Displaying items by tag: preraphaelite

It has been one of the more intriguing art historical mysteries for more than a century: did the great pre-Raphaelite Dante Gabriel Rossetti touch up a Botticelli painting he owned by giving the sitter a vibrant red rinse?

On Thursday, curators at the Victoria and Albert Museum gave the definitive answer – the red hair of the 15th-century woman known as Smerelda Bandinelli is her own and the supposed Rossetti intervention can finally be laid to rest as a myth.

Hawthorne Fine Art is pleased to announce the opening of its upcoming exhibition, "Ever So Faithful: The Pre-Raphaelite Landscapes of Edward Custer (1837–1881)." Featuring a diverse group of newly-acquired works by...

To continue reading this article about the Pre-Raphaelite landscapes of Edward Custer, please visit InCollect.com.

A remarkable study for "Flaming June," one of the best known of all Pre-Raphaelite paintings, has been discovered hanging discreetly behind a bedroom door in an English country mansion.

The discovery of the head study for Sir Frederic Leighton’s picture was announced on Friday – one of many extraordinary secrets to emerge from a 16th-century manor house owned by Mary, Duchess of Roxburghe until her death, aged 99, last year.

In Blair’s defence, his Victorian guru was so prolific in so many fields, it’s near-impossible to keep track of all he did. Morris is perhaps best known nowadays for his densely-patterned, curly-leaf wallpaper, so popular in middle class homes in the Seventies.

In 1855, Edward Burne-Jones and William Morris, student friends at Oxford, decided to abandon their theological studies and become artists. They turned for guidance to Dante Gabriel Rossetti, a leader of the recently disbanded Pre-Raphaelite Brotherhood (1848-1853), a group that galvanized British painting by rejecting academic convention and sought to emulate the vividness and sincerity of art from before the time of Raphael.

The creative dialogue between Burne-Jones, Morris, and Rossetti was remarkable for its intensity, productivity, and duration, and stimulated fresh goals and styles that defined the second wave of Pre-Raphaelite art, in the key decades from the 1860s through the 1890s.

The Delaware Art Museum will auction off one of its iconic Pre-Raphaelite paintings, "Isabella and the Pot of Basil" at Christie's in London next month, museum officials announced Tuesday. The William Holman Hunt oil painting, purchased by the museum in 1947, is one of as many as four works the museum will sell over the next several months to pay off construction debt and replenish its endowment. The Delaware museum boasts the most significant collection of Pre-Raphaelite works outside of the United Kingdom.

Museum officials have declined to release the names of the other works, explaining that it could hurt the market for private sales. They have promised not to sell any works acquired through gift or bequest. Winslow Homer's "Milking Time," one of the museum's most treasured works purchased in 1967, disappeared from its wall and collections database last month. Museum officials won't confirm that it is scheduled to be sold.

The Delaware Art Museum in Wilmington is trying to track down a group of visitors who recently vandalized a number of the institution’s works with stickers. The stickers, which feature some religious script and imagery, were placed on a number of Pre-Raphaelite paintings and an outdoor statue. Other stickers with a large red “T” were also placed on the paintings.

The vandals were captured on the museum’s security cameras, but attempted to hide their identities. The stickers have been successfully removed by a painting conservator, but the amount of damage done to the collection is unknown. The Delaware Art Museum has one of the most celebrated collections of Pre-Raphaelite art outside of Britain.

In March, the Delaware Art Museum announced that it would deaccession four works from its collection to pay off its $19.8 million bond debt and replenish its endowment. The institution has not specified which works it plans to sell.  

The National Academy Museum in New York presents William Trost Richards: Visions of Land and Sea. The exhibition features approximately 60 works by the 19^th century painter from the museum’s permanent collection. The National Academy houses a significant collection of Richards’ works thanks to the estate of the artist’s daughter, Anna Richards Brewster, which bequeathed over 100 works spanning Richards’ career to the museum in 1954.

William Trost Richards, a native of Philadelphia, was an American landscape painter associated with the Hudson River School as well as the American Pre-Raphaelite movement. Richards studied intermittently with the German-born landscape painter Paul Weber in the 1850s and greatly admired the works of Thomas Cole, Frederic Edwin Church and the English Pre-Raphaelites. Richards is best known for his landscapes and marine paintings of Rhode Island, the White Mountains and the shorelines of Great Britain, France and Norway.

William Trost Richards: Visions of Land and Sea will be on view at the National Academy Museum through September 8, 2013.

England’s Ashmolean Museum has acquired one of the most important Pre-Raphaelite paintings remaining in private hands. John Everett Millais’ (1829-1896) portrait of John Ruskin, the leading English art critic of the Victorian era, has been on loan to the institution since January 2012. The work was officially given to the museum by the Art Council England under the Acceptance in Lieu of Inheritance plan, which stipulates that under British tax law debts can be written off in exchange for objects of national significance. The painting recently appeared in Tate Britain’s highly successful exhibition Pre-Raphaelites: Victorian Avant-Garde.

Millais, one of the founders of the Pre-Raphaelite brotherhood, was commissioned to paint the portrait in 1853 by Ruskin himself. While working on the painting, Milliais fell in love with Ruskin’s wife, which ultimately led to the breakdown of the Ruskins’ marriage, Millais’ friendship with Ruskin, and the artist’s involvement with the Pre-Raphaelite movement. After marrying Ruskin’s wife, Effie, Millais gave the portrait to a friend in Oxford, Henry Wentworth Acland. The portrait remained in Acland’s family until his descendants sold it at Christie’s in 1965, where the late owner of the painting purchased it.

The Pre-Raphaelite Brotherhood, which formed in 1848, was a group of English painters, poets, and critics who rejected the traditional approaches to art and painting established by the Mannerist artists who succeeded Raphael (1483-1520) and Michelangelo (1473-1564). Instead, the Pre-Raphaelites turned to medieval and early Renaissance art for inspiration often painting subjects from Shakespeare and the Bible. Pre-Raphaelitism, which rattled Britain from 1848 to 1900, was considered the country’s first avant-garde movement.