Pre-Raphaelite Brotherhood

The Pre-Raphaelite Brotherhood (PRB), subsequently referred to as the Pre-Raphaelites, constituted an association of English painters, poets, and art critics. Established in 1848, its founding members included William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens, and Thomas Woolner, who collectively formed a seven-member "Brotherhood" partially inspired by the Nazarene movement. Although the Brotherhood maintained a loose organizational structure, its core principles resonated with other contemporary artists and poets, such as Algernon Charles Swinburne, William Morris, Ford Madox Brown, Arthur Hughes, and Marie Spartali Stillman. Subsequent adherents to the Brotherhood's tenets included Edward Burne-Jones and John William Waterhouse.

The Pre-Raphaelite Brotherhood (PRB), later known as the Pre-Raphaelites, was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" partly modelled on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists and poets of the time, including Algernon Charles Swinburne, William Morris, Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones and John William Waterhouse.

The collective aimed to reintroduce the rich detail, vibrant coloration, and intricate compositions characteristic of Quattrocento Italian art. They explicitly repudiated what they perceived as the mechanistic methodology initially embraced by Mannerist artists who succeeded Raphael and Michelangelo. The Brotherhood contended that Raphael's classical poses and refined compositions, in particular, had exerted a detrimental influence on academic art instruction, thereby informing their designation as "Pre-Raphaelite." Specifically, the group expressed strong opposition to the pervasive influence of Sir Joshua Reynolds, the founder of the English Royal Academy of Arts, whom they pejoratively termed "Sir Sloshua." William Michael Rossetti clarified that for the Pre-Raphaelites, "sloshy" denoted "anything lax or scamped in the process of painting ... and hence ... any thing or person of a commonplace or conventional kind." The group aligned their artistic endeavors with the principles of John Ruskin, an English critic whose perspectives were significantly shaped by his religious convictions. Consequently, Christian themes frequently appeared in their work.

The collective maintained its acceptance of history painting and mimesis, or the imitation of nature, as fundamental tenets of artistic purpose. The Pre-Raphaelites characterized themselves as a reform movement, establishing a unique nomenclature for their artistic style and disseminating their concepts through a periodical titled The Germ. Discussions within the group were documented in the Pre-Raphaelite Journal. The Brotherhood disbanded after approximately five years.

Origins

The Pre-Raphaelite Brotherhood was established in 1848 at the London residence of John Millais's parents on Gower Street. The inaugural meeting included the painters John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt. Both Hunt and Millais, students at the Royal Academy of Arts, had previously encountered each other within the Cyclographic Club, a less formal sketching society. In 1848, Rossetti, by his own volition, became a pupil of Ford Madox Brown. Concurrently, Rossetti and Hunt shared accommodations on Cleveland Street in Fitzrovia, Central London. Hunt had commenced painting The Eve of St. Agnes, inspired by Keats's poem of the identical title, though its completion did not occur until 1867.

As an aspiring poet, Rossetti aimed to cultivate connections between Romantic poetry and visual art. By autumn, the Brotherhood expanded to seven members with the addition of painters James Collinson and Frederic George Stephens, Rossetti's brother (the poet and critic William Michael Rossetti), and sculptor Thomas Woolner. Ford Madox Brown received an invitation to join; however, the more established artist chose to maintain his independence while consistently supporting the group throughout the Pre-Raphaelite Brotherhood's active period and contributing to The Germ. Other emerging painters and sculptors, including Charles Allston Collins and Alexander Munro, became close associates. The PRB sought to conceal the Brotherhood's existence from members of the Royal Academy.

Foundational Principles

William Michael Rossetti articulated the Brotherhood's foundational principles through four distinct declarations:

1. To possess authentic ideas for expression;
2. To diligently study Nature to ascertain the appropriate means of expression;
3. To empathize with the direct, serious, and heartfelt aspects of preceding art, while excluding conventional, ostentatious, and rote-learned elements; and
4. Most critically, to create exceptionally high-quality paintings and sculptures.

