More than an index to the nine volumes of letters, this volume is a concise guide to an entire cultural era seen through the lens of Dante Gabriel Rossetti. Volume 10 of The Correspondence of Dante Gabriel Rossetti is the first ever analytical and biographical index to all Rossetti's letters from 1835-82. It gives readers the widest possible contextual access to all names of persons, places, works of art, writings, movements, organizations and activities, both physical and intellectual, mentioned in these letters with their annotations and appendices. But this index, augmenting the partial ones in Vols2 and 5, is far more than a simple listing of names: it also serves as a subject index, providing mini-precis descriptions of the information detailed in the annotated letter texts. Subheadings within entries depend on the complexity of the subject and may include letters to/from (for recipients) and lists of artistic and literary works by Rossetti's correspondents, or predecessors such as Blake, Keats and Coleridge. It is a concise guide to an entire cultural era. Since Rossetti is the lens through which all other entries are filtered, his own entry is divided into multiple subheadings to facilitate easy access. The researcher can quickly locate all references to the sonnet sequence The House of Life, the various versions of the Proserpine picture or the complex relationship of his drug use to Rossetti's life and work.

'You haunt me everywhere.' So wrote Edward Burne-Jones to Frances Graham, his muse for the last 25 triumphant years of his life: 'I haven't a corner of my life or my thoughts where you are not'. He drew her obsessively, included her in some of his most famous paintings, and showered her with gifts. Even when she betrayed him to marry, he would return to her. To him 'all the romance and beauty of my life means you.' This is the first biography of his muse. In a discreet, subtle, human way, her life is a study in power - artistic, social, political, familial, local - and all the more fascinating for being played out from a perennial position of weakness. What makes a muse? The word conjures up for the artist a human cocoon of sexual allure and worship: part inspiration, part lover and protector. Yet however beguiling, demanding and volatile a muse could be, it remained a life surrendered to the art of another. In Victorian England, this was especially so with the hierarchies between the sexes so firmly entrenched. The life of a muse to a Pre-Raphaelite artist was no different: Ruskin and Effie Gray, Rossetti and Lizzie Siddal, both powerfully destructive relationships that ended respectively in divorce and death. The one who survived was Frances Graham. She had a restless, irrepressible intelligence, able to mix at her small dinners politicians and aristocrats with writers, artists and the up and coming, be they Oscar Wilde or Albert Einstein. In time, she became the confidante of three government ministers, including Asquith, the Liberal leader. 'The Portrait of a Muse' is the tale of a remarkable woman living in an age on the cusp of modernity.

The group of young painters and writers who coalesced into the Pre-Raphaelite movement in the middle years of the nineteenth century became hugely influential in the development not only of literature and painting, but also more generally of art and design. Though their reputation has fluctuated over the years, their achievements are now recognised and their style enjoyed and studied widely. This volume explores the lives and works of the central figures in the group: among others, the Rossettis, William Holman Hunt, John Everett Millais, Ford Madox Brown, William Morris and Edward Burne-Jones. This is the first book to provide a general introduction to the Pre-Raphaelite movement that integrates its literary and visual art forms. The Companion explains what made the Pre-Raphaelite style unique in painting, poetry, drawing and prose.

Follow in the footsteps of Vincent Van Gogh, from his birthplace in Zundert, Netherlands, to his last days in Auvers-sur-Oise, France, and explore the hidden inspirations behind the world-renowned artist's most famous paintings in this beautiful art book and travelogue, illustrated with more than 250 black-and-white and full-color images throughout. In 1990, two photographers and art enthusiasts, Danilo De Marco and Mario Dondero, set out to explore the details of Vincent Van Gogh's life, retracing his journey across Europe by foot and by train. Armed with the love and knowledge of Van Gogh's work, they traveled from the Netherlands to England, Belgium, and France to take in the sights as Van Gogh might have seen them a century earlier. They also turned to art historian Gloria Fossi to better understand, experience, and contextualize Van Gogh's brilliant mind, drawing insights from his personal letters and other historical documents. Van Gogh's well-documented travels come alive in this gorgeous book which brings together the landscapes, architecture, portraits, and cultural references that inspired his art. The authors juxtapose vintage and contemporary photographs with Van Gogh's renditions, demonstrating not only the passage of time, but Van Gogh's unique artistic vision, brilliantly revealed brushstroke by brushstroke. From the Netherlands, where the artist was born, to his last days in France, no place he visited in his 37 years is left unexplored, and all have become timeless landmarks through his art. In Search of Van Gogh brings into focus the places and objects that inspired and fueled Van Gogh's artistic genius and offers fresh insights into his prolific work and process. In searching for the artist's mind and soul, the authors create a pointillistic portrait of a human being whose life was remarkable, and whose story must be shared for generations to come.

