The American Pre-Raphaelites – Radical Realists is the catalog of an exhibition of some 90 works by American artists influenced by John Ruskin (1819-1900) in celebration of the 200th anniversary of ...his birth, held at the National Gallery of Art in Washington DC from April 14 to July 21, 2019. The exhibit took place 34 years after a pioneering exhibition organized by the Brooklyn Museum in 1985, The New Path: Ruskin and the American Pre-Raphaelites, named after their short-lived radical mouthp...
The article deals with the main principles of aestheticism reflected in the literary works of Mikhail Kuzmin, the author of well-known lines: “Широки и спокойны струи, Как судоходный Дунай!” The ...sources of M. Kuzmin’s aestheticism, such as ideas of Pre-Raphaelites, French symbolists, English aesthetes are under investigation. It is stated that literary heritage of Oscar Wilde greatly influenced M. Kuzmin’s critical works.
From the direct gaze of his early self-portraits in the 1850s to the photographs he took of himself in 1889 as the head of a large family, John Brett was clearly concerned to present himself as a ...'manly' painter. This article will argue that, eschewing the Bohemian masculinity of Dante Gabriel Rossetti, Brett's later writings, both public and private, show his allegiance to militaristic and imperialistic constructions of masculinity. These are at their purest in his role as 'captain' of his yacht, the appropriately named Viking, in the early to mid-1880s, a few years after he painted Britannia's Realm (1880).
Temática amplamente divulgada pel’Os Lusíadas de Camões, o episódio trágico de Inês de Castro repercutiu-se nas artes visuais, em particular na pintura de história, a partir do Romantismo. Com a ...alusão à Quinta das Lágrimas, nela se insinua também o motivo da paisagem, em sintonia com o Naturalismo e a aproximação aos valores estéticos do Impressionismo pelos artistas portugueses. Uma abertura à modernidade, que inclui a fotografia e o encontro, ainda, com o movimento Pré-Rafaelita, redimensionando o mito no imaginário oitocentista e identitário da arte nacional.
Par bien des côtés, Maurice Barrès (1862-1923) aurait pu être un dévot de Ruskin : amateur d’art formé par les esthètes de Londres, lecteur assidu de l’ouvrage de Rio, De l’art chrétien, écrivain de ...Venise, homme politique évoluant vers le traditionalisme, défenseur des églises de France, un des pères de la loi sur le patrimoine de 1913. Pourtant, Barrès résiste aux idées de Ruskin, en raison de son penchant pour la Renaissance italienne, de son affinité plus grande avec les goûts et la sensibilité de Walter Pater et de Stendhal, et peut-être en réaction à un phénomène de mode comme le montre sa satire des pèlerins de Ruskin. Pour répondre à Ruskin, il ne met pas en place un essai théorique sur l’art, mais insère au sein de romans ou d’écrits de voyage de brèves méditations polémiques, où la connaissance du texte de première main gagne du terrain au fil du temps et qui portent pour l’essentiel sur la place à accorder à la Renaissance italienne et sur la représentation de Venise. Barrès joue ainsi un rôle paradoxal dans la diffusion de Ruskin en France : il contribue à le faire connaître — il est l’un des premiers et rares à le nommer dans un roman et, en 1904, il incite Proust à traduire St Mark’s Rest —, tout en devenant un modèle de la résistance à Ruskin : Rebell, Daudet et Vaudoyer illustrent la manière dont Barrès a servi de chef de file, ou du moins de caution, à la réaction anti-ruskinienne en France.
The National Portrait Gallery's Victorian Giants: The Birth of Art Photography (2018) was the first exhibition to examine photography as “the art of the future” (Cullinan 6). Defying earlier ...conventions of still, dull portraiture, mid-century Victorian photographers turned the medium into an art form. While recent scholarship draws parallels between photography and painting, this essay gestures toward connections between art photography and Pre-Raphaelite poetry by examining the photographic process of Julia Margaret Cameron alongside her poem “On a Portrait” (1876). Positioning Cameron within a larger Pre-Raphaelite tradition, this essay argues that discourses surrounding nineteenth-century photography can help us to understand the characteristics of literary Pre-Raphaelitism and to broaden scholarly conceptions of Pre-Raphaelitism beyond the Pre-Raphaelite Brotherhood.
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