Pre-Raphaelites

At the time Walters 38.419 entered the museum in 1963 with a significant gift of portrait miniatures the flame-haired subject was identified as Elizabeth Siddall—a significant Pre-Raphaelite artist, poet and model who married Dante Gabriel Rossetti. This identification is attested by an engraved inscription on the back of the portrait's magnificent jeweled frame, which was added on the instruction of previous owner, John Pierpont Morgan in about 1906. This paper uncovers the involvement of the art critic and miniature expert George Charles Williamson in both the design of the frame, the identification of the sitter as Siddall, and the attribution of the over-painting to Rossetti.

Aesthetic Movement or Aestheticism
• The Aesthetic movement was born in France thanks to Teophile Gautier and developed in the last part of 19th century; the most influent writers were the Italian D’Annunzio, Huysmans in France, and Oscar Wilde in England (with his masterpiece The Picture of Dorian Gray, in which preface contains quotes, principles and aphorisms, that together are considered the manifesto of the English Aesthetic movement).
• Aesthetics were not politically committed but reflected their disgust for the materialism and utilitarianism (following the Industrial Revolution) and the restrictive moral code of the bourgeois class.
• Therefore, the French artists withdrew from the political and social scene, isolating from society, in what Gautier called “L’ART POUR L’ART” or “ART FOR ART'S SAKE”; he stated that the art or beauty in art will survive over life and time, so art is eternal.
• Gautier was a member of the Parnassian movement, a group of French poets who challenged the old romantics and wished the pursuit of stylistic perfection in all fields of art. The name Parnassian derives from the original Parnassian poets’ journal, Le Parnasse contemporain, itself named after Mount Parnassus, home of the Muses in Greek mythology. The influence of the Parnassians was felt throughout Europe. Many former Parnassians became part of the Symbolist movement in the late 19th century.
• English aesthetics also isolated themselves and wrote texts based on sensations, beauty and a refined style. The artists surrounded themselves with beautiful and pleasant things such as extravagant clothes, perfumes, fragrances, drugs.
• The main theorist of Aesthetic movement in Britain was Walter Pater, who claimed the importance of life as “A WORK OF ART” and considered art the only way to stop the flow of time and the only certainty in life. Pater’s ‘Studies in the History of the Renaissance’ and his masterpiece ‘Marius the Epicurean’ were considered both successful and subversive. ‘Studies in the History of the Renaissance’ is considered the golden book of the British Aesthetic Movement, dealing about the real nature of Italian Renaissance artists, who sometimes were homosexual or atheist. His aim was to challenge conventional moral codes on morality, sexuality, religion and education of Victorian society, which saw Italian Renaissance artists as perfect people: Pater wanted to convey a different point of view.
[The word Aesthetic come from a Greek word, which means to feel and perceive: the writer is somebody who can see thing that other people cannot see.]
The movement is also characterized by the supremacy of sensation and beauty, they recognised Keats as their forerunner, but their vision was different: according to Gautier’s theories they believed in Art for Art’s sake, thus art had not a didactic aim, but was important because it dealt about beauty.
Bohemianism or Bohemian Movement
• A bohemian is a person with artistic or intellectual tendencies, who lives and acts with no regard for conventional rules of behaviour.
• The word “bohemian” first appeared in the English language in the 19th century to describe the non-traditional lifestyles of marginalized and impoverished artists, writers, journalists, musicians, and actors in major European cities. Bohemians were then associated with unorthodox or anti-establishment political or social viewpoints, which often were expressed through free love, frugality, and voluntary poverty.
• Dandy (a type of mind-set bohemianism): no money, but try to appear as if they have it by buying and displaying expensive or rare items – such as brands of alcohol.
• The word “dandy” comes from the song “The Yankee Doodle Dandy” sung by the British troops in the USA during the American Revolution to mock the colourful uniform of the oversea soldiers. Lord Gordon Byron is thought to be a forerunner of the Dandy movement because of his extravagant clothes.
The pre-Raphaelitism
The origins of the Aesthetic Movement can be traced back even to the Pre-Raphaelites, a group of artists who refused any form of art made after Raphael, rejecting academic taste and classical doctrines; they wanted to go back to medieval art, which they believed to be more spontaneous and sincere, in contrast with the more modern sinful art. Pre-Raphaelites were painters and poets who turned their eyes away from the ugly contemporary industrial and urban world. Their paintings were colourful, symbolic and at the same time realistic, reproducing nature in detail.

