Whereas in the Gladstone home illustrious and prominent statesmen, Anglican clergy, Oxbridge intellectuals, and artistic geniuses gathered,1 the Fitzroy Square set was decidedly more bohemian and ...unofficial: as Justin McCarthy describes in his Reminiscences, during the period contemporaneous with the Gladstones salons, an artistic London Bohemia developed around Fitzroy Square, the home of many painters and sculptors, authors and actors, journalists and politicians.2 As we shall see, Pre-Raphaelite associate and painter Ford Madox Brown was hosting regular gatherings at his Fitzroy Square home, brilliant parties3 that were held fortnightly from 1866 for about 8 years4 and were regularly attended by the core group of the PreRaphaelite circle including Dante Gabriel, William Michael, and Christina Rossetti; William Holman Hunt; Algernon Charles Swinburne; William Morris; and many more. ...these late Victorian innovations in music have had and continue to have enormous impact through musical settings that motivate translations and carry Pre-Raphaelite poetry around the globe.9 Today, melopoetics and the study of musical settings of Pre-Raphaelite poetry is an important and emergent stream of Pre-Raphaelite criticism. A Fitzrovian Bohemia In November 1865, Ford Madox Brown moved his family to a fashionable address at 37 Fitzroy Square, and there they became "serious party-givers" (Newman and Watkinson, p. 145) and as Madox Brown's own diary observes, this home became "distinguished as a centre for men of letters and from the world of art" (qtd. in Newman and Watkinson, p. 210, n. 25). The Madox Browns' "large and brilliant parties" hosted leading figures from "the worlds of art, literature, and politics"; indeed, Angela Thirlwell describes Madox Brown's home as "the nucleus and focus of the whole undefined organization" (pp. 218-219).
The entwining of the craft worker’s body both with the materials of her artistic process and with the craft object itself is central to an understanding of craft aesthetics. This paper addresses ...embodied craft in Lia Cook’s weavings, which foreground the artist’s body and the embodying dynamics of woven art. Cook’s work is read in relation to the Lady of Shalott, a fictional textile artist portrayed in Alfred Lord Tennyson’s poem by that name, and the painted versions of it by William Holman Hunt and other Pre-Raphaelite artists. Cook’s work emerges as an elaboration upon Pre-Raphaelite ideas for the digital age, and a useful model for understanding the embodied dynamics of craft aesthetics.
Pre-Raphaelites: Beauty and Rebellion presents new research into Pre-Raphaelites in Northern England to accompany an exhibition of artworks of the same title at Liverpool's Walker Art Gallery from ...February 2016
The intertextual dialogue between art and literature has played a significant role over the last centuries and even more so in contemporary fiction, as evidenced by the growing number of works that ...explore this theme. Considering the term interfigurality as a starting point, the character of Ophelia in Lisa Klein's homonymous novel Ophelia (2006) may not be considered to be exactly identical to the one depicted in William Shakespeare's Hamlet (1603). What Lisa Klein intends to offer is Ophelia's story from her own perspective since she had been silenced or to a greater extent, depicted by the male gaze such as her own father Polonius or Hamlet himself. That is why it is impossible to have two identical characters in two literary works by different authors. There is also a fine example of pictorial intertextuality in the film version of Klein's novel released in 2018, as it features images of Ophelia from the Pre-Raphaelite paintings. To examine the concept of reverse ekphrasis, I will examine John Everett Millais's painting Ophelia, which depicts Ophelia's drowning in Act IV. There have been many references and pastiche images of the drowned woman in art, film, and photography. Klein's intertextual dialogue with this Pre-Raphaelite painting, as well as the film adaptation of this novel, demonstrates the complexity of pictorial-film intertextuality. In order to demonstrate this, Shakespeare's text produces two dialogues that are in accordance: first, this text is transformed into images leading to the Pre-Raphaelite paintings, while Lisa Klein's novel is told from Ophelia's perspective through interfigurality. The mediums of image and word then are combined into creating another image, since Klein's text and the aforementioned Pre-Raphaelite painting are incorporated into a film adaptation. Keywords: Ophelia, Pre-Raphaelite painting, pictorial intertextuality, reverse ekphrasis, interfigurality
Pre-Raphaelites: Beauty and Rebellion presents new research into Pre-Raphaelites in Northern England to accompany an exhibition of artworks of the same title at Liverpool's Walker Art Gallery from ...February 2016.
The Petrie Museum of Egyptian and Sudanese Archaeology, University College London (UCL) has recently received a generous donation of a framed pencil study of a young woman's head, identified as Hilda ...Petrie (née Urlin). Over the past 12 months, the biography of this intriguing sketch has been reconciled from archival and art historical sources in preparation for its display as the centrepiece of the Petrie Museum's newly refurbished entrance gallery. Three key characters are associated with this drawing: the Pre-Raphaelite artist Henry Holiday, Hilda Urlin, and her husband William Matthew Flinders Petrie, whose life stories are closely linked. Here, the background to the artist, the sitter, and her well-known husband will be presented in the contemporary context of late 19th and early 20th century archaeology in Egypt.
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