Monna Rosa

A month ago I spoke to my niece, Drew Benton, on the phone. It was the first conversation we had. We talked about art. When we hung up, I saw a white butterfly flirting with the flowers on my patio. I felt the essence of Drew, and her mother. I sent Drew a necklas of a dragonfly two weeks later, and we talked about the painting I am doing of Drew’s great grandmother, Mary Magdalene Rosamond, sitting under a tree on Anacapa Island. I was overjoyed at there being another creative soul in our family.

The artist Christine Rosamond Benton was my disciple. Until this truth is accepted, there can be no story of Rosamond. In my e-mail to my daughter and her mother I speak of the Rose of the World years before I read about the Roza Mira prophecy. I speak of the Nazarene and Pre-Raphaelite Artists whom I discovered in 1969 and adopted as a means to channel the spirituality I encountered in my near-death experience on McClure’s Beach.

This bond that Drew and I have, spans time and distance. It is a Bond of Angels and Muses. I own the end of my story ‘Capturing Beauty’ for it is what we do, we Artists of the World, we…………….Roses of the World.

Jon Presco

President: Royal Rosamond Press

Pre-Raphaelite BrotherhoodFrom Wikipedia, the free encyclopediaJump to: navigation, search

Proserpine, by Dante Gabriel RossettiThe Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were soon joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form a seven-member “brotherhood”.

The group’s intention was to reform art by rejecting what they considered to be the mechanistic approach first adopted by the Mannerist artists who succeeded Raphael and Michelangelo. They believed that 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. In particular, they objected to the influence of Sir Joshua Reynolds, the founder of the English Royal Academy of Arts, whom they called “Sir Sloshua”. To the Pre-Raphaelites, according to William Michael Rossetti, “sloshy” meant “anything lax or scamped in the process of painting … and hence … any thing or person of a commonplace or conventional kind”.[1] In contrast, they wanted to return to the abundant detail, intense colours, and complex compositions of Quattrocento Italian and Flemish art.

The Pre-Raphaelites have been considered the first avant-garde movement in art, though they have also been denied that status, because they continued to accept both the concepts of history painting and of mimesis, or imitation of nature, as central to the purpose of art. However, the Pre-Raphaelites undoubtedly defined themselves as a reform-movement, created a distinct name for their form of art, and published a periodical, The Germ, to promote their ideas. Their debates were recorded in the Pre-Raphaelite Journal.

Contents [hide]
1 Beginnings of the Brotherhood
2 Early doctrines
3 Public controversies
4 Later developments and influence
5 List of artists
5.1 The Pre-Raphaelite Brotherhood
5.2 Associated artists and figures
5.3 Loosely associated artists
6 Collections
7 Portrayal in popular culture
8 Books
9 See also
10 Notes
11 References
12 External links

[edit] Beginnings of the Brotherhood
Illustration by Holman Hunt of Thomas Woolner’s poem “My Beautiful Lady”, published in The Germ, 1850The Pre-Raphaelite Brotherhood was founded in John Millais’s parents’ house on Gower Street, London in 1848. At the initial meeting, John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt were present. Hunt and Millais were students at the Royal Academy of Arts. They had previously met in another loose association, a sketching-society called the Cyclographic Club. Rossetti was a pupil of Ford Madox Brown. He had met Hunt after seeing his painting The Eve of St. Agnes, which is based on Keats’s poem.[2] As an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. By autumn, four more members had also joined, to form a seven-member-strong Brotherhood. These were William Michael Rossetti (Dante Gabriel Rossetti’s brother), Thomas Woolner, James Collinson, and Frederic George Stephens.[2] Ford Madox Brown was invited to join, but preferred to remain independent. He nevertheless remained close to the group. Some other young painters and sculptors were also close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. They kept the existence of the Brotherhood secret from members of the Royal Academy.

