"""Pre-Raphaelite Journal"". The Pre-Raphaelite Brotherhood was founded in John Millais's parents' house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt were present. Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848. At that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting ""The Eve of St. Agnes"" based on Keats's"
"""The Judgement of Daniel"" in oil, and presented it to the Palace years later, in 1880. John Rogers Herbert John Rogers Herbert (23 January 1810 – 17 March 1890) was an English painter who is most notable as a precursor of Pre-Raphaelitism. John Rogers Herbert was born in Maldon, Essex. In 1826, he moved to London to study at the Royal Academy Schools. However, after the death of his father in 1828, Herbert was forced to leave the Academy Schools and began painting professionally — mostly book illustrations and portraiture. He was successful in his early career, even painting a"
"Salvador Dalí fail to be dazzled by the flagrant surrealism of English Pre-Raphaelitism. The Pre-Raphaelite painters bring us radiant women who are, at the same time, the most desirable and most frightening that exist."" He later went on to re-interpret Millais' painting in a 1973 work entitled ""Ophelia's Death."" In 1906, Japanese novelist Natsume Sōseki called the painting ""a thing of considerable beauty"" in one of his novels; since then, the painting has been highly popular in Japan. It was exhibited in Tokyo in 1998 and travelled there again in 2008. The painting has been widely referred to and pastiched"
"trees around Ophelia, the contouring of her face, and the intricate work Millais did on her dress. Millais produced ""Ophelia"" in two separate stages: He first painted the landscape, and secondly the figure of Ophelia. Having found a suitable setting for the picture, Millais remained on the banks of the Hogsmill River in Ewell—within a literal stone's throw of where fellow Pre-Raphaelite William Holman Hunt painted ""The Light of the World""—for up to 11 hours a day, six days a week, over a five-month period in 1851. This allowed him to accurately depict the natural scene before him. Millais encountered"
"Another of Waterhouse's favorite subjects was Ophelia; the most familiar of his paintings of Ophelia depicts her just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake. Like ""The Lady of Shalott"" and other Waterhouse paintings, it deals with a woman dying in or near water. He may also have been inspired by paintings of Ophelia by Dante Gabriel Rossetti and John Everett Millais. He submitted his 1888 ""Ophelia"" painting in order to receive his diploma from the Royal Academy. (He had originally wanted to submit a painting titled ""A"
"from the ACE/V&A Purchase Grant Fund and the Friends of the Victoria Art Gallery. The River Bank (Ophelia) The River Bank (Ophelia) is a 1980 painting by the English painter David Inshaw. The subject is from William Shakespeare's play ""Hamlet"". It was made for a joint exhibition of the Brotherhood of Ruralists, where each artist made his own interpretation of the subject. Since 2015 it belongs to the Victoria Art Gallery in Bath, Somerset. The painting depicts an English garden. In the foreground is a river, in which a drowned woman lies. Another woman is running away, holding her red,"
"Meidias Painter The Meidias Painter was an Athenian red-figure vase painter in Ancient Greece, active in the last quarter of the 5th century BCE (fl. c. 420 to c. 400 BCE). He is named after the potter whose signature is found on a large hydria of the Meidias Painter’s decoration (BM E 224), excavated from an Etruscan tomb. Eduard Gerhard first identified this inscription in 1839, and it was he who determined the scene on the vase was the rape of the daughters of Leukippos where previously it was thought to be the race of Hippomenes and Atalanta. The Meidias"
"The River Bank (Ophelia) The River Bank (Ophelia) is a 1980 painting by the English painter David Inshaw. The subject is from William Shakespeare's play ""Hamlet"". It was made for a joint exhibition of the Brotherhood of Ruralists, where each artist made his own interpretation of the subject. Since 2015 it belongs to the Victoria Art Gallery in Bath, Somerset. The painting depicts an English garden. In the foreground is a river, in which a drowned woman lies. Another woman is running away, holding her red, broad-brimmed hat with both hands. The Victoria Art Gallery writes: ""In ""The River Bank"""
"Saint Eulalia (Waterhouse painting) Saint Eulalia is an oil painting on canvas in the Pre-Raphaelite style, created in 1885 by English artist John William Waterhouse, depicting the aftermath of the death of Eulalia of Mérida. It is currently housed at Tate Britain. A very daring composition, this is one of Waterhouse's most unusual, and consequently most striking, oil paintings. The corpse is dramatically foreshortened, and the snow contrasts with Eulalia’s naked flesh – the 12-year-old girl seems singularly out of place for a Waterhouse picture. His choice of configuration – situating the corpse across the front and leaving so much"
"by Antiphilus, among which were his Hesione and his painting of the group of Alexander and Philip with Minerva. The Curia Pompeii, famous as the place of assassination of Julius Caesar, was of the form called an exedra, or hall furnished with seats, and was decorated with pictures of Cadmus and Europa by Antiphilus. Antiphilus Antiphilus (Ἀντίφιλος) was an ancient Greek painter from Naucratis, Egypt, in the age of Alexander the Great. He worked for Philip II of Macedon and Ptolemy I of Egypt. Thus he was a contemporary of Apelles, whose rival he is said to have been, but"