Decadent movement
• In France, the Decadent Movement is often said to have begun with either Joris-Karl Huysmans' Against Nature (1884) or Baudelaire's Les Fleur du Mal (1857).
• Capitalizing on the momentum of Huysmans' work, Anatole Baju founded the magazine Le Décadent in 1886, an effort to define and organize the Decadent Movement in a formal way. The Decadents were a group of writers who did not only look to escape the boredom of the banal, but they also sought to shock, scandalize, and subvert the expectations and values of society, believing that such freedom and creative experimentation would better humanity.
• They were heavily influenced by Baudelaire’s masterpiece Les Fleur du Mal (1857), though they were also influenced by Gothic novels and the poetry and fiction of Edgar Allan Poe.
• Many were associated with Symbolism, others with Aestheticism. Symbolism was a reaction in favour of spirituality, the imagination and dreams. Symbolists believed that art should represent absolute truths that could only be described indirectly, through symbols.
• The pursuit of these authors, according to Arthur Symons, was "a desperate endeavour to give sensation, to flash the impression of the moment, to preserve the very heat and motion of life," and their achievement, as he saw it, was "to be a disembodied voice, and yet the voice of a human soul.”
• These French decadents lived a very unconventional life, they used drugs, a way to improve perception, to look inside their soul, thus called maudits, (accursed poets). The most important ones were Rimbaud, Mallarmé, Verlaine and Laforgue.

Robert Louis Stevenson
Strange Case of Dr Jekyll and Mr. Hyde, published in 1886 by Robert Louis Stevenson, is about a man who transforms between two personae: Dr Henry Jekyll and Mr. Edward Hyde. [The phrase ‘Jekyll and Hyde’ is sometimes used colloquially to refer to someone whose actions cannot be reconciled with each other.]
Plot
• Strange Case of Dr Jekyll and Mr. Hyde focuses on John Utterson, a lawyer and friend of Dr Jekyll’s. The novel begins with John Utterson talking with his other friend, who has just witnessed an odd situation. A man later identified as Edward Hyde ran over a girl, only to pay off her family later with a check from Dr Jekyll. • The situation is made even stranger because Jekyll's will has recently been changed so Mr. Hyde now stands to inherit everything.  John, believing that the two men are separate people, thinks that the cruel Mr. Hyde is somehow blackmailing Dr Jekyll. John thus questions Dr Jekyll about Hyde, but Jekyll tells him to mind his own business.
• A year later, Mr. Hyde attacks someone else: he beats a man with a cane, resulting in the man's death. The police involve John because he knew the victim. John takes them to Mr. Hyde's apartment, where they find the murder weapon, which is a gift that John himself gave to Dr Jekyll. John questions Dr Jekyll about Mr. Hyde again, but Jekyll insists that Mr. Hyde has run away. He shows John a goodbye note from Mr. Hyde, but the handwriting is suspiciously similar to Dr Jekyll's. 
• For a while, things seem to improve: Mr. Hyde does not reappear and Dr Jekyll seems happier. But then one of John's friends –Dr Lanyon– dies suddenly; Before he dies, however, Lanyon gives John a letter. He says it should only be opened if Dr Jekyll either dies or disappears. 
• Dr Jekyll starts acting even weirder and shuts himself up inside his laboratory. Eventually, his butler and John break into the laboratory, concerned because the voice they heard inside is not the doctor's. Once inside, they find Mr. Hyde dressed in Dr Jekyll's clothes and dead: the doctor has committed suicide. Next to his body is a letter. 
• After he goes home again, John reads both letters now in his possession. They reveal the truth about what has been happening. The letter written by his friend Lanyon explains that Dr Jekyll and Mr. Hyde are the same person and that they transform back and forth via potions. The second letter, written by Dr Jekyll, explains the purpose of the transformation: Dr Jekyll wanted to separate his good side and his bad side. He thought he could control it with the potions, but eventually the transformations got out of control and he would transform involuntarily without the aid of the potions. Dr Jekyll tried several things to stop the transformations, but nothing worked. He knew he would turn into Hyde permanently. The letter was his last conscious act as Dr Jekyll.
• Since Mr. Hyde is dead, it can be assumed that, unwilling to face the consequences of his violent actions, Mr. Hyde decided to kill himself first.