The brotherhood intentionally adopted non-dogmatic principles, aiming to underscore the individual artist's autonomy in shaping their artistic concepts and representational techniques. Under the influence of Romanticism, members considered freedom and responsibility to be inextricably linked. Despite this, they held a profound fascination for medieval culture, perceiving in it a spiritual and creative coherence that they believed had diminished in subsequent periods. This valorization of medieval aesthetics, however, conflicted with the tenets of realism, which prioritize the direct observation of nature. Initially, the Pre-Raphaelite Brotherhood reconciled these two divergent interests, but over time, the movement bifurcated into distinct artistic trajectories. The realist faction was spearheaded by Hunt and Millais, whereas the medievalist current was led by Rossetti and his adherents, including Edward Burne-Jones and William Morris. This division was not absolute, as both groups maintained a conviction in the inherently spiritual nature of art, contrasting their idealistic stance with the materialist realism exemplified by Courbet and Impressionism.

The Pre-Raphaelite Brotherhood exhibited a profound affinity for nature, meticulously rendering the natural world with exceptional detail through bright, sharp-focus techniques applied to a white canvas. To emulate the vibrant luminosity characteristic of Quattrocento art, Hunt and Millais pioneered a method involving the application of thin pigment glazes over a wet white ground, intending to preserve the jewel-like transparency and clarity of colors. This emphasis on chromatic brilliance served as a direct counterpoint to the prevalent overuse of bitumen by preceding British artists, including Reynolds, David Wilkie, and Benjamin Robert Haydon. Bitumen, known for creating unstable regions of murky darkness, produced an effect vehemently rejected by the Pre-Raphaelites.

In 1848, Rossetti and Hunt compiled a roster of "Immortals," identifying artistic luminaries, particularly from literature, whose works would subsequently inspire subjects for Pre-Raphaelite Brotherhood (PRB) paintings, notably including Keats and Tennyson.

Initial Exhibitions and Publications

The inaugural exhibitions of Pre-Raphaelite artworks took place in 1849. Millais's Isabella (1848–1849) and Holman Hunt's Rienzi (1848–1849) were both displayed at the Royal Academy. Concurrently, Rossetti's The Girlhood of Mary Virgin was presented at a Free Exhibition situated at Hyde Park Corner. In accordance with their agreement, all brotherhood members appended their signatures and the initials "PRB" to their creations. From January to April 1850, the collective issued a literary periodical, The Germ, under the editorship of William Rossetti. This publication featured poetry by the Rossettis, Woolner, and Collinson, alongside essays on art and literature contributed by brotherhood associates, including Coventry Patmore. The magazine's brief operational period indicates its failure to achieve sustained influence. (Daly 1989)

Public Controversy

In 1850, the Pre-Raphaelite Brotherhood faced significant public controversy following the exhibition of Millais's painting, Christ in the House of His Parents. Numerous critics, most notably Charles Dickens, deemed the work blasphemous. Dickens specifically criticized Millais's depiction of Mary as aesthetically unpleasing. Millais had utilized his sister-in-law, Mary Hodgkinson, as the model for the Virgin Mary in the artwork. The brotherhood's embrace of medievalism was assailed as anachronistic, and its meticulous attention to detail was denounced as visually discordant and unattractive. Dickens further contended that Millais portrayed the Holy Family as resembling alcoholics and inhabitants of slums, adopting distorted and ludicrous "medieval" postures.

Subsequent to the controversy, James Collinson withdrew from the Brotherhood, citing his conviction that the group was undermining the reputation of the Christian religion. The remaining members convened to deliberate on a potential replacement, considering either Charles Allston Collins or Walter Howell Deverell, but ultimately failed to reach a consensus. Consequently, the group formally disbanded, though its artistic influence persisted. Artists who had initially adopted the Pre-Raphaelite style continued their practice but ceased signing their works with the "PRB" initials.

John Ruskin, a prominent critic, endorsed the brotherhood, commending their dedication to naturalistic representation and their departure from traditional compositional techniques. Ruskin's theoretical frameworks significantly influenced the Pre-Raphaelites. He publicly defended their artistic endeavors in a letter to The Times, leading to subsequent personal encounters. Initially, Ruskin showed a preference for Millais, accompanying him on a trip to Scotland in the summer of 1853, alongside Ruskin's wife, Euphemia Chalmers Ruskin, née Gray, widely recognized as Effie Gray. The primary objective of this journey was for Millais to paint Ruskin's portrait. Effie's growing affection for Millais precipitated a significant personal crisis. During the ensuing annulment proceedings, Ruskin personally attested to his lawyer that his marriage remained unconsummated. The marriage was subsequently annulled due to non-consummation, thereby enabling Effie to marry Millais, though this event generated considerable public scandal. Following his marriage, Millais progressively diverged from the Pre-Raphaelite aesthetic, prompting Ruskin to ultimately criticize his subsequent artistic productions. Ruskin maintained his support for Hunt and Rossetti, and also allocated financial resources to foster the artistic development of Elizabeth Siddal, who later became Rossetti's wife.