"world. The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–64). He met the Nazarenes while in Italy and his work moved towards their ""early Christian"" art, as can be seen in his ""Madonna and Child"" (1848). Dyce befriended the young Pre-Raphaelites in London and introduced their work to John Ruskin. His later work was Pre-Raphaelite in its spirituality, as can be seen in his ""The Man of Sorrows"" and ""David in the Wilderness"" (both 1860). His ""Pegwell Bay: a Recollection of October 5th 1858"" has been described as ""the archetypal pre-Raphaelite landscape"". Joseph"
"by Raphael can be found in the Palais des Beaux-Arts de Lille, Lille and the Ashmolean Museum, Oxford. On the basis of these drawings it is assumed that the design of the altar was entirely Raphael's work, whereas in the execution he was joined by Evangelista da Pian di Meleto. While Raphael probably painted the altarpiece itself, the predellas are attributed to Pian di Meleto. Fragments of the main altarpiece: Predellas: ""Based on the article from the German Wikipedia, which in turn gives as its sources"": Baronci Altarpiece The Baronci Altarpiece was a painting by the Italian High Renaissance artist"
"Lucretia (Raphael) Lucretia is a 1500s (Julian) drawing by Raphael. It is in the collection of the Metropolitan Museum of Art. William Russell (died 1884) was the drawing's first recorded owner. Russell was the first to attribute the work to Raphael. Sir James Knowles purchased the drawing in 1908. The work depicts Lucretia in the moment before she commits suicide by putting a dagger into her chest. In its time printers would display images of Lucretia with Dido. Copies of the image have a Greek language inscription with it. The image is part of a contemporary style to depict females"
"The Death of Actaeon The Death of Actaeon is a late work by the Italian Renaissance painter Titian, painted in oil on canvas from about 1559 to his death in 1576 and now in the National Gallery in London. It is very probably one of the two paintings the artist stated he had started and hopes to finish (one of which he calls ""Actaeon mauled by hounds"") in a letter to their commissioner Philip II of Spain during June 1559. However, most of Titian's work on this painting possibly dates to the late 1560s, but with touches from the 1570s."
"Antiphilus Antiphilus (Ἀντίφιλος) was an ancient Greek painter from Naucratis, Egypt, in the age of Alexander the Great. He worked for Philip II of Macedon and Ptolemy I of Egypt. Thus he was a contemporary of Apelles, whose rival he is said to have been, but he seems to have worked in quite another style. Quintilian speaks of his facility: the descriptions of his works which have come down to us show that he excelled in light and shade, in genre representations, and in caricature. In ancient Rome, according to Pliny the Elder, the Schola Octaviae was ornamented by paintings"
"months in prison. Hunt also painted a small-scale version of the composition in 1873. Hunt expert Judith Bronkhurst describes it as ""harder and crisper in appearance than the Manchester painting"". It was sold for £1.8 million in 1994, which at that time was the highest price paid for a Pre-Raphaelite painting. It is held in Leeds Art Gallery. The Shadow of Death The Shadow of Death is a religious painting by William Holman Hunt, on which he worked from 1870 to 1873, during his second trip to the Holy Land. It depicts Jesus as a young man prior to his"
"Niobid Painter The Niobid Painter was an ancient Athenian vase painter in the red figure style who was active from approximately 470 to 450 BC. He is named after a calyx krater which shows the god Apollo and his sister Artemis killing the children of Niobe who were collectively called the Niobids. The krater is known as the Niobid Krater and is now housed at the Louvre in Paris. In his other work he shows a preference for Amazonomachy scenes and three-quarter-view faces. His student Polygnotos continued his style of vase painting. The massacre of the Niobids by Apollo and"
"which he was a member, Millais used bright colours, gave high attention to detail and faithful truth to nature. This rendition of Ophelia is the epitome of the PRB style; first, because of the subject matter, depicting a woman who has lived a life awaiting happiness, only to find her destiny on the verge of death: the vulnerable woman is a popular subject among Pre-Raphaelite artists. Also, Millais utilizes bright, intense colours in the landscape to make the pale Ophelia contrast with the nature behind her. All this is evident in the vivid attention to detail in the brush and"
"of Aphrodite. The original sculpture has been lost, but written descriptions of it as well several depictions of it on coins are still extant and over sixty copies, small-scale models, and fragments of it have been identified. The Greek painter Apelles of Kos, a contemporary of Praxiteles, produced the panel painting ""Aphrodite Anadyomene"" (""Aphrodite Rising from the Sea""). According to Athenaeus, Apelles was inspired to paint the painting after watching the courtesan Phryne take off her clothes, untie her hair, and bathe naked in the sea at Eleusis. The painting was displayed in the Asclepeion on the island of Kos."
