings, they broke new ground in art, rising above the conventions of their time and causing a revolution in the perception and interpretation of artistic creativity. Their works have had a significant impact on the development of artistic culture and continue to inspire researchers and artists around the world, confirming their eternal revolutionary nature and relevance in the world of art.

Our catalog presents paintings of various genres and eras, covering a wide range of artistic styles and movements. From classic portraits and landscapes to abstract compositions and modern experiments with form and color. Each painting in our assortment is unique and reflects the diversity of humankind's artistic heritage, offering pleasure and inspiration to all art lovers.