The Pre-Raphaelite Revolt - ACE012.2

Flowers and other plants from paintings. Commentary quotes "Truth, in every particular, ought to be the aim of the artist. There is that in the fact of Truth, though it be only in the nature of a single leaf, earnestly studied, which may have its share in the great labour of the world." Commentary says that the Pre-Raphaelites wanted to return to a vision and "a truth to nature" that they believed English art had lost since the 15th century. William Holman Hunt’s 1848 Portrait of Dante Gabriel Rossetti who, in that year, suggested the "Pre-Raphaelite Brotherhood". Portrait of Holman Hunt by Rossetti (1848). Holman Hunt’s chalk portrait of John Everett Millais (1853). Rossetti’s sketches of Millais and Holman Hunt (c.1853). Various drawings and sketches. Face studies, intercut with paintings of the same for Lorenzo and Isabella (1849), from a poem by Keats. Sketches for and painting, Millais’s Christ in the House of His Parents (1850) which caused a scandal at the Royal Academy exhibition. Long quotation from The Times heard over. Sketches and painting for Mariana in the Moated Grange (1851); part of Tennyson’s poem (1830) read over. The Return of the Dove to the Ark (1851). John Ruskin’s encouraging letters to The Times brought more general approval. Millais’s portrait of John Ruskin (1853); Ruskin’s description heard over. Ruskin’s own drawing of the same rocks and river-bank. Commentary says that Ruskin approved of the Pre-Raphaelites because they put into practice his own ideas about "truth to nature". Details of sketches and paintings of plants and landscape features. Ruskin regarded Millais as "the truest Pre-Raphaelite of them all". Ophelia (1852). The Order of Release (1853). Autumn Leaves (1856).