"depictions and in shield devices. His work on vases other than prize amphorae is of lesser quality and often depicts the then-popular motif of chariot races. Most of his non-prize amphora work dates to about 520 BC, but some pieces are estimated to be up to 20 years earlier or later. He collaborated with the potter Pamphaios. Euphiletos Painter The Euphiletos Painter was an Attic black-figure vase painter active in the second half of the sixth century BC. One of the better-quality vase painters of the black-figure style in Athens, he is known especially for his Panathenaic prize amphorae. In"
"for them. Phidias Phidias or Pheidias (; , ""Pheidias""; 480 – 430 BC) was a Greek sculptor, painter, and architect. His statue of Zeus at Olympia was one of the Seven Wonders of the Ancient World. Phidias also designed the statues of the goddess Athena on the Athenian Acropolis, namely the ""Athena Parthenos"" inside the Parthenon, and the ""Athena Promachos"", a colossal bronze which stood between it and the Propylaea, a monumental gateway that served as the entrance to the Acropolis in Athens. Phidias was the son of Charmides of Athens. The ancients believed that his masters were Hegias and"
"The Deposition (Raphael) The Deposition, also known as the , Borghese Entombment or ""The Entombment"", is an oil painting by the Italian High Renaissance painter Raphael. Signed and dated ""Raphael. Urbinas. MDVII"", the painting is in the Galleria Borghese in Rome. It is the central panel of a larger altarpiece commissioned by Atalanta Baglioni of Perugia in honor of her slain son, Grifonetto Baglioni. Like many works, it shares elements of the common subjects of the Deposition of Christ, the Lamentation of Christ, and the Entombment of Christ. The painting is on wood panel and measures 184 x 176 cm."
"Dante and Beatrice (painting) Dante and Beatrice is a painting dated 1883 by the artist Henry Holiday that is on display in the Walker Art Gallery in Liverpool, England. It is considered to be Holiday's most important painting. It is executed in oil on canvas, measuring by and was purchased by the gallery in 1884. When he died, Holiday was described as ""the last Pre-Raphaelite"". Many of Dante Gabriel Rossetti's paintings, including ""Dante's Dream"", had as their subject the Italian poet Dante Alighieri, and this interest is the likely inspiration for Holiday's painting. It is based on Dante's autobiographical work"
"Oreithyia painter The Oreithyia painter was an ancient Greek red-figure vase painter who flourished from 470–460 BCE. He is one of the many painters of the red-figure Classical Period, but his work is not considered the finest or well-known. This is partly because he began painting during the transition from red-figure to black-figure pottery. In his early vases he only painted a Side A, adding to his minimalist style. The name ""Oreithyia Painter"" was assigned by archaeologist Otto Jahn off the pointed-neck amphora vase held at the Antikensammlung in Munich, Germany (Museum number 2345, Beazley Archive number 206422, ARV number"
"Phidias Phidias or Pheidias (; , ""Pheidias""; 480 – 430 BC) was a Greek sculptor, painter, and architect. His statue of Zeus at Olympia was one of the Seven Wonders of the Ancient World. Phidias also designed the statues of the goddess Athena on the Athenian Acropolis, namely the ""Athena Parthenos"" inside the Parthenon, and the ""Athena Promachos"", a colossal bronze which stood between it and the Propylaea, a monumental gateway that served as the entrance to the Acropolis in Athens. Phidias was the son of Charmides of Athens. The ancients believed that his masters were Hegias and Ageladas. Plutarch"
"Southern Hemisphere. <BR> Resurrection of Christ (Raphael) The Resurrection of Christ (1499–1502), also called The Kinnaird Resurrection (after a former owner of the painting, Lord Kinnaird), is an oil painting on wood by the Italian High Renaissance master Raphael. The work is one of the earliest known paintings by the artist, executed between 1499 and 1502. It is probably a piece of an unknown predella, though it has been suggested that the painting could be one of the remaining works of the Baronci altarpiece, Raphael's first recorded commission (seriously damaged by an earthquake in 1789, fragments of which are today"
