L’opera della Pre-Raphaelite Brotherhood. Walter Hamilton, The Aesthetic Movement in England , 1882. - * William Holman Hunt - * Sir John Everett Millais * Dante Gabriel Rossetti F . G. Stephens - * William Michael Rossetti * James Collinson
Discorsotenutopressoil Social Science Congress a Manchester nel 1879 da Sir Coutts Lindsay, fondatoredella Grosvenor Gallery :
“Their creed involved the denial of everything the English school had hitherto held sacred. They accepted Nature alone to be their future guide and Bible, and in it they beheld the condemnation of all art except the earliest art of Italy…. These men threw themselves passionately into the study of the natural, and had implicit faith in the all-teaching of Nature without assistance from the stores of past knowledge. “
Pre-Raphaelitism is not Pre-Raphaelism. Raphael in his prime was an artist of the most independent and daring course as to convention. (…) What had cost Perugino, FraBartolomeo, Leonardo da Vinci, and Michael Angelo more years to develop than Raphael lived, he seized in a day—nay, in one single inspection of his precursors\' achievements. His rapacity was atoned for by his never-stinted acknowledgments of his indebtedness, and by the reverent and philosophical use in his work of the prizes that he seized. (…)
What he gained (…) was the power to prove that the human figure is of nobler proportion, and has grander capabilities of action than is seen by the casual eye, and that for large work, expression must mainly depend upon movement of the body. (…) There is no need here to trace any failure in Raphael\'s career; but the prodigality of his productiveness, and his training of many assistants, compelled him to lay down rules and manners of work; and his followers, even before they were left alone, accentuated his poses into postures.
“ It is simply fuller Nature we want. Revivalism, whether it is of classicism or medievalism, is seeking after dry bones�”.
Da un colloquio tra Hunt e Rossetti
“That choiche of colours, blue-green, purples, violet, (…) came to be one of the marks of much Preraphaelite painting; colourwhich, however naturalistically rendered, was selective, aimed at producing certain emotional effects”.
Poetry of particulars