© Jeannette D’Souza 2022
My earlier visit to the Ashmolean this year filled me with even more eagerness to visit it’s premises again for a very interesting and intriguing reason, to view an internationally famous collection of the Pre-Raphaelites Brotherhood and their ‘stunners’, drawn in watercolours, chalk, pen and ink. With more than 100 artworks on display which included portraits, landscape, studies, sketches, art works from commissions and also subjects taken from history and so on… It was a moment when the lives and connections of the artists came to life while perusing through every painting. The inspiring work of the Pre Raphaelites Brotherhood (PRB )was special in it’s way- they believed in the naturalness of things, elements in their free state or stories in their pure form. A bold approach was taken to art defying convention, and their work focussed on artist’s works from pre-renaissance 15th century. The amazing works of the PRB shone with pure enthusiasm and zeal for descriptive scenes in the paintings. Their love of the outdoor scenes and landscapes while painting minute details, a strong passion for painting themes from centuries past medieval times- of knights and damsels, and furthermore bringing legends alive from literary works including poetry…all of which exuded a dynamic energy. Some of the moody, sombre or melancholic art forms in flowing style especially when painting portraits conveyed Elysian characteristics, incorporating intentionally it’s many forms that seemed lyrical, delicate and yet real. From topics of religious nature to legends, history and tales… it was an invigorating experience! I was drawn with a sort of magnetic impulse and charm to know more about their works and the ideas behind the ‘Pre Raphaelites’ art!
In 1848, seven young artists- John Everett Millais, William Holman Hunt, Frederic George Stephens, Thomas Woolner, James Collinson, William Michael Rossetti and Dante Gabriel Rosetti turned away from the then set methods of the Royal Academy. They formed a secret society, the Pre-Raphaelite brotherhood (PRB). They admired the artists of the centuries Pre-renaissance and set out to study nature, to paint serious subjects and to be original! As we eagerly strolled to gaze on the artworks of the 7 band of Pre Raphaelites and also their larger like minded group, we could only imagine their core thoughts and how they tried to change the sense of art and the direction of it’s existing times… influencing not only art in it’s wider forms but literature and in a way culture too. The splendid collections of the Pre-Raphaelites came from various sources, as the artists seemed connected in a way to Oxford and the university where the brotherhood collectively progressed. A number of them including William Hunt, William Morris, Burne Jones, John Ruskin studied at the Oxford university, and John Ruskin had great connections in the city of Oxford while some of them went on to paint the Oxford murals!
The inspiring collection was varied and spread over levels/rooms and each area bore a theme connecting the artists. The Pre Raphaelites were cared for by their early patrons Thomas Coombs and his wife Martha Combe who supported and encouraged the artists, they met frequently spending time together and they also commissioned the artist’s works too. As we entered the first hall we paused to admire the Coombe couple painted in watercolours, many of these drawings were donated by Martha to the Ashmolean. A lovely portrait with splendid technique- it was as if there was movement speaking towards you, the gaze with a hint of smile and the sweep of tresses…highlighting and shadowing grey hair that contrast with the warmth of facial colour and features, leading us into the centre ‘the eyes’ that engage viewers.
On the opposite side of the wall hung a portrait of Elizabeth Siddal facing left. When Siddal was working in London she was spotted by the PRB group and she joined them as a model. Siddal married Rossetti in 1860 and modelled for many of his portraits, she was a talented artist herself progressing together in the group’s learning and was remarked with praise for her artistic skills by her husband Rossetti. Rossetti’s skilful use of rust and green hues attracts the eye towards this composition.
The Pre-Raphaelites loved making portraits of their loved ones including families, friends, patrons and following this trend in a relaxed style they painted and sketched some lasting pictures in time!
The collective work by the PRB and their circle varied in styles, mediums and themes whether biblical or social and were passionately drawn out. The members had very different backgrounds- Millais and Holman Hunt went through the rigorous teaching of the Royal Academy School while Rossetti and Byrne-Jones were relatively untrained and yet strikingly original. And then John Ruskin came from a different traditional background and encouraged observation as a way to learning art rather than imagination. Inspired by a visit to the Epsom Derby, Millais sketched in pen and ink a series from what he seen there taking scenes from modern life. The drawing (please refer below)shows a drunken man lavishly dressed and seated in a carriage, he is seen gambling while his wife covering her face with her hands in abashment. Millais remarkably juxtaposes the vast social contrasts in the sketch by depicting a woman asking for arms and a child in shabby attire chewing on a bone possibly, while the merry party drink and hardly eat the sumptuous laden pie… gazing into the scene of the merry goers and the poverty stricken characters that conveyed various moods, I was amazed to see this smallish drawing of great impact!