This is an essential volume for anyone wanting to learn more about the Pre-Raphaelite Brotherhood and their ethos, and offers the opportunity to study their greatest works in one beautiful collection. This impressive new book opens by looking at key Pre-Raphaelite artists in turn, documenting the artists' lives and the development of their talents. Includes a stunning gallery of more than 290 Pre-Raphaelite works.

The avant garde is designed to shock and the Pre-Raphaelites and Aesthetes shocked their contemporaries by their representation of the human body. This interdisciplinary study shows how the critical reaction to the representation of the body in painting and poetry from the work of Millais to that of Rossetti, and from Morris to Burne-Jones, was conditioned by such late nineteenth-century anxieties as fear of cholera and hatred of Catholicism, fascination with the fallen woman, horror at the `shrieking sisterhood' of emancipated women, and even the terror of psycho-sexual diseases.

When the author bought a falling down fortified house on the Staffordshire moorlands, he had no reason to anticipate the astonishing tale that would unfold as it was restored. An increasingly mysterious, set of relationships emerged amongst its former owners, revolving round a now almost forgotten artist. Robert Bateman, in his youth was a prominent Pre-Raphaelite and friend of Burne Jones. The son of a local millionaire, he was to marry the granddaughter of the Earl of Carlisle, and to be associated with both Disraeli and Gladstone, and other prominent political and artistic figures. But he had abandoned his life as a public artist in mid-career for no obvious reason, to live as a recluse, while his father lost his money, and his rich and glamorous wife-to-be had married the local vicar, already in his sixties and shortly to die. The discovery of two paintings by Bateman, both clearly autobiographical, led to an utterly absorbing forensic investigation into Bateman's life. The story moves from Staffordshire to Lahore in India, to Canada, to Wyoming, and then, via Buffalo Bill to Peru and back to England. It leads to the improbable respectability of the Wills (now Imperial Tobacco) cigarette business in Bristol, and then, less respectably, to a car park in Stoke on Trent. En route the author pieces together, and illustrates, an astonishing and deeply moving story of love and loss, of art and politics, of morality and hypocrisy, of family secrets, concealed but never quite completely obscured. The result is a page-turning combination of detective story and tale of human frailty, endeavour and love. It is also a portrait of a significant artist, a reassessment of whose work is long overdue

Edward Burne-Jones, member of the Pre-Raphaelite Brotherhood is renowned for his beautiful but usually melancholy evocations of a mythical, literary, ancient or medieval world, as well as his life-long friendship with William Morris. It will surprise many therefore to discover that he was a talented caricaturist and comic sketch artist. This charming book reveals a man brimming with imagination, a keen eye and impish sense of humour who took delight in drawing to amuse and entertain. His witty but affectionate caricatures of friends and family feature familiar faces, such as Morris and Dante Gabriel Rossetti, while his self-caricatures are endearingly self-deprecating. Accompanying these are enchanting sketches he created to illustrate letters and entertain children, and an introduction discussing the life and work of the artist in wider context. Beautifully illustrated with rarely published pieces from the large collection at the British Museum, this book provides an insight into another side of Burne-Jones and illuminates the personality and relationships of one of the most beloved English romantic painters.

The last work of Burne-Jones: a series of woodcut illustrations to the first chapters of Genesis, making a perfect epitome of his art. Reprinted from the original edition of 1902.