"Tydeus Painter The Tydeus Painter was an ancient Greek vase painter working in the Corinthian black-figure style. His real name is unknown. He was active during the Late Corinthian phase (""ca."" 575 to 550 BC); his works are dated to about 560 BC. The Tydeus Painter was one of the most important and probably the last significant vase painter of the late phase of the black-figure in Corinth. He mainly painted amphorae, kraters, ""lekythoi"" and ""oinochoai"". His most important works are on red-ground neck amphorae; they include a depiction of the killing of the nude Ismene by Tydeus on his"
"Pre-Rapaelite compositions illustrating Arthurian legend and other idealized medieval themes. During this period Siddall began to write poetry, often with dark themes about lost love or the impossibility of true love. ""Her verses were as simple and moving as ancient ballads; her drawings were as genuine in their medieval spirit as much more highly finished and competent works of Pre-Raphaelite art,"" wrote critic William Gaunt. Both Rossetti and Ford Madox Brown supported and admired her work. An exhibition, entitled 'Beyond Ophelia', of 12 artworks created by Siddal and owned by the National Trust are on display at Wightwick Manor during"
"mainly through his brother William Bell Scott (1811–90), who became a close friend of founding member D. G. Rossetti. The London-based Pre-Raphaelites rejected the formalism of Mannerist painting after Raphael. Bell Scott was patronised by the Pre-Raphaelite collector James Leathart. His most famous work, ""Iron and Coal"" was one of the most popular Victorian images and one of the few to fulfill the Pre-Raphaelite ambition to depict the modern world. The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–64). Dyce befriended the young Pre-Raphaelites in London and introduced their work to John Ruskin."
"His ""The Ugly Duckling"" was voted the favourite painting by visitors to the Cheltenham Art Gallery & Museum in 2005. The record price for a Cowper painting at sale is £469,250 for ""Our Lady of the Fruits of the Earth"" (1917) at Christie's in London on 17 December 2011. Frank Cadogan Cowper Frank Cadogan Cowper (16 October 1877 – 17 November 1958) was an English painter and illustrator of portraits, historical and literary scenes, described as ""The last of the Pre-Raphaelites"". Cowper was born in Wicken, Northamptonshire, son of an author and early pioneer of coastal cruising in yachts, Frank"
"genre painting, Athenaeus reports that Androcydes' gourmet passion for seafood prompted him to devote inordinate attention to painting the fish around a central figure of Scylla in one of his works. Androcydes (painter) Androcydes (or Androkydes) of Cyzicus was a Greek painter of the 4th century BC, whose ""Battle of Plataea"" became involved in a political controversy. Plutarch's remarks concerning this work are of interest to art historians who study history painting as a genre. According to Plutarch, Androcydes received a commission from the city of Thebes to paint the battle scene on site. During this period (382–379 BC), the"
"Raphael Raffaello Sanzio da Urbino (; March 28 or April 6, 1483April 6, 1520), known as Raphael (, ), was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace,"
"Peter Blake (artist) and Ed Ruscha. The painting depicts Ophelia singing while floating in a river just before she drowns. The scene is described in Act IV, Scene VII of ""Hamlet"" in a speech by Queen Gertrude. The episode depicted is not usually seen onstage, as in Shakespeare's text it exists only in Gertrude's description. Out of her mind with grief, Ophelia has been making garlands of wildflowers. She climbs into a willow tree overhanging a brook to dangle some from its branches, and a bough breaks beneath her. She lies in the water singing songs, as if unaware of"