Genre
Strange Case of Dr Jekyll and Mr. Hyde is an example of the Gothic genre. Gothic stories typically blend elements from horror stories with elements from Romantic stories. The persona-changing potions, murders, and eventual suicide in the novel are all examples of the horror elements at work in the text. The Romantic element in the novel comes across in the theme of science versus nature, since Romantic works often are seen as a rebellion against science's rationalization of nature. Gothic novels often explore the human psyche and supernatural phenomena, too. 
On the other hand, the novel can be read as a detective story told by Jekyll’s lawyer, Mr. Utterson.

Edward Burne-Jones’ participation in the opening Grosvenor Gallery exhibition of 1877 was something of a sensation, his work having for many years been unseen by the public. Whilst friends such as Rossetti and Watts looked forward to Burne-Jones receiving the credit they believed he deserved, the reception of his work was in fact mixed. Many critics admired Burne-Jones’ painting, conceding to its beauty of design and colour, but others were troubled by whether his work represented a suitably ‘manly’ form of art.
In this essay I identify a set of correlatives in responses to Burne-Jones’ work that constellate around the idea of manliness. My interest here is not in the familiar criticism of Burne-Jones’ figures as androgynous, but in the ways in which Burne-Jones’ style itself was perceived as unhealthy and unmanly and the extent to which reviewers’ comments were embedded in a gendered framework - what did manliness mean in art? What was a manly style of painting? What constituted a manly painter? These questions are explored in relation to the work of Burne-Jones and, more widely, Aestheticism.
My discussion is structured around three key areas – manliness and health, nationalism and degeneracy, imitation and manufacture. I begin with manliness and health in order to establish that, underpinning the reception of art during this period, was the imperative that art be ‘healthy’ and that this was intrinsically linked to normative gender values and the need for artists to be ‘manly’. Continuing with the theme of health but with attention also to the nationalistic discourses of art criticism, I explore the concerns that Burne-Jones’ work was not only unmanly but un-English and that these complaints would find their expression in the charge of degeneracy levelled at Burne-Jones’ work. The final theme I explore is that of imitation; Burne-Jones’ work was seen as deeply imitative and archaic – traits which were opposed to masculine creativity – and was seen as repetitive in its imagery. This led some to ally it with an emasculated form of production – manufacture. After this thematic analysis I briefly consider the idea of a ‘queer Burne-Jones’, not to suggest that his work articulates a same-sex desire but to attempt to deal with the ‘otherness’ of his work – its strangeness, its non-conformist gender imagery and its apparent lack of manliness. This consideration is prompted by Henry James’ repeated description of Burne-Jones’ work as ‘queer’ at a time when the meaning of that word was unfixed (suggested by the inverted commas which James used around this term).
Employing close analysis of responses in the periodical press I therefore argue that Burne-Jones’ work represented for most reviewers a threat to perceived notions of masculinity, not so only because of its androgynous figures but because of its ‘unhealthiness’, its threat to nationalistic values of Englishness and its apparent link with emasculated forms of production.

La place du rêve dans l'oeuvre d'Edward Burne-Jones et sa réception critique Le mouvement préraphaélite naquit en 1848 en Angleterre. Son histoire est tout aussi complexe que passionnante. Ce courant artistique se voulut novateur, et pour renouveler un art considéré comme sclérosé, se tourna, entre autres, vers le passé. Dans la lignée du romantisme et de la mode du néo-gothique, les pré-raphaélites s'inspiraient largement du Moyen Age. Après ses premiers pas au début des années 1850, le mouvement connut du succès en « seconde généra-tion préraphaélite » qui se forma, à partir de 1856, autour de Dante Gabriel Ros-setti. L'un des acteurs principaux de ce retour des préraphaélites fut un jeune artiste originaire de Birmingham, qui devint l'un des plus grands noms de la peinture anglaise: Edward Burne-Jones. Le catalogue de l'une des rétrospectives qui suivirent la mort de Burne-Jones en 1899 s'ouvrait sur une citation qui permet de mieux comprendre son ap-proche artistique:

Eds. Dinah Roe and Serena Trowbridge. Forthcoming 2020. Solicited.