There were many preparatory sketches and study work of the artists that were on display, they were helpful in gauging the artist’s development through particular paintings. I came across another striking bright watercolour with body colour on paper by Rossetti. The scene depicts St George slaying the great dragon that represents evil. The supposed victim a princess is shown with hands tied and leaning faintly, St George is seen in action wedging his shield into the jaws of the beast while his right hand with sword slaying the dragon. The use of colours is brilliant and to achieve this wonderful scene that has mystery, depth and bold character with tones is simply mesmerising, you will get immersed below…
The PRB inspired many growing and established artists of their time and hence there came to be a new art movement of it’s kind in Britain. Another rich watercolour by Arthur Hughes (1823-1915) named ‘The Knight of the sun’ held me captivated, the use of such gorgeous and vibrant colours depicting a poignant scene of an old knight in his last moments being carried by his comrades towards a setting sun… The sombre expressions on those around with heads drooping and the feelings of death coming closer depicted on the knights face with joined hands in prayer covey a sense of the helplessness of mortals. Hughes was one of the seven artists who painted the Oxford murals too with Rossetti. We can only imagine what the original murals might have looked like with use of such exquisite tone and colour from a glance at this painting below
Sir Edward Coley Burne-Jones made a series of drawings especially about lovers parting, as we perused through one of my new favourites ‘The Kinght’s farewell’ I was mesmerised by the intricate details of pen and ink. The scene depicts a knight hugging his love before going to battle, the uncertainty of returning back and the dread of a loss is delicately conveyed in the scene. The details of the knight’s cloak and the leaves of the apple tree and the bushes contrasting in light against the darker areas create a lovely balance and heighten the composition.
As it was popular in the day to paint lovers and partying themes we looked at another Rossetti below, painted in thick strokes and bright colour The Ballad of the Carlisle is about an English lady who falls in love with a Scottish knight who is then killed by her brother. This painting is far from the usual style of Rossetti’s work with heavy dry brush strokes…
An interesting and complex biblical portrayal of the Annunciation, the Nativity, and the flight into Egypt attracted attention. The work by Byrne-Jones shown unusual portrayals unlike traditional, painted in Gouache and tempera as used in the style of the early Renaissance artists…It made my gaze for it’s unusual portrayal, to see midwives in a painting and Joseph sitting far away from the scene and yet the Christmas story was shown in a unique way.
Our next stop was to see the Minstrel Angels by William Morris (1834-1896). William Morris was multi talented and produced many paintings of angels playing instruments in order to present to patrons and then to design stained glass windows, tapestries and other furnishings. The two paintings below in cool and warm tones with bold outlines in Morris’s unique style show the basis for his varied works and which could be altered to suit artworks accordingly. The first angel is shown playing cymbals with a dark contrasting backdrop, these might have been done as a presentation for church commissions or for his own company that produced artistic furnishings.The second angel is shown playing a Portative organ, one hand holds supporting the organ to manipulate the bellows while the other is seen playing the keys. Morris is one of my favourite artists and I feel inspired by his works! I love all his works with different mediums and surfaces, such a gifted and talented artist with a beautiful legacy of work left for our world!
Minstrel Angels- William Morris 1867
John Brett was an admirer of the Pre Raphaelite Brotherhood and he painted Lady Alma-Tadema when she was eight years old. Brett used a combination of watercolour and body colour to paint her fine coppery hair, the facial tone too was richly varied and the reflections on the jacket created a beautiful balance. Lady Alma-Tadema went on to become a successful artist painting domestic scenes of women and children.
We came across a rich opaque watercolour painted by Simeon Solomon of a church ceremonial Pentecost scene while he himself was a Jew. When looking at this painting I actually thought it was oil on canvas due to the body of dark hues and thick colour and the varied tone achieved and yet I stand corrected. The vestments give the effects of gold and lace all very delicately accomplished.
The last from my selection of pics for this blog is the large portrait by Frederick Sandys in soft chalk of Charles Augustus Howell who was connected with the PRB as he helped them manage their financial affairs. Sandys achieved this wonderful softness of the portrait over blue coloured paper giving it an overall softness and floaty appearance.
In my next blog ‘Pre-Raphaelite’ part two I will cover a part of the ‘Stunners’ section and a further range of artist’s works. It was an enriching experience getting to view and understand the PRB artist’s many varied works, their techniques and methods employed in their artwork, and their desire to support and uphold fellow artists. I was very impressed by the curator of this exhibition Christiana Payne who has composed an amazing catalogue called ‘Pre- Raphaelites’ drawings and watercolours, a comprehensive book with details, techniques, references and illustrations in colour.
Thank you!
19-11-2022
© Jeannette D’Souza 2022
