12 Facts About Pre-Raphaelite Brotherhood


Pre-Raphaelite Brotherhood was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" modelled in part on the Nazarene movement.

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The Pre-Raphaelite Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman.

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Later followers of the principles of the Pre-Raphaelite Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse.

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The Brotherhood believed 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".

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Pre-Raphaelite Brotherhood was founded in John Millais's parents' house on Gower Street, London in 1848.

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Pre-Raphaelite Brotherhood was greatly influenced by nature and its members used great detail to show the natural world using bright and sharp-focus techniques on a white canvas.

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In 1850, the Pre-Raphaelite Brotherhood became the subject of controversy after the exhibition of Millais' painting Christ in the House of His Parents was considered to be blasphemous by many reviewers, notably Charles Dickens.

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Pre-Raphaelite Brotherhood found support from the critic John Ruskin, who praised its devotion to nature and rejection of conventional methods of composition.

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Pre-Raphaelite Brotherhood wrote to The Times defending their work and subsequently met them.

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Pre-Raphaelite Brotherhood was the link between the two types of Pre-Raphaelite painting after the PRB became lost in the later decades of the century.

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Pre-Raphaelite Brotherhood began painting versions of femme fatales using models like Jane Morris, in paintings such as Proserpine, The Blue Silk Dress, and La Pia de' Tolomei.

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The pre-Raphaelite Brotherhood were inspired by the real world around them, yet took imaginative licence in their art.

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