By 1853, the foundational Pre-Raphaelite Brotherhood (PRB) had largely disbanded, with Holman Hunt being the sole member who consistently adhered to its original principles. Nevertheless, the designation "Pre-Raphaelite" persisted in association with Rossetti and other artists, notably William Morris and Edward Burne-Jones, with whom Rossetti collaborated in Oxford in 1857. Consequently, the term "Pre-Raphaelite" is now linked to a significantly broader and more enduring artistic movement.

Subsequent Developments and Enduring Influence

Numerous artists were influenced by the brotherhood, including John Brett, Philip Calderon, Arthur Hughes, Gustave Moreau, Evelyn De Morgan, Frederic Sandys (who joined the Pre-Raphaelite milieu in 1857), and John William Waterhouse. Ford Madox Brown, an early associate of the group, is frequently considered to have most faithfully embraced Pre-Raphaelite tenets. Aubrey Beardsley, a notable adherent, developed a distinctive personal style, primarily influenced by Burne-Jones.

Subsequent to 1856, Dante Gabriel Rossetti emerged as a pivotal inspiration for the medievalizing aspect of the movement. Rossetti served as the connective figure between the two primary facets of Pre-Raphaelite painting—naturalism and Romanticism—particularly after the original PRB's distinct identity diminished in the latter half of the century. Despite his comparatively lesser commitment to the brotherhood's initial strictures, Rossetti perpetuated its name while simultaneously evolving its stylistic direction. He commenced depicting variations of the femme fatale archetype, utilizing models such as Jane Morris, in notable works like Proserpine, The Day Dream, and La Pia de' Tolomei. His artistic output influenced his associate William Morris, leading to Rossetti's partnership in Morris's firm, Morris, Marshall, Faulkner & Co., and a potential affair with Morris's wife, Jane. Ford Madox Brown and Edward Burne-Jones similarly became partners within this firm. Through Morris's enterprise, the foundational principles of the Pre-Raphaelite Brotherhood significantly impacted numerous interior designers and architects, fostering a renewed interest in medieval aesthetics and various crafts, which ultimately contributed to the emergence of the Arts and Crafts movement, spearheaded by William Morris. Holman Hunt also participated in the design reform movement via his association with the Della Robbia Pottery company.

Subsequent to 1850, Hunt and Millais diverged from the direct emulation of medieval artistic conventions. Both artists emphasized the realist and scientific dimensions of the movement; however, Hunt persistently underscored the spiritual import of art, endeavoring to harmonize religious faith with scientific inquiry through meticulous observations and studies of sites in Egypt and Palestine for his biblical compositions. Conversely, Millais completely abandoned Pre-Raphaelitism after 1860, adopting a considerably broader and more fluid style, notably influenced by Reynolds. William Morris and other contemporaries criticized his departure from established principles.

Pre-Raphaelitism exerted a notable influence on Scottish art and its practitioners. William Dyce (1806–1864), an Aberdeen native, is considered the most prominent Scottish artist linked to the Pre-Raphaelites. Dyce cultivated friendships with the nascent Pre-Raphaelite artists in London and subsequently introduced their oeuvre to Ruskin. His later artistic output reflected Pre-Raphaelite spirituality, exemplified by works such as his The Man of Sorrows and David in the Wilderness (both 1860), which demonstrate a characteristic Pre-Raphaelite meticulousness in detail. Joseph Noel Paton (1821–1901) attended the Royal Academy schools in London, where he established a friendship with Millais and subsequently adopted Pre-Raphaelite principles, creating paintings that emphasized intricate detail and dramatic narrative, such as The Bludie Tryst (1855). Similar to Millais's later works, Paton's subsequent paintings have faced critique for their perceived shift towards popular sentimentality. James Archer (1823–1904) also drew inspiration from Millais; his portfolio includes Summertime, Gloucestershire (1860), and from 1861, he commenced a sequence of Arthurian-themed paintings, notably La Morte d'Arthur and Sir Lancelot and Queen Guinevere.

