Pre-Raphaelitism

“ All we wish to do, is to explain to them a word, with the meaning of which many of them are very imperfectly acquainted, and by the mere explanation, to enable them to determine upon its claims to designate—not merely a school, but the school of art, destined, if founded in truth and nature, to overturn every other. This word—Pre-Raphaelitism—is taken from the name of one of the Italian masters, and it is necessary, in order to understand the question, to ascertain what were the circumstances and the genius that have thus set him up as a landmark in the history of art. ”

“ A falsehood of this kind could not have obtained credence anywhere but in England, few English people, comparatively, having ever seen a picture of early Italian Masters. If they had, they would have known that the Pre-Raphaelite pictures are just as superior to the early Italian in skill of manipulation, power of drawing, and knowledge of effect, as inferior to them in grace of design; and that, in a word, there is not a shadow of resemblance between the two styles. The Pre-Raphaelites imitate no pictures: they paint from nature only. ”

“ Pre-Raphaelitism, a movement headed by Rossetti, Holman Hunt, and Millais, of revolt against the style of art in vogue, traceable all the way back to Raphael, and of a bold return to the study of nature itself, agreeably to the advice of Ruskin, that "they should go to Nature in all singleness of heart, and walk with her laboriously and trustingly, having no other thought than how best to penetrate her meaning: rejecting nothing, selecting nothing, and scorning nothing" ”

“ Pre-Raphaelitism was not intended to mean, as it might seem to imply, the going back to worn-out and obsolete methods of painting, the resort to past modes of representation; it does not mean the adoption of the artistic forms, traditions, or rules of the old painters; it does not mean the seeking of inspiration from the works of any other men; but, in theory at least, it means the pursuit of Art in that spirit which the painters before Raphael possessed, the spirit which united Art with Religion; it means the pursuit of Art with the humility of learners, with the faith of apostles. ”

“ The term Pre-Raphaelitism, though it seems an odd collocation to bring together such men as Frà Angelico, Filippo Lippi, and Luca Signorelli, has so far an intelligible basis, that all this period, from Giotto to Raphael, amidst all diversities, is characterized throughout by a deference of Art to something extraneous. It is not beauty that Frà Angelico looks for, but holiness, or beauty as expressing this; it is not beauty that draws Filippo Lippi, but homely actuality. It is from this point of view that the Renaissance has been attacked as wanting in faith, earnestness, humility. ”

“ They are different in their choice, different in their faculties, but all the same in this, that Raphael himself, so far as he was great, and all who preceded or followed him who ever were great, became so by painting the truths around them as they appeared to each man's own mind, not as he had been taught to see them, except by the God who made both him and them. ”

“ We begin, in all probability, by telling the youth of fifteen or sixteen, that Nature is full of faults, and that he is to improve her; but that Raphael is perfection, and that the more he copies Raphael the better ”

“ The failure of classicistic art in a non-classical age, of "Pre-Raphaelitism" after Raphael, is a failure in this—the artist has never lived even imaginatively in the world he depicts. His belief is an artifice and a sham, and he cannot impose upon us with his pretense. But once we have accepted the artist's postulates, then we are prepared to follow him in his conclusions. In the Homeric world, we shall not balk at the intercourse between gods and men; in mediaeval painting and drama, we shall accept miracle ”

“ Pre-Raphaelitism is only one form of a degradation of taste which appears to keep pace with the utilities of the time, and we shall never be slow in lending our aid to cleanse the temple of its desecrators. ”

“ But even he could not write pre-Raphaelitism into popularity and vitality. The common instinct of human nature, which looks to art as the representative of beauty, pathos, humor, and passion, could not be talked into an acceptance of ignoble and ugly realisms. It may be an error to depict a Judean fisherman like a stately Greek philosopher ”

