Pre -Raphaelitis biography

Pre -Raphaelites: The goal of art, artists, tasks, paintings of the Brotherhood of the Pre -Raphaelites: Artists founded in the year “Brotherhood of the Pre -Raphaelites” can rightfully be considered the first avant -garde movement in Europe. The mysterious letters "R. in the era of the industrial revolution, the elevated plots and the strict academic painting in the spirit of Raphael did not enjoy the representatives of the Victorian middle class, giving way to artistic kitsch and sentimental scenes.

Realizing the crisis of the ideals of high rebirth, members of the" Brotherhood of the Prerafaelites "turned to the Italian art of XV For centuries, the works of outstanding kvtrotento painters - a bright, saturated palette, the emphasized decorativeness of their work was combined with the life of nature and a sense of nature. W. Morris, E. Burn -Jones, E.

Siddal and S. John Everett Milles, back in the middle of the 19th century, the pre -Raphaelites began to work on the openier, actualized the question of the rights of a woman in society and contributed to the formation of the most important style of the end of the century - Art Nouvo art. The tasks of the Pre -Raphaelites, young artists, who founded the "Brotherhood of the Pre -Raphaelites", realized that they belong to a culture in which there are no traditions of religious painting, destroyed in the 16th century, in the era of reformation.

The pre -Raphaelites faced a difficult task - to resurrect religious art, without referring to the perfectly conditional images of the Catholic altar picture. Dante Gabriel Rossetti. Members of the Brotherhood rejected soft idealized forms characteristic of high revival artists, preferring dynamic lines and bright, rich color. None of the pre -Raphaelites especially sought to emphasize theological truths in the content of their paintings.

They rather approached the Bibles as a source of human dramas and sought in it a literary and poetic meaning. In addition, these works were not intended for the design of churches. The most zealous Christian in the group was Khant, an eccentric religious intellectual. The rest of the Presephaelites tried to portray the lives of the most ordinary people, while identifying the acute social and moral and ethical topics of modern society.

Pictures on religious themes are adjacent to the images of relevant and burning. Plots dedicated to social problems in the interpretation of pre -Raphaelites take the form of modern parables. Pictures on historical topics are played by the key role in the work of the Pre -Raphaelites on historical topics. Traditionally, the British were not interested in exciting heroic scenes and idealized classical compositions filled with apathetic naked models.

They preferred to study the story of William Shakespeare's plays and Walter Scott’s novels, to learn the biography of the great figures of the past in theatrical images of outstanding actors, such as Garrik and Sarah Siddons. Turning to literary and historical plots, they exactly depicted costumes and the interior of the chosen era, but at the same time strengthened the genre aspect, making human relations the main motive of the composition.

Before filling the picture by people, the artists carefully wrote out all the details of the interior or landscape in the background to emphasize the laid -back and realistic atmosphere around the central scene. In an effort to create a plausible composition, they found samples of costumes and ornaments in illuminated manuscripts and historical reference books. The features of each character are a pedantically written person of a model chosen from the environment of members of the Brotherhood.

This approach denied the accepted conventions of the high genre, but enhanced the effect of authenticity. The attitude of the pre -Raphaelites to the nature of the pre -Raphaelites to nature is one of the most important aspects of this movement from the point of view of both artistic theory and style. John Ruskin’s call “Turn to nature with all my heart and go hand in hand with her trustingly and hardworking, remembering her instructions and only thinking about comprehending her meaning, without rejecting anything, without ridicurating,“ had an undoubted influence on the Pre -Raphaelites.

The young members of the Brotherhood of the Pre -Raphaelites eagerly studied Ryskin’s works on Turner's legacy, but their own style is a unique synthesis of at ethnic painting, exciting Shakespearean plots and topical topics of modern labor. In the most successful works, a detailed composition is combined with a masterful image of figures and a complex idea that combines all the elements into a coherent whole.

The Valley of Eternal Complex “Tired, will find peace” at the same time, the pre -Raphaelites were passionate about the latest discoveries in the field of natural sciences, which all British society followed with great interest in the middle of the century.The artists continued to compete with a photograph that simultaneously complemented the images of nature they created and encouraged them to write even more emotionally, using a bright, rich palette.

By combining figures and landscape into an intricate composition, the pre -Raphaelites emphasized the narrative element, calling for the feelings of the viewer and creating a mood in the picture. So painting guarded its boundaries. The movement of aesthetics, the purpose of art in the beginning of the 10ths in the work of Rossetti and his associates, a new stage began. Young painters who joined the mug of former pre -Raphaelites sought to realize their talent in different areas of art.

However, the works created by the new group of artists and writers turned out to be no less innovative. By the middle of the x, pre -Raphaelism was transformed into the movement of aesthetics. The works of this section are devoted to beauty as such. The aspiration of it, this "only absolute goal" of art, according to Rossetti, characterizes the second decade of pre -Raphaelite painting.

Beloved bride. A fragment of Rossetti also strove for beauty, but his goal was to create a new aesthetic ideal. During this period, the artist performed a series of works that glorify full -blooded, puffing health, emphasized sensual female beauty. The elaborate manner of writing, wide strokes of paints applied with the help of hard brushes, deliberately imitate the Venetian painting of the 16th century and, in particular, the technique of Titian and Veronese.

Deep and juicy green, blue and dark red shades replaced the Gothic stained-glass transparency of the early Pre-Raphaelite palette.

Despite the kinship with the canvases of the old masters, the paintings shocked contemporaries who violently accused Rossetti of immorality. At the same time, the artistic interpretation of images and the semantic fullness of these works had a significant impact on the formation of the style of the art of AR NUVO. The poetic painting of the pre -Raphaelites in the middle of the X Rossetti temporarily stopped painting and, turning to the watercolor technique, created a series of colorful and complex compositions.

In these works, the fascination of the artist of the Middle Ages was especially pronounced - many watercolors were created under the impression of illuminated manuscripts. In the guise of tall, pale and slender heroines, Dante Gabriel Rossetti often guesses the figure and features of Elizabeth Siddal. The watercolors of the new generation of the artists of the Circle of Rossetti, Edward Burn-Jones, resemble the blocked enamel, reflecting their author’s interest in different techniques and arts.

Edward Burn-Jones. Love, leading Piligrim. At the same time, the independent nature of these works does not allow them to see in them only an illustration of a literary work. In the end of the 10th - early Xs, Rossetti created a number of works on religious stories. The rich color palette and the general layout of the figures reflect the influence of Venetian art, which during this period replaced the artist’s early enthusiasm for the painting of the Florentine Quatrocento.

Burn-Jones, D. G. Rossetti and F. Brown, works of applied art had a noticeable impact on the development of European design in the second half of the 19th century, influenced the development of British aesthetics and called the "movement of arts and crafts" to life. Morris and his companions sought to raise the design status to one level with other types of fine art.

Initially, they focused on the collective and workshop nature of labor, taking idealized ideas about medieval artisans as a sample. The company made items of the situation and jewelry for the home and church interior: tiles, stained glass, furniture, stuffed fabrics, carpets, wallpapers and tapestries. Burn-Jones was considered the main artist, and Morris was engaged in the development of ornaments.

The heroes of the later works of Burn-Jones do not show any emotions, their figures froze in motionless impassivity, so that the meaning of the plot is unclear and, as it were, hidden in dense layers of paint. Sidonia von Bork, in this his art, undoubtedly, seemed to be a utopia, but - utopia completely abstract. As he himself said: "I am a born rebel, but my political views are outdated for a thousand years: these are the views of the first millennium and, therefore, have no importance." The author of the text A.