In the last years of his life, Dante Gabriel Rossetti provided a bit of advice to Thomas Hall Craine: “Conception, my boy, fundamental brainwork, that is what makes all the difference in art.”  Included in this demand for intellectuality in poetry, I argue that Rossetti incorporates the brainwork of community, of deriving creative inspiration from his fraternity. Intellectuality, for Rossetti, is founded on a collaborative sense of creation: the intimacy of shared thought and liberal exchange.

By imagining the lyric’s future in 1870, Rossetti established a way forward for the materiality of poetry through aural and visual rhythm and “culturally resonant form,” as Elizabeth Helsinger has recently argued.  By tracing the creative process in the archival drafts of “Eden Bower,” I demonstrate the intellectual ardor and creative exertion contained within each of Rossetti’s poems. I posit that such a process becomes embedded in his prosody (or affective music of verse), particularly, as this article will explore, the rhythm of the refrain ballads in the first part of Poems. In doing so, I suggest that Poems offers a response akin to William Morris’s usage of the performative lyric as a transformation of collective, social fellowship, while providing, also, a framework for defining the lyric potential of Pre-Raphaelite poetics.

It is well recognized that Rossetti sought advice and suggestions from friends and fellow poets at every stage in the creation and publication of Poems. And yet, there has been little attention given to Rossetti’s responses when offered those recommendations. Preserved within the archive, Rossetti’s material response to these suggestions can be witnessed in his revisions to his poetry. By analyzing these drafts alongside the correspondence, I demonstrate the ways in which Rossetti’s lyric form and innovation is indebted to fraternal brainwork. “I hardly ever do produce a sonnet except on some basis of special momentary emotion,” wrote Dante Gabriel Rossetti to William Bell Scott on 25 August 1871. “But I think there is another class admissible also—and that is the only other I practice […which is dependent] on a line or two clearly given you, you know not whence, and calling up a sequence of ideas.”  As part of his experimental poetics, Rossetti integrates this fraternal exchange of ideas as a way of shaping and reinventing lyric matter.

Fed up with the commercial and moral restrictions of the mainstream press, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated designs or total works of art in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen major little magazines of the Victorian era, both situating these within the periodical press of their day and providing interpretations of representative items, in doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.


Key Features:
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* First monograph to focus on the origins and development of the little magazine genre during the Victorian period
* Each chapter provides a representative introduction to the respective little magazines
* Combines new insights with a critical overview of the state of the art on each discussed little magazine

Table of contents
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Introduction
1. The Germs of a Genre: The Germ and the Oxford and Cambridge Magazine
2. Mounting the (Century Guild) Hobby Horse
3. The Little Magazine as a Periodical Portfolio: the Dial, the Pagan Review and the Page
4. Selling the Yellow Nineties: the Yellow Book and the Savoy
5. Politicised Aestheticism outside London: the Quest and the Evergreen
6. Little Excursions Outside the Avant-Garde: the Pageant, the Parade and the Dome
(In)conclusions

Thomas Woolner is a nineteenth century renowned English sculptor, also known as a poet, mainly through his book- length poem My Beautiful Lady published in 1863. This poem provides the opportunity to explore "ekphrasis" and discover its dimensions. The fact that Woolner was also a sculptor adds a great deal of interest in exploring the dimensions of the statuesque poem that he transcribes.  The craft of the sculptor as transcribed in this poem presents the ekphrastic dimensions of bringing sculpture to the written page, which arguably enriches both media of artistic expression. The moments of friction that ensue are symptomatic of the bringing together of the worlds of sculpture and poetry; a process stemming from the artistic endeavour of the Pre-Raphaelites to which Woolner had committed himself. Yet ekphrasis is ultimately a process of reconciliation of two arts that leads to moments of artistic give-and take.