The Pre-Raphaelite movement also served as an inspiration for artists such as Lawrence Alma-Tadema. Its influence extended to numerous subsequent British artists throughout the 20th century.

Rossetti eventually gained recognition as a progenitor of the broader European Symbolist movement. Furthermore, evidence indicates that several works by the German artist Paula Modersohn-Becker exhibited Rossetti's influence.

The Birmingham Museum & Art Gallery houses a globally acclaimed collection of works by Burne-Jones and other Pre-Raphaelite artists. Some scholars propose that this collection significantly impacted the young J. R. R. Tolkien, author of The Hobbit and The Lord of the Rings, who reportedly drew inspiration from the same mythological narratives depicted by the Pre-Raphaelites. Tolkien himself regarded his circle of school friends and artistic collaborators, known as the TCBS, as analogous to the Pre-Raphaelites.

During the 20th century, prevailing artistic ideals shifted, leading to a departure from representational art. Following the First World War, Pre-Raphaelite art experienced a decline in critical esteem, often dismissed by critics as sentimental and contrived "artistic bric-a-brac" due to its pronounced literary characteristics. However, the 1960s witnessed a substantial resurgence of interest in Pre-Raphaelitism. A series of exhibitions and accompanying catalogues, culminating in a significant 1984 exhibition at London's Tate Gallery, effectively re-established a recognized canon of Pre-Raphaelite works. Among numerous subsequent displays, a notable large-scale exhibition was held at Tate Britain in 2012–13.

In the latter part of the 20th century, the Brotherhood of Ruralists formulated its objectives based on Pre-Raphaelite principles. Concurrently, both the Stuckists and the Birmingham Group have similarly drawn inspiration from the movement.

A Compendium of Artists

The Pre-Raphaelite Brotherhood

Affiliated Artists and Notable Figures

Artists with Peripheral Associations

Illustrative Art and Poetic Expression

Numerous individuals within the 'inner' Pre-Raphaelite circle, including Dante Gabriel Rossetti, John Everett Millais, William Holman Hunt, Ford Madox Brown, and Edward Burne-Jones, alongside members of the 'outer' circle such as Frederick Sandys, Arthur Hughes, Simeon Solomon, Henry Hugh Armstead, Joseph Noel Paton, Frederic Shields, and Matthew James Lawless, simultaneously engaged in painting, illustration, and occasionally poetry. Victorian societal norms often positioned literature as superior to painting, attributing this to its capacity for "noble grounds for noble emotion." Robert Buchanan, a writer and vocal critic of the Pre-Raphaelite Brotherhood, held such strong convictions regarding this artistic hierarchy that he asserted: "The truth is that literature, and more particularly poetry, is in a very bad way when one art gets hold of another, and imposes upon it its conditions and limitations." This adversarial climate characterized the environment in which the Pre-Raphaelites defiantly pursued their work across multiple artistic media. The Pre-Raphaelites endeavored to reinvigorate subject painting, a genre that had previously been dismissed as artificial. Their conviction that every painting should convey a narrative represented a crucial stride towards integrating painting and literature (eventually recognized as the Sister Arts), or at minimum, challenging the stringent hierarchical structure advocated by figures like Robert Buchanan.

The Pre-Raphaelite Brotherhood's aspiration for a deeper integration of visual art and literature was also evident in their approach to illustration. As a more direct fusion of these artistic forms, illustration, much like subject painting, possesses the capacity to convey an independent narrative. However, the Pre-Raphaelites, particularly Dante Gabriel Rossetti, expressed concerns regarding the inherent limitations of illustrative work. In an 1855 correspondence with William Allingham, Rossetti articulated his perspective on the autonomy of illustration, stating, "I have not begun even designing for them yet, but fancy I shall try the 'Vision of Sin' and 'Palace of Art' etc. – those where one can allegorize on one's own hook, without killing for oneself and everyone a distinct idea of the poet's." This statement reveals Rossetti's ambition to transcend mere support for a poet's narrative, aiming instead to produce allegorical illustrations capable of independent textual function. Consequently, Pre-Raphaelite illustrations often surpassed simple episodic depictions from poetry, operating instead as self-contained subject paintings embedded within a literary context.