The story of how a group of precocious young artists shook up the British art establishment, told through their works, letters and diaries. An illustrated history of the linked lives and loves of a group of supremely talented artists of late Victorian Britain through their passionate writings. It features the painters, poets, critics and designers: Ford Madox Brown, Edward Burne-Jones, Fanny Cornforth, William Holman Hunt, John Everett Millais, William and Janey Morris, Christina, Dante Gabriel, and William Rossetti, John Ruskin, William Bell Scott and Lizzie Siddal. The artistic aspirations and achievements of the Pre-Raphaelite Brotherhood are revealed alongside the interwoven dramas of their personal lives, in letters, diaries and reminiscences, while their genius is displayed in vivid paintings, drawings, designs and poems. The Pre-Raphaelites was a charmed circles of love, friendship and art. Within an ever-changing flow of affections, and intimacies as richly patterned as a tapestry, they worked together as companions, lovers and partners. They shared tragedy as well as happiness, critical hostility as well as success, even the griefs of infidelity and discord. These creative partnerships, which also created the firm William Morris and Co, revitalised Victorian art and design. The new edition publishes in time for the start of the Burne Jones Exhibition at Tate Britain, starting in October 18. It is a vital book in understanding the Pre-Raphaelite art, which remains as popular and moving as ever.

"Art is not what you see, but what you make others see." Edgar Degas Covering every era and over 650 artists, this comprehensive, illustrated guide offers an accessible yet expansive view of art history, featuring everything from iconic works and lesser-known gems to techniques and themes. Offering a comprehensive overview of Western artists, themes, paintings, techniques, and stories, Art: A Visual History is packed full of large, full-colour images of iconic works and lesser-known gems. Exploring every era, from 30,000BCE to the present, it includes features on the major schools and movements, as well as close-up critical appraisals of 22 masterpieces - from Botticelli's Primavera to J. M. W. Turner's The Fighting Temeraire. With detailed referencing, crisp reproductions and a fresh design, this beautiful book is a must-have for anyone with an interest in art history - from first-time gallery goers to knowledgeable art enthusiasts. What makes great art? Discover the answer now, with Art: A Visual History.

"An invaluable resource a delightful and compendious opus." - The Pre-Raphaelite Society Review The Death of Chatterton hangs from the wall of the Tate Britain, a resplendent depiction of tragedy. This is the canvas that earned Henry Wallis his lasting legacy. It embodies the Pre-Raphaelite aesthetic, from its morbid subject (Thomas Chatterton, a precocious 18th-century poet who poisoned himself to escape poverty, aged only seventeen), to its vibrant colourwork and detailed naturalism, characteristic of the first phase of Pre-Raphaelitism. Despite this, no significant study has been dedicated to Wallis - until now. Henry Wallis: From Pre-Raphaelite to Collector/Connoisseur - delivers the first comprehensive appraisal of this often-overlooked Pre-Raphaelite. Composed of three parts - a biography, a catalogue raisonne and a series of important appendices - this book demonstrates the full range of Wallis's contributions to the world of Victorian art. The biography acknowledges Wallis's expertise as a colourist and draughtsman, while paying respect to his lesser-known accomplishments as both collector and connoisseur. The Illustrated Catalogue gathers every identifiable work in the painter's name - of which there are many, including The Stonebreaker: Wallis's other great masterpiece. Finally, the appendices present a selection of correspondence between Wallis and various members of the Pre-Raphaelite circle - William Holman Hunt, Frederic George Stephens, Dante Gabriel Rossetti, William Bell Scott, Arthur Hughes, Edward Burne-Jones and William Morris. A pioneering exploration of the artist and the man, Henry Wallis will be at home on the bookshelf of any Pre-Raphaelite enthusiast.

The Pre-Raphaelites and Orientalism' redefines the task of interpreting the East in the late nineteenth century. It takes as a starting point Edward Said's 'Orientalism' (1978) in order to investigate the latent and manifest traces of the East in Pre-Raphaelite literature and culture. As Eleonora Sasso demonstrates, the Pre-Raphaelites and their associates appeared to be the most eligible representatives of a profoundly conservative manifestation of the Orient, of its mystic aura, criminal underworld, and feminine sensuality, or to put it into Arabic terms, of its aja'ib (marvels), mutalibun (treasure-hunters) and hur al-ayn (femmes fatales). By combining together Western and Oriental modes of art, this study fills a gap in Pre-Raphaelite and Oriental studies.