This article examines word-image interaction in Enoch Arden (1866), the first gift book of Alfred Tennyson’s sentimental poem ‘Enoch Arden’ (1864) illustrated by Arthur Hughes. I argue that Hughes’s illustrations constitute a pictorial commentary that modifies the sentimentality of Tennyson’s narrative poem, thus challenging mid-Victorian discourse about the subordination of the image to the word in gift books. The poem appeals to readers’ tender feelings by focusing on the self-sacrifice of its eponymous hero, Enoch Arden, whereas the illustrations do so by focusing on Annie Arden, the sailor’s wife. While Tennyson is silent over Annie’s emotions and struggles – she is a mere foil to display Enoch’s heroism – Hughes’s illustrations make her emotions visible to readers and grant her identities borrowed from contemporary depictions of women in domestic painting. Although these illustrations are not subordinate to Tennyson’s poem, they mirror its emphasis on sight and pictorialism, and both reflect contemporary ideological concerns regarding the preservation of the home and the family. Enoch Arden offers a multimedia reading experience where poem and illustrations are on a par in the production of meaning and presents sentimentality as a visual spectacle tied to domesticity. In Enoch Arden, the relationship between sentiment and ethics channels eighteenth-century moral philosophy to construct sentimentality as an introspective and moral form of feeling combining sight and insight. Poem and illustrations invite readers to pass judgment on Annie’s involuntary bigamy and thus compel them to take an active part in creating this volume’s moral and sentimental tableaux.

This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist’s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London.
The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‘deviancy’.
Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under-researched and unrecorded.
Therefore, the function of this thesis is to re-evaluate Solomon’s life after his arrest in 1873 and reveal what actually happened to the artist during the final thirty-three years of his life. It does this primarily through a unique study and examination of newly identified archival documents and information. By examining, in particular, the original nineteenth-century records that relate to his arrest in London, and those that record a virtually unknown arrest in Paris in 1874, and putting this in the context of nineteenth-century sodomy law and male homosexual society, it is possible to re-consider Solomon’s previously misunderstood resistance to sexual and societal rehabilitation. It makes use of a new critical understanding, which now suggests the non-repentance of the previously seen tragic figure of the homosexual male in Victorian society, which was promoted in part by the Oscar Wilde trials of 1895. The study of the detail of Solomon’s later life within this thesis will support these new ideas by promoting the suggestion of the artist as self-consciously queer and unapologetic.
In addition, this thesis includes, for the first time, a survey of Solomon’s works produced after 1873, which help to provide an approximation of how active Solomon was artistically; suggest what kind of media he was using during certain periods; record who was continuing to buy Solomon’s work at this time, and to make the images of Solomon’s extant work available to future researchers. These extant images appear in Volume II of this thesis.

Presentation at NAVSA 2018. October 11-14, 2018

Victorian photography is en vogue.  Recent London exhibitions have demonstrated the centrality of the technological medium and Victorian usage of the photographic lens. Photography enables a “looking outward” and formulates an artistic and experimental vision of the Victorian world. The National Portrait Gallery’s current Victorian Giants: The Birth of Art Photography is the first exhibition to examine the relationship between photographer Julia Margaret Cameron, Lewis Carroll, Lady Clementina Hawarden, and Oscar Rejlander. It showcases how these figures, according to the exhibition catalog, “formed a bridge between the art of the past and the art of the future.”  Defying earlier conventions of stiff, dull portraiture, mid-century Victorian photographers turned the medium into an art form.  Perhaps this is why prior exhibitions, like the Tate’s Painting with Light (2016), explored the visual connections between photographs and British art movements, including Pre-Raphaelite, aesthetic, and impressionist works. Yet while recent attention has been given to the links between photography and painting, what of the connections between nineteenth-century photography and poetry?