Art Collections

Significant collections of Pre-Raphaelite artworks are housed in prominent United Kingdom institutions, including the Birmingham Museum and Art Gallery, the Tate Gallery, the Victoria and Albert Museum, the Manchester Art Gallery, the Lady Lever Art Gallery, and Liverpool's Walker Art Gallery. Beyond the UK, the Art Gallery of South Australia and the Delaware Art Museum in the United States possess the most substantial holdings of Pre-Raphaelite art. Furthermore, the Museo de Arte de Ponce in Puerto Rico features a noteworthy collection, encompassing Sir Edward Burne-Jones' The Last Sleep of Arthur in Avalon, Frederic Lord Leighton's Flaming June, and pieces by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, and Frederic Sandys. The Ger Eenens Collection in the Netherlands contains John Collier's Circe (signed and dated 1885), which was displayed at the Chicago World's Fair in 1893. The British exhibit at the Fair, spanning 14 rooms, presented a theme aligned with the event's overall perspective, thus featuring a considerable display of Pre-Raphaelite and New-Classical painters, which garnered significant acclaim.

The Old Library at the Oxford Union houses a series of Pre-Raphaelite murals, created between 1857 and 1859 by a collaborative team comprising Dante Gabriel Rossetti, William Morris, and Edward Burne-Jones, which illustrate scenes from Arthurian legends. Additionally, the National Trust properties of Wightwick Manor in Wolverhampton and Wallington Hall in Northumberland both feature substantial and characteristic collections. Andrew Lloyd Webber, a prominent collector of Pre-Raphaelite art, exhibited a selection of 300 pieces from his private collection at the Royal Academy in London in 2003.

Kelmscott Manor, William Morris's rural residence from 1871 until his demise in 1896, is currently owned by the Society of Antiquaries of London and is accessible to the public. The Manor is notably depicted in Morris's 1890 novel, News from Nowhere. Furthermore, it is visible in the background of Water Willow, a 1871 portrait of his wife, Jane Morris, by Dante Gabriel Rossetti. The site also hosts exhibitions exploring Morris and Rossetti's pioneering photographic endeavors.

Depictions in Popular Culture

The narrative of the Brotherhood, spanning from its contentious inaugural exhibition to its eventual acceptance by the art establishment, has been dramatized in two BBC television series. The initial production, The Love School, aired in 1975, followed by the 2009 BBC television drama serial Desperate Romantics, created by Peter Bowker. While a significant portion of the latter series' content originates from Franny Moyle's non-fiction work Desperate Romantics: The Private Lives of the Pre-Raphaelites, it occasionally deviates from historical accuracy for dramatic effect, as indicated by its introductory disclaimer: "In the mid-19th century, a group of young men challenged the art establishment of the day. The pre-Raphaelite Brotherhood were inspired by the real world around them, yet took imaginative licence in their art. This story, based on their lives and loves, follows in that inventive spirit."

Ken Russell's 1967 television film Dante's Inferno features concise portrayals of several prominent Pre-Raphaelites, though its primary focus remains on the biography of Rossetti, portrayed by Oliver Reed.

Chapter 36 of John Steinbeck's 1952 novel East of Eden incorporates Pre-Raphaelite-inspired imagery to delineate various classrooms. The pervasive Pre-Raphaelite aesthetic was evident in the images that distinguished each classroom. For instance, third-graders were guided by an image of Galahad in full armor, fourth-graders by Atalanta's race, and fifth-graders by the perplexing Pot of Basil. This progression continued until eighth-graders, imbued with a strong sense of civic virtue, were propelled toward high school by the denunciation of Catiline. Cal and Aron, placed in the seventh grade due to their age, became intimately familiar with every detail of their assigned image: Laocoön ensnared by snakes.

Comparative Analysis with Concurrent European Artistic Trends

The Pre-Raphaelite Brotherhood transcended a purely British aesthetic, exhibiting connections with other European art movements of the 19th century. For instance, French Realism, championed by artists such as Gustave Courbet, focused on depicting the unvarnished reality of contemporary life and labor. In contrast, the Pre-Raphaelites sought to revive the spiritual and aesthetic principles characteristic of the medieval and early Renaissance periods. Consequently, their emphasis on naturalism and narrative diverged significantly from the socio-political concerns central to continental Realism.