Founded in 1848 as a secret society, the Pre-Raphaelites rejected classical ideals and the dominant artistic genre painting of their era for what they saw as a more spiritual, sincere, and naturalistic approach. Founded by William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, they evolved into a seven-member "brotherhood" that included poets and critics as well as painters. Moving away from the classical compositions exemplified by Raphael (hence the group's name), the Pre-Raphaelites rather turned to medieval culture and the jewel-like colors of Quattrocento art for inspiration. Their principal themes were initially religious, but also included subjects from literature and poetry, as exemplified by Sir John Everett Millais's famous Ophelia, drawn from Shakespeare's Hamlet. Inspired by the theories of John Ruskin, they were also committed to the close study of nature. This book presents key works from the Pre-Raphaelite group to introduce their reactionary principles, their dazzling colors, their interest in love, death, and nature, and their extensive influence on latter-day Symbolism and beyond. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art History series features: approximately 100 color illustrations with explanatory captions a detailed, illustrated introduction a selection of the most important works of the epoch, each presented on a two-page spread with a full-page image and accompanying interpretation, as well as a portrait and brief biography of the artist

In this book, Heather McAlpine argues that emblematic strategies play a more central role in Pre-Raphaelite poetics than has been acknowledged, and that reading Pre-Raphaelite works with an awareness of these strategies permits a new understanding of the movement's engagements with ontology, religion, representation, and politics. The emblem is a discursive practice that promises to stabilize language in the face of doubt, making it especially interesting as a site of conflicting responses to Victorian crises of representation. Through analyses of works by the Pre-Raphaelite Brotherhood, Christina Rossetti, Dante Gabriel Rossetti, Gerard Manley Hopkins, A.C. Swinburne, and William Morris, Emblematic Strategies examines the Pre-Raphaelite movement's common goal of conveying "truth" while highlighting differences in its adherents' approaches to that task.

Penelope Fitzgerald, the Booker Prize-winning author of 'Offshore' and 'The Blue Flower', turns her attention to the remarkable life of the Pre-Raphaelite artist Edward Burne-Jones. 'I mean by a picture a beautiful, romantic dream of something that never was, never will be, in a light better than any light that ever shone - in a land no one can define or remember, only desire' Edward Burne-Jones Edward Burne-Jones (1833-1898) was the prototypical pre-Raphaelite but with a truly individual sensibility. Penelope Fitzgerald's delightful biography charts his life from humble beginnings in Birmingham as the son of an unsuccessful framer, through a transformative period at Oxford, where he met his close friend and collaborator William Morris, and on to the apprenticeship with Dante Gabriel Rossetti that would shape his artistic vision. His work harks back to an Arthurian England - an Arcadia that offered solace against the onset of the Industrial Revolution, and on a deeply personal level provided respite from his ever-present melancholia. This is an illuminating portrait of a fascinating figure - artistic genius, doting father, troubled husband - written with all Penelope Fitzgerald's characteristic sympathy and insight.

Evelyn Waugh's first book: a portrait of one of the greatest artists of the nienteenth century, from one of the greatest writers of the twentieth 'Biography, as books about the dead are capriciously catalogued, is still very much in the mode' This is a sparkling account of Dante Gabriel Rossetti's tragic and mysterious life, telling the story behind some of the greatest poetry and painting of the nineteenth century. Shot through with charm and dry wit, and illuminated by his sense of kinship with the Pre-Raphaelite artist, Rossetti is at once a brilliant reevaluation of Rosetti's work and legacy, as well as a blast of defiance against the art establishment of Waugh's day. 'The youthful high spirits of the writing make this a true cultural delight' New Statesman 'To be celebrated with fireworks, bunting and marching bands' Country Life

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence. This, Waugh's first published book, marked the centenary of the birth of the painter and poet Dante Gabriel Rossetti (1828-1882). Waugh was fascinated by the bohemian lives of the Pre-Raphaelite painters, and by his own family connection with them (William Holman Hunt had married, successively, two cousins of his grandfather). Rossetti is both compassionate towards its subject and critical of his self-destructive nature. The incisive analysis of Rossetti's painterly techniques contributed to the resurgence of public interest in Rossetti's art and poetry. The biography was also an early expression of Waugh's lifelong interest in narrative art, and laid the foundations for his own belief in the importance of the spiritual as well as the aesthetic vision of the artist. Although Rossetti was hastily compiled, it is nevertheless elegant and witty.