[edit] Early doctrinesThe Brotherhood’s early doctrines were expressed in four declarations: have genuine ideas to express study Nature attentively, so as to know how to express them sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parodying and learned by rote
4.most indispensable of all, to produce thoroughly good pictures and statues
These principles are deliberately non-dogmatic, since the Brotherhood wished to emphasise the personal responsibility of individual artists to determine their own ideas and methods of depiction. Influenced by Romanticism, they thought that freedom and responsibility were inseparable. Nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. This emphasis on medieval culture was to clash with certain principles of realism, which stress the independent observation of nature. In its early stages, the Pre-Raphaelite Brotherhood believed that their two interests were consistent with one another, but in later years the movement divided and began to move in two directions. The realist-side was led by Hunt and Millais, while the medievalist-side was led by Rossetti and his followers, Edward Burne-Jones and William Morris. This split was never absolute, since both factions believed that art was essentially spiritual in character, opposing their idealism to the materialist realism associated with Courbet and Impressionism.

The Pre-Raphaelite Brotherhood was greatly influenced by nature and they used great detail to show the natural world using bright and sharp focus techniques on a white canvas. In their attempts to revive the brilliance of colour found in Quattrocento art, Hunt and Millais developed a technique of painting in thin glazes of pigment over a wet white ground. They hoped that in this way their colours would retain jewel-like transparency and clarity. This emphasis on brilliance of colour was in reaction to the excessive use of bitumen by earlier British artists, such as Reynolds, David Wilkie and Benjamin Robert Haydon. Bitumen produces unstable areas of muddy darkness, an effect that the Pre-Raphaelites despised.

[edit] Public controversiesThe first exhibition of Pre-Raphaelite work occurred in 1849. Both Millais’s Isabella (1848–1849) and Holman Hunt’s Rienzi (1848–1849) were exhibited at the Royal Academy, and Rossetti’s Girlhood of Mary Virgin was shown at the Free Exhibition on Hyde Park Corner. As agreed, all members of the Brotherhood signed works with their name and the initials “PRB”. Between January and April 1850, the group published a literary magazine, The Germ. William Rossetti edited the magazine, which published poetry by the Rossettis, Woolner, and Collinson, together with essays on art and literature by associates of the Brotherhood, such as Coventry Patmore. As the short run-time implies, the magazine did not manage to achieve a sustained momentum. (Daly 1989)

Christ In the House of His Parents, by John Everett Millais, 1850In 1850 the Pre-Raphaelite Brotherhood became controversial after the exhibition of Millais’s painting Christ In The House Of His Parents, considered to be blasphemous by many reviewers, notably Charles Dickens.[3] (Dickens considered Millais’ Mary to be ugly.[4] Interestingly enough, Millais had actually used his sister-in-law Mary Hodgkinson as a model for the Mary in his painting). Their medievalism was attacked as backward-looking and their extreme devotion to detail was condemned as ugly and jarring to the eye.[5] According to Dickens, Millais made the Holy Family look like alcoholics and slum-dwellers, adopting contorted and absurd “medieval” poses. A rival group of older artists, The Clique, also used their influence against the Pre-Raphaelite Brotherhood. Their principles were publicly attacked by the President of the Academy, Sir Charles Lock Eastlake.

Following the controversy, Collinson left the Brotherhood. They met to discuss whether he should be replaced by Charles Allston Collins or Walter Howell Deverell, but were unable to make a decision. From that point on the group disbanded, though their influence continued to be felt. Artists who had worked in the style still followed these techniques (initially anyway) but they no longer signed works “PRB”.

