Page 19 - History 2020

Our English Coasts ,1852, Tate Britain, by Hunt, was originally intended to carry a

religious message this became lost and it is now recognised as a wonderfully faithful,
naturalistic view of the Sussex coastal landscape. There is attention to details of
natural forms clearly lit by bright cold seaside sunlight. It was painted in the open air
and displays an informality of composition with an even focus which is gives it a
snapshot immediacy. It depicts a collapsing coastline with sheep at the brink and the
lengthening shadows provide atmosphere. However, a steam ship is depicted and
indicates modernity.

By 1853 the original PRB had virtually dissolved, with only Hunt remaining true to its
stated aims. However the term 'Pre-Raphaelite' stuck to Rossetti and others,
including William Morris (Arts and Crafts Movement) and Edward Burne-Jones.
Hence the term PRB is associated with the much wider and long-lived art movement
including the dreamy, yearning images of women produced by Rossetti and his
followers. Rossetti was also influenced by medieval design and the fantasy world. For
example, Proserpine, Tate Britain, finished eventually in 1874, depicts a beautiful

woman with delicate facial features and slender hands. She had flawlessly pale skin
which sets of her raven hair. (Jane Morris, wife of William Morris, was the model.)

In 1858 Brown and other members founded the Hogarth Club as an alternative
exhibition space to the Royal Academy. Although the brothers who had painted as
one had now fragmented they came together in the golden age of illustration for
books. They produced many of the drawings for the woodcuts used to illustrate the
'Moxon Tennyson' which was a lavish 1857 edition of Tennyson’s poems.

By 1860 Rossetti was becoming more bohemian and reclusive and his paintings were
considered to risqué for public consumption although they had huge appeal for
patrons. Hunt went out to the East where he sought further inspiration. Millais
turned to child subjects as a way of making money to support his large family and his
portraits were of real children as they were at the time. His painting Bubbles, 1886,
Victoria and Albert Museum, London, was originally intended to carry a philosophical

message but was recognised for its marketing potential by the manufactures of Pears
soap and so became a poster. Perhaps Millais could be thought of as the first modern
commercial artist.

What about the ladies?
When comparing the roles of men and women artists associated with the PRB
Deborah Cherry notes that the 'male artist promoted his image as being irregular in
his hours, appearance, conduct, business transactions and sexual arrangements, the
very antithesis of the masculine professional identified by his thrift and punctuality,

the regularity of his habits and habitats. However, their unconventionality could not