This presentation seeks to illuminate the connections between art photography and Pre-Raphaelite poetry. It draws from the photographic process of Julia Margaret Cameron and her poem “On a Portrait” (1875; 1876) in addition to Dante Gabriel Rossetti’s usage of photography as an aid to his art and the revisionary process of his so-called “double works.” I argue that we ought to view literary Pre-Raphaelitism as innovatively experimental, and reliant upon a revived focus on the creative process, revealed in the archive. William Bell Scott’s famous claim that “the seed of the flower of Pre-Raphaelitism was photography,” is often connected to the detail of Pre-Raphaelite paintings. Such painting emulates the camera’s perfection, transforming John Everett Millais’ Ophelia into the exact image of Lizzie Siddal drowning. But what could this claim mean for Pre-Raphaelite poetry? I suggest that the photographic medium energized Pre-Raphaelite poetic style by allowing the poet to look and feel outward: to blur the boundaries between the domestic and the foreign in a way that was both defiant and innocuous. As pioneers of experimentalism, known for subversion of form and convention, these artists also play it safe by using the displacement of the photographic lens to depict foreign subjects within a supremely British context.

Turning to the revisionary processes of these Pre-Raphaelite artists, revealed in the archives of the British Library and Victoria & Albert Museum, this presentation will look beyond the traditional literary canon to focus on the “unfinished.” By questioning the definition of a “finished” product, my project establishes the symbiotic relationship among literary drafts, artistic sketches, and finalized art. Investigating the multimodal processes of Cameron and Rossetti as a continual perfection of style and aesthetic perception aligns with a view of literary Pre-Raphaelitism as experimental. I argue for a revived focus on the creative process to show the influences of varied mediums—poetry, painting, photography—upon a single work by contributing to an understanding of the photographic imagination’s centrality to Pre-Raphaelite poetic form.

At a pre-iconological level, the painting displays ten females gathered together in a meadow landscape. The central motif of the painting is the reflection produced by the still water as if it were a mirror due to the perfect clarity of the pool. Seven of the ten female representations are focused on their own reflections. The other three women are depicted in different manners; the lady at the right side of the painting is bending down the pool like her other peers, however, she is not gazing at the water. In fact, she is gazing with admiration at the woman standing in light blue. In addition, another lady is looking at her too; the woman right next to her. Their intense looks at the standing woman suggest feelings such as devotion and adoration. In contrast, the seven young ladies staring at the pool's reflection of themselves are looking at the still water with curiosity and regard as they are inclined to keep looking at it. The further analysis takes us to the iconological level. The author, Edward Burne-Jones is a well-known late Pre-Raphaelite painter. This style is expressed by the representation of artistic classical conventions imitating elegant compositions of the Renaissance painter Raphael; this would include the reviving of classical aesthetics and, especially, mythology and folklore. Thus, Burne-Jones exemplifies here how the Pre-Raphaelite movement echoes Italian Renaissance displaying Venus as the central image of the painting (e.g. Sandro Botticelli's The Birth of Venus, c. 1485).

Beauty has many contradictory associations, from ephemerality to permanence, the natural to the artificial. When we attempt to locate the beautiful, notions of ‘conventional’ beauty often conflict with individual assessments of what is beautiful. We are told that beauty is in the eye of the beholder(s), but is beauty only ever a perception, or can it be an intrinsic quality of objects and people? Is it possible to define the nature of the aesthetic experience? Beauty may trigger philosophical or spiritual contemplation, but it can also evoke possessiveness and lust. Historically, beauty has been admired as virtuous and feared as dangerous. Do judgements about beauty do a disservice to their object, or do they elevate it?

Pre-Rafaelit Kız Kardeşliği, Kadın Ressamlar ve İlham Perileri başlıklı bu çalışmanın amacı 19. yüzyılın İngiltere'sinde Viktorya döneminde avangard bir akım olarak ortaya çıkan Pre-Rafaelitizm'in gelişmesinde kadınların rolünün altını çizmek olacaktır. Pre-Rafaelit Kardeşliği her ne kadar geleneksel erkek egemen tutumla kurulmuş olsa da otoriteye başkaldırması ve bunun akabinde dışlanması bakımından dönemin kadın hareketleriyle kader ortaklığı içindedir. Bu çalışma Pre-Rafaelitizmin yüzyılın sonuna dek dönemsel form ve içerik değişimini izleyerek, kadın sanatçıların sosyal hak ve özgürlük arayışlarındaki siyasi ve estetik stratejilerinin bu akım içinde nasıl şekillendiğini görünür kılmayı hedeflemektedir.