Ophelia, by John Everett MillaisHowever, the Brotherhood found support from the critic John Ruskin, who praised their devotion to nature and rejection of conventional methods of composition. The Pre-Raphaelites were influenced by Ruskin’s theories. As a result, the critic wrote letters to The Times defending their work, later meeting them. Initially, he favoured Millais, who travelled to Scotland in the summer of 1853 with Ruskin and Ruskin’s wife, Effie, to paint Ruskin’s portrait.[6] Effie’s increasing attachment to Millais, among other reasons (including Ruskin’s non-consummation of the marriage[7]) created a crisis, leading Effie to leave Ruskin, have the marriage annulled on grounds that it had not been consummated, and marry Millais,[8] which caused a public scandal. Millais abandoned the Pre-Raphaelite style after his marriage, and Ruskin often savagely attacked his later works. Ruskin continued to support Hunt and Rossetti. He also provided independent funds to encourage the art of Rossetti’s wife Elizabeth Siddal.

[edit] Later developments and influence
Medea by Evelyn De Morgan, 1889, in quattrocento styleArtists who were influenced by the Brotherhood include John Brett, Philip Calderon, Arthur Hughes, Gustave Moreau, Evelyn De Morgan,[9] Frederic Sandys (who came into the Pre-Raphaelite circle in 1857),[9] and John William Waterhouse. Ford Madox Brown, who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles. One follower who developed his own distinct style was Aubrey Beardsley, who was pre-eminently influenced by Burne-Jones.[9]

After 1856, Dante Gabriel Rossetti became an inspiration for the medievalising strand of the movement. Dante Gabriel Rossetti became the link to the two different types of Pre Raphaelite painting (nature vs. Romance) after the PRB became lost in the late 1800s. Rossetti, although the least committed to the brotherhood, continued the name and changed the Brotherhoods style drastically. He began painting versions of femme fatales using models like Jane Morris, in paintings such as: Proserpine, the blue silk dress, La Pia de’ Tolomei, etc. His work influenced his friend William Morris, in whose firm Morris, Marshall, Faulkner & Co. he became a partner, and with whose wife Jane he may have had an affair. Ford Madox Brown and Edward Burne-Jones also became partners in the firm. Through Morris’s company the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in medieval designs, as well as other crafts. This led directly to the Arts and Crafts movement headed by William Morris. Holman Hunt was also involved with this movement to reform design through the Della Robbia Pottery company.

After 1850, both Hunt and Millais moved away from direct imitation of medieval art. Both stressed the realist and scientific aspects of the movement, though Hunt continued to emphasise the spiritual significance of art, seeking to reconcile religion and science by making accurate observations and studies of locations in Egypt and Palestine for his paintings on biblical subjects. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned this reversal of principles.

The movement influenced the work of many later British artists well into the twentieth century. Rossetti later came to be seen as a precursor of the wider European Symbolist movement. In the late twentieth century the Brotherhood of Ruralists based its aims on Pre-Raphaelitism, while the Stuckists and the Birmingham Group have also derived inspiration from it.

Birmingham Museum & Art Gallery has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young J.R.R. Tolkien,[10] who would later go on to write his novels, such as The Hobbit and The Lord of the Rings, with their influence taken from the same mythological scenes portrayed by the Pre-Raphaelites.

In the twentieth century artistic ideals changed and art moved away from representing reality. Since the Pre-Raphaelites were fixed on portraying things with near-photographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many painters and critics. In particular, after the First World War, British Modernists associated Pre-Raphaelite art with the repressive and backward times in which they grew up. In the 1960s there was a major revival of Pre-Raphaelitism. Exhibitions and catalogues of works, culminating in a 1984 exhibition in London’s Tate Gallery, re-established a canon of Pre-Raphaelite work.[11]

