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Updated: May 26, 2025
Half his opinions were the contrivance of a sub-consciousness that sought always to bring life to the dramatic crisis, and expression to that point of artifice where the true self could find its tongue. Without opponents there had been no drama, and in his youth Ruskinism and Pre-Raphaelitism, for he was of my father's generation, were the only possible opponents.
Of course, there's lots of criticism. Drawing and design, modern and realistic the whole painting method, traditional and old-fashioned, except for some wonderful touches of pre-Raphaelitism that's what most people say. Of course, the new men think it'll end in manner and convention; and the old men don't quite know what to say. Well, it don't much matter.
But, lying deeper than these, there is a danger to Pre-Raphaelitism from the tendency to insist on too literal an application of its own principles. The best principles will not include all cases. The workings and ways of Nature are infinite, and the principles of Art are finite deductions from these infinite examples. As yet these deductions have been but imperfectly made.
They have kept their art wholesome and sincere, and they have cultivated judiciously those tendencies in it which justify most completely the development of the new Pre-Raphaelitism. They are, indeed, standing examples of the value of this movement, which seems destined to make upon history a mark almost as definite as that left by the original Brotherhood in the middle of the nineteenth century.
That eminent theorist of Pre-Raphaelitism, Sir James Tuckett, does not shrink from placing the Madonna of the National Gallery on a level with the masterpieces of Christian art.
I could not enter, in a popular lecture, upon one intricate and difficult question, closely connected with the subject of Pre-Raphaelitism namely, the relation of invention to observation; and composition to imitation. It is still less a question to be discussed in the compass of a note; and I must defer all careful examination of it to a future opportunity.
If Pre-Raphaelitism now holds its own in England, it is simply because it is neither thoroughly understood nor completely defined.
The famous pamphlet on "Pre-Raphaelitism" of August, 1851, showed that the same motives of Sincerity impelled both the Pre-Raphaelite Brethren and Turner and, in a degree, men so different as Prout, old Hunt, and Lewis. All these were opposed to the Academical School who worked by rule of thumb; and they differed among one another only in differences of physical power and moral aim.
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. After the fall of the Western Empire, the fine arts were lost, and their productions literally buried in the wreck.
The relation of a wall to the sky which he observes so finely seem as if deliberately contrived for the suppression of all atmosphere; and we miss in Monet the delicacy and the mystery which are the charm of Corot. The bath of air being withdrawn, a landscape becomes a mosaic, flat surface takes the place of round: the next step is some form or other of pre-Raphaelitism.
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