The Pre-Raphaelite Revolt - ACE012.3

The Blind Girl (1856), with Winchelsea as the background. Ford Madox Brown’s paintings concentrating on the landscape itself, Carrying Corn (1855), Walton-on the-Naze (1856), An English Autumn Afternoon (1855). The Pretty Baa Lambs (1865) in which Ford used his wife, Emma as the model. Emma and Brown modelled for the figures in The Last of England (1855), described by Ford as being "in the strictest sense historical", representative of the immigration movement. Like The Last of England, Work (1865) is an "essay in social comment", the background of which shows Heath Street, Hampstead. Holman Hunt was a great adherent "to this principle of authenticity", for example in his painting, A Converted British Family sheltering a Christian Priest from the Persecution of the Druids (1850), and "the originator of most of the ideas behind Pre-Raphaelite technique and practice". Holman Hunt’s personal values led him towards Biblical subjects and moral tales: Claudio and Isabella (1849), Valentine Rescuing Silvia from Proteus (The Two Gentlemen of Verona) (1851), The Hireling Shepherd (1851) (commentary quotes from Ezekiel xxxiv 2-16 about prophesying against the shepherds), Our English Coasts (Strayed Sheep) (1852), The Scapegoat (1854), The Light of the World (1881) (John viii 12).