“ He was singularly handsome, and had a fine presence. The National Gallery of British Art possesses many of his finest works. He is also represented in the National Gallery, in the National Portrait Gallery, the Victoria and Albert Museum, and in the public galleries at Manchester, Liverpool and Birmingham.
Authorities.—J. G. Millais, Life and Letters, &c.; Ruskin’s Modern Painters, Notes on Royal Academy Exhibitions, Pre-Raphaelitism, &c.; Catalogues of Grosvenor Gallery (summer of 1886) ; and of Royal Academy (winter of 1898) ; M. H. Spielmann, Millais and his Works (London, 1896) ”

“ But they have opposed themselves as a body to that kind of teaching above described, which only began after Raphael's time: and they have opposed themselves as sternly to the entire feeling of the Renaissance schools; a feeling compounded of indolence, infidelity, sensuality, and shallow pride. Therefore they have called themselves Pre-Raphaelites. If they adhere to their principles, and paint nature as it is around them, with the help of modern science, with the earnestness of the men of the thirteenth and fourteenth centuries, they will, as I said, found a new and noble school in England. ”

“ I do not care what example is taken, be it the most subtle and careful work of Leonardo himself, there will be found a play and power and ease in the outlines, which no slow effort could ever imitate. And if the Pre-Raphaelites do not understand how this kind of power, in its highest perfection, may be united with the most severe rendering of all other orders of truth, and especially of those with which they themselves have most sympathy, let them look at the drawings of John Lewis. ”

“ This school of decline has, in fact, made its appearance among the other symptoms of the mediæval mania, and we now gravely hang up in our exhibitions the productions of the Pre-Raphaelites! The name at first provoked so much ridicule in England, that their friends were at pains to inform the world, that it was assumed merely for the purpose of intimating their entire separation from the schools of Raphael and his successors, and their exclusive devotion to nature. The artists of Germany, however, with whom the mania commenced, were less scrupulous. ”

“ Thus the usual brown tones of his foreground become warmed into sudden vigor, and are varied and enhanced with indescribable delight, when he finds himself by the shore of a moorland stream, where they truly express the stain of its golden rocks, and the darkness of its clear, Cairngorm-like pools, and the usual serenity of his aërial blue is enriched into the softness and depth of the sapphire, when it can deepen the distant slumber of some Highland lake, or temper the gloomy shadows of the evening upon its hills. ”

“ In the chaotic conditions belonging to this epoch lived Rabelais. We are not surprised that, in the midst of this society, corrupt from its debaucheries and tottering on its foundations, and being witness to such ruin and devastation, the genius of this wonderful man prompted him to reveal, by means of withering sarcasm, the frightful past of the Middle Ages, the effects of which were still felt in his own century, which looked back upon that past with horror. ”

“ One sees everything, small and large, with almost the same clearness; mountains and grasshoppers alike; the leaves on the branches, the veins in the pebbles, the bubbles in the stream: but he can remember nothing, and invent nothing. ”

“ If his light has shone even in this dark den, what a luster will it shed in some high position, where the world can see its brightness! Raphael is so unlike all other men whom I have met with; wherever he be, he will exercise power, and that power will be exerted for good. ”

“ But I cannot part with Raphael; no! He has quite long enough held his hopeless post, teaching those who will not learn, pleading with those who will not hear; he has quite long enough risked his life for the sake of a worthless brother. ”

“ Raphael departed in a hard, bitter rage. He was resolved to fight like a man against his strange fate. He would follow the example of the former owner of the magic skin, and give himself up to study and meditation, and live his life in the tranquil acquisition of knowledge, undisturbed by passion and desire, and lust for power, and dominion and glory. ”

“ Rabelais is the philosopher's Bible and his book of outrageous jests. He is the recondite cult of wise and magnanimous spirits. He reconciles Nature with Art, Man with God, and religious piety with shameless enjoyment. His style restores to us our courage and our joy; and his noble buffoonery gives us back the sweet wantonness of our youth. Rabelais is the greatest intellect in literature. No one has ever had a humor so large; an imagination so creative, or a spirit so world-swallowing, so humane, so friendly. ”