[edit] List of artists[edit] The Pre-Raphaelite BrotherhoodJames Collinson (painter)
William Holman Hunt (painter)
John Everett Millais (painter)
Dante Gabriel Rossetti (painter, poet)
William Michael Rossetti (critic)
Frederic George Stephens (critic)
Thomas Woolner (sculptor, poet)
[edit] Associated artists and figuresJohn Brett (painter)
Ford Madox Brown (painter, designer)
Richard Burchett (painter, educator)
Edward Burne-Jones (painter, designer)
Charles Allston Collins (painter)
Frank Cadogan Cowper (painter)
Fanny Cornforth (artist’s model)
Henry Holiday (painter, stained-glass artist, illustrator)
Walter Howell Deverell (painter)
Arthur Hughes (painter, book illustrator)
Robert Braithwaite Martineau (painter)
Annie Miller (artist’s model)
Jane Morris (artist’s model)
Louisa, Marchioness of Waterford (painter and artist’s model)
May Morris (embroiderer and designer)
William Morris (designer, writer)
Christina Rossetti (poet and artist’s model)
John Ruskin (critic)
Anthony Frederick Augustus Sandys (painter)
Thomas Seddon (painter)
Frederic Shields (painter)
Elizabeth Siddal (painter, poet and artist’s model)
Simeon Solomon (painter)
Marie Spartali Stillman (painter)
Algernon Charles Swinburne (poet)
Henry Wallis (painter)
William Lindsay Windus (painter)
[edit] Loosely associated artistsSophie Gengembre Anderson (painter)
Wyke Bayliss (painter)
George Price Boyce (painter)
Joanna Mary Boyce (painter)
Sir Frederick William Burton (painter)
Julia Margaret Cameron (photographer)
James Campbell (painter)
John Collier (painter)
William Davis (painter)
Evelyn De Morgan (painter)
Frank Bernard Dicksee (painter)
John William Godward (painter)
Thomas Cooper Gotch (painter)
Charles Edward Hallé (painter)
Edward Robert Hughes (painter)
John Lee (painter)
Edmund Leighton (painter)
Frederic, Lord Leighton (painter)
James Lionel Michael (minor poet, mentor to Henry Kendall)
Charles William Mitchell (painter)
Joseph Noel Paton (painter)
John William Waterhouse (painter)
Daniel Alexander Williamson (painter)
James Tissot (painter)
James Abbott McNeill Whistler (painter)
Aubrey Beardsley (illustrator)

[edit] CollectionsThere are major collections of Pre-Raphaelite work in the Tate Gallery, Victoria and Albert Museum, Manchester Art Gallery, Lady Lever Art Gallery, Liverpool’s Walker Art Gallery and Birmingham Museum and Art Gallery. The Delaware Art Museum has the most significant collection of Pre-Raphaelite art outside the United Kingdom.

Andrew Lloyd Webber is an avid collector of Pre-Raphaelite works and a selection of 300 items from his collection were shown at a major exhibition at the Royal Academy in 2003.

The National Trust houses at Wightwick Manor, Wolverhampton, and at Wallington Hall, Northumberland, both have significant and representative collections.

[edit] Portrayal in popular cultureThe story of the Brotherhood, from their controversial first exhibition through to their eventual embracement by the art establishment, has been depicted in two BBC television series. The first, The Love School, was broadcast in 1975; the second is the 2009 BBC television drama serial Desperate Romantics by Peter Bowker. Although much of the latter’s material is derived from Franny Moyle’s factual book Desperate Romantics: The Private Lives of the Pre-Raphaelites,[12] the series occasionally departs from established facts in favour of dramatic licence and is prefaced by the disclaimer: “In the mid-19th century, a group of young men challenged the art establishment of the day. The pre-Raphaelite Brotherhood were inspired by the real world around them, yet took imaginative licence in their art. This story, based on their lives and loves, follows in that inventive spirit.”[13] Ken Russell’s television film Dante’s Inferno (1967) contains brief scenes on some of the leading Pre-Raphaelites but mainly concentrates on the life of Rossetti, played by Oliver Reed.

In Jacob encountering Rachel with her father’s herd, Joseph von Führich attempts to recapture the mood of Perugino and Raphael, 1836 (Österreichische Galerie, Vienna)
The name Nazarene was adopted by a group of early 19th century German Romantic painters who aimed to revive honesty and spirituality in Christian art. The name Nazarene came from a term of derision used against them for their affectation of a biblical manner of clothing and hair style.