This well illustrated book celebrates every aspect of the wide-ranging achievements of William Morris - writer, designer, cultural critic, revolutionary socialist - with particular emphasis on their relevance to our own times. The book makes available up-to-date Morris scholarship in accessible form. Written by a group of international scholars who took part in a conference marking the centenary of the death of Morris in 1896, the book has sections devoted to Morris and Literature (covering texts from The Earthly Paradise to the late romances); Morris, the Arts & Crafts and the New World (including discussions of his influence in Rhode Island, Boston, Ontario and New Zealand); and Morris, Gender and Politics (with fresh consideration of his relation to Victorian ideas of manliness and of the particular qualities of his anti-statist politics). The latter section also draws attention to a hitherto unknown play by Morris's daughter May and concludes with an account of his biographer, the late E.P. Thompson.

What do we mean when we call a work of art `beautiful`? How have artists responded to changing notions of the beautiful? Which works of art have been called beautiful, and why? Fundamental and intriguing questions to artists and art lovers, but ones that are all too often ignored in discussions of art today. Prettejohn argues that we simply cannot afford to ignore these questions. Charting over two hundred years of western art, she illuminates the vital relationship between our changing notions of beauty and specific works of art, from the works of Kauffman to Whistler, Ingres to Rossetti, Cezanne to Jackson Pollock, and concludes with a challenging question for the future: why should we care about beauty in the twenty-first century?

In recent years, many prominent and successful artists have claimed that their primary concern is not the artwork they produce but the artistic process itself. In this volume, Kim Grant analyzes this idea and traces its historical roots, showing how changing concepts of artistic process have played a dominant role in the development of modern and contemporary art. This astute account of the ways in which process has been understood and addressed examines canonical artists such as Monet, Cezanne, Matisse, and De Kooning, as well as philosophers and art theorists such as Henri Focillon, R. G. Collingwood, and John Dewey. Placing "process art" within a larger historical context, Grant looks at the changing relations of the artist's labor to traditional craftsmanship and industrial production, the status of art as a commodity, the increasing importance of the body and materiality in art making, and the nature and significance of the artist's role in modern society. In doing so, she shows how process is an intrinsic part of aesthetic theory that connects to important contemporary debates about work, craft, and labor. Comprehensive and insightful, this synthetic study of process in modern and contemporary art reveals how artists' explicit engagement with the concept fits into a broader narrative of the significance of art in the industrial and postindustrial world.

Eleanor Fortescue-Brickdale (1872-1945) was an accomplished painter, illustrator and designer whose artistic life bridged the Victorian and modern worlds. Her work was much influenced by the Pre-Raphaelite artists whose love of detail, colour, symbolism, storytelling and nature was so hugely influential on mid Victorian Britain. Eleanor's own work carried the Pre-Raphaelite style forward into the 20th century. Indeed she became known as 'the last Pre-Raphaelite'. Despite her huge popularity in her own time, Eleanor's work has been neglected since her death in 1945. This book is the first monograph on the artist. It is the result of extensive research by Pamela Gerrish Nunn, whose work on Pre-Raphaelite women artists has done so much to re-assess the art history of the Victorian period. Here, the author takes us on a journey through Eleanor's training, career and achievements to re-establish her as an important and fascinating figure in the history of Pre-Raphaelite art. Published by Liverpool University Press with National Museums Liverpool.

William Morris was an outstanding character of many talents, being an architect, writer, social campaigner, artist and, with his Kelmscott Press, an important figure of the Arts and Crafts movement. Many of us probably know him best, however, from his superb furnishings and textile designs, intricately weaving together natural motifs in a highly stylized two-dimensional fashion influenced by medieval conventions. William Morris Masterpieces of Art offers a survey of his life and work alongside some of his finest decorative work.