Fabric Panels;Rossetti Pre Raphaelite Art / Craft/ 100% cotton/ Quilting/ Applique/ Patch Our Vintage Art panels are printed on pure 100% cotton premium fabric with a 200 thread count using only the best Textile Inks and professional digital printing processes to produce vintage original