1 History
2 Legacy
3 Notable members
4 Painters
5 See also
6 Further reading
[edit] History
In 1809, six students at the Vienna Academy formed an artistic cooperative in Vienna called the Brotherhood of St. Luke or Lukasbund, following a common name for medieval guilds of painters. In 1810 four of them, Johann Friedrich Overbeck, Franz Pforr, Ludwig Vogel and Johann Konrad Hottinger moved to Rome, where they occupied the abandoned monastery of San Isidoro. They were joined by Philipp Veit, Peter von Cornelius, Julius Schnorr von Carolsfeld, Friedrich Wilhelm Schadow and a loose grouping of other German artists. They met up with Austrian romantic landscape artist Joseph Anton Koch (1768–1839) who became an unofficial tutor to the group. In 1827 they were joined by Joseph von Führich (1800–1876) (illustration above right).
The principal motivation of the Nazarenes was a reaction against Neoclassicism and the routine art education of the academy system. They hoped to return to art which embodied spiritual values, and sought inspiration in artists of the late Middle Ages and early Renaissance, rejecting what they saw as the superficial virtuosity of later art.
In Rome the group lived a semi-monastic existence, as a way of re-creating the nature of the medieval artist’s workshop. Religious subjects dominated their output, and two major commissions allowed them to attempt a revival of the medieval art of fresco painting. Two fresco series were completed in Rome for the Casa Bartholdy (1816–17) (moved to the Alte Nationalgalerie in Berlin) and the Casino Massimo (1817–29), and gained international attention for the work of the ‘Nazarener’. However, by 1830 all except Overbeck had returned to Germany and the group had disbanded. Many Nazareners became influential teachers in German art academies.
[edit] Legacy
The artistic achievement of the Nazarenes is difficult to evaluate; their finished paintings appear less impressive with the perspective of history than they did to their contemporaries. Awkward composition, weak colouring and derivative themes detract from the challenge of their work in its time. However, the programme of the Nazarenes—the adoption of honest expression in art and the inspiration of artists before Raphael—was to exert considerable influence in Germany, and in England upon the Pre-Raphaelite movement. In their abandonment of the academy and their rejection of much official and salon art, the Nazarenes can be seen as partaking in the same anti-scholastic impulse that would lead to the avant-garde in the later nineteenth century.
[edit] Notable members
Peter von Cornelius
Josef Führich
Johann Konrad Hottinger
Johann Friedrich Overbeck
Franz Pforr
Friedrich Wilhelm Schadow
Julius Schnorr von Karolsfeld
Eduard Jakob von Steinle
Philipp Veit
Johannes Veit
Ludwig Vogel
Eugene Von Guerard
[edit] Painters

Joseph Anton Koch, Detail des Dante-Zyklus in der Casa Massimo
Carl Joseph Begas
Peter von Cornelius
Ernst Deger
Konrad Eberhard
Carl Eggers
Marie Ellenrieder
Gebhard Flatz
Joseph von Führich
Josef von Hempel
Matthias Goebbels
Franz Ittenbach
Gustav Jäger
Johannes Kaspar
Leopold Kupelwieser
Friedrich Lange
Ferdinand Olivier
Friedrich Olivier
Johann Friedrich Overbeck
Johann David Passavant
Carl Gottlieb Peschel
Franz Pforr
Johann Anton Ramboux
Theodor Rehbenitz
Wilhelm von Schadow
Johann Scheffer von Leonhartshof
Julius Schnorr von Carolsfeld
Ludwig Schnorr von Carolsfeld
Johann von Schraudolph
Claudius Schraudolph der Ältere
Joseph Anton Nikolaus Settegast
Eduard von Steinle
Philipp Veit
Johannes Veit
Josef Wintergerst
Johann Michael Wittmer

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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