“ Then, in Rabelais you have another symbolism of ecstasy—the shape of gauloiserie, of gross, exuberant gaiety, expressing itself by outrageous tales, outrageous words, by a very cataract of obscenity, if you please, if only you will notice how the obscenity of Rabelais transcends the obscenity of common life; how grossness is poured out in a sort of mad torrent, in a frenzy, a very passion of the unspeakable. ”

“ You must be aware, that the principal ground on which the Pre-Raphaelites have been attacked, is the charge that they wish to bring us back to a time of darkness and ignorance, when the principles of drawing, and of art in general, were comparatively unknown; and this attack, therefore, is entirely founded on the assumption that, although for some unaccountable reason we cannot at present produce artists altogether equal to Raphael, yet that we are on the whole in a state of greater illumination than, at all events, any artists who preceded Raphael ”

“ Pre-Raph′aelitism, a term used by Holman Hunt, J. E. Millais and W. M. Rossetti, three English painters of the 19th century, to denote their predilection for the great masters before the time of Raphael, who studied nature rather than technical rules and dogmas. The three representatives of the pre-Raphaelite school appeared in the exhibition-season of 1849, Millais with Lorenzo and Isabella, Hunt with Rienzi and Rossetti with The Girlhood of the Virgin, and excited the most flattering attention ”

“ Pre-Raphaelites they called themselves; not that they imitated the early Italian masters at all, but that in their work, as opposed to the facile abstractions of Raphael, they found a stronger realism of imagination, a more careful realism of technique, a vision at once more fervent and more vivid, an individuality more intimate and more intense.
For it is not enough that a work of art should conform to the æsthetic demands of its age: ”

“ The Genoese do not use, like you, to be satisfied with wishing health alone, when after they have all the livelong morning been in a brown study, talked, pondered, ruminated, and resolved in the counting-houses of whom and how they may squeeze the ready, and who by their craft must be hooked in, wheedled, bubbled, sharped, overreached, and choused; they go to the exchange, and greet one another with a Sanita e guadagno, Messer! health and gain to you, sir! Health alone will not go down with the greedy curmudgeons; they over and above must wish for gain, with a pox to 'em ”

“ There you have all his learning; his work is the institutes of pleasure as the fine art; the finest art there is; the art of all arts. Rabelais had all science, but he had all life too. And we have gone a long way since his time. You are enlightened, I think; you do not consider all the petty rules and by-laws that a corrupt society has made for its own selfish convenience as the immutable decrees of the eternal. ”

“ The Count of Africa had thrown for the empire of the world—and lost.
'Brave old Sun!' said Raphael, 'how merrily he flashes off the sword-blades yonder, and never cares that every tiny spark brings a death-shriek after it! Why should he? It is no concern of his. Astrologers are fools. His business is to shine; and on the whole, he is one of my few satisfactory sensations. ”

“ The cause, as I imagine, is to the end that every day and every night, and that continually, we may be ready to hear, and by a perpetual hearing apt to learn. For, of all the senses, it is the fittest for the reception of the knowledge of arts, sciences, and disciplines; and it may be that man was an angel, that is to say, a messenger sent from God, as Raphael was to Tobit. ”

“ Careful investigations and research in our time have made it very clear that there are many misunderstandings with regard to his personal character which should be removed. Rabelais ran the whole gamut of life in his time. He was first a friar, then a monk, took his medical degrees at Montpellier, a physician who gained considerable prestige for his knowledge of medicine, a writer of books that were widely read, a scholar whose journeys to Rome gave him a breadth of knowledge unusual even in his time, and the intimate friend of some of the great and good churchmen and literary men of his time. ”

“ Europe has been the chief nursery of these rovers, whose voices, though few and far between, have risen above the storms of evil passions howling about them, and have echoed through the ages. Thus a Rabelais could laugh the knell of monkery, and with his stentor voice, rich booming from the classic world of Nature, that had slept during the dark ages, could crack the babel of spiritual usurpation, and restore the balance of power between the seen and the unseen. ”