French Impressionism, conversely, concentrated on capturing ephemeral light and scenes of modern leisure. This approach stood in stark contrast to the Pre-Raphaelite Brotherhood's (PRB) dedication to narrative, clarity, and moral themes. While Impressionists like Monet and Renoir aimed to capture transient moments, the Pre-Raphaelites favored depictions of permanence. This fundamental divergence in ideology and stylistic preference positioned the Brotherhood closer to the moral romanticism of the early German Nazarenes than to the material modernity embraced by their French contemporaries.

References

References

Sources

• Barringer, Tim (1998). Reading the Pre-Raphaelites. New Haven, Connecticut: Yale University Press. ISBN 978-0300177336.Journal of Religion & Society, 6, ISSN 1522-5658, webpage accessed October 13, 2007
• Daly, Gay (1989). Pre-Raphaelites in Love. New York: Ticknor & Fields. ISBN 0-89919-450-8.
• Dickerson, Matthew (2003). Following Gandalf: Epic Battles and Moral Victory in The Lord of the Rings, Grand Rapids, Michigan: Brazos Press, ISBN 1-58743-085-1
• Gaunt, William (1975). The Pre-Raphaelite Tragedy (revised edition). London: Cape. ISBN 0-224-01106-5.
• Hilton, Timothy (1971). The Pre-Raphaelites. New York: H.N. Abrams. ISBN 978-0-8109-0424-8. OCLC 691232293 – via Internet Archive.The Art of the Pre-Raphaelites. Princeton, New Jersey: Princeton University Press. ISBN 0-691-07057-1.Antique Dealer & Collectors Guide, 56 (March/April), pages 8–9

Andres, Sophia. (2005) The Pre-Raphaelite Art of the Victorian Novel: Narrative Challenges to Visual Gendered Boundaries. Ohio State University Press, ISBN 0-8142-5129-3

• Andres, Sophia. (2005) The Pre-Raphaelite Art of the Victorian Novel: Narrative Challenges to Visual Gendered Boundaries. Ohio State University Press, ISBN 0-8142-5129-3
• Baker, Kenneth (August 10, 1982). "Truth, Not Beauty: Dante Gabriel Rossetti and the Pre-Raphaelite Dream". The Boston Phoenix. Retrieved September 13, 2024.0-8109-2891-4.
• Garnett, H. (2012). Wives and Stunners: The Pre-Raphaelites and Their Muses. London: Macmillan. ISBN 978-0-230-70940-9.
• MacCarthy, F. (2011). The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination. London: Faber & Faber. ISBN 978-0-571-22861-4.
• MacCarthy, F. (1994). William Morris: A Life for Our Time. London: Faber & Faber. ISBN 978-0-571-14250-7.
• Mancoff, D.N. (2003). Flora Symbolica: Flowers in Pre-Raphaelite Art. Munich; London; New York: Prestel. ISBN 3-7913-2851-4.
• Marsh, J. (1999). Dante Gabriel Rossetti: Painter and Poet. London: Weidenfeld & Nicolson. ISBN 978-0-297-81703-1.
• Marsh, J., & Nunn, P.G. (1998). Pre-Raphaelite Women Artists. London: Thames & Hudson. ISBN 0-500-28104-1.
• Sharp, F.C., & Marsh, J. (2012). The Collected Letters of Jane Morris. London: Boydell & Brewer.
• Staley, A., & Newall, C. (2004). Pre-Raphaelite Vision: Truth to Nature. London: Tate. ISBN 1-85437-499-0.
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The Pre-Raphaelite Online Resource from Birmingham Museums & Art Gallery.

• Birmingham Museums & Art Gallery's Pre-Raphaelite Online Resource
• An exhibition on the Pre-Raphaelites at Tate Britain.
• The Pre-Raphaelite collection at the Liverpool Walker Art Gallery.
• A lecture by John Ruskin titled Pre-Raphaelitism.
• The Pre-Raphaelite Society.
• The Pre-Raphaelite online resource project by the Birmingham Museums & Art Gallery.
• The Samuel and Mary R. Bancroft Collection of Pre-Raphaelite Art.
• The complete exhibition catalog from The Metropolitan Museum of Art, titled Edward Burne-Jones, Victorian artist-dreamer.
• Resources concerning the Pre-Raphaelite murals in the Old Library at the Oxford Union, including a podcast discussing their creation. Oxford Brookes University also provides a series of podcasts on the Pre-Raphaelites in Oxford, with this one specifically dedicated to the Union murals.
• A resource titled Pre-Raphaelites: Born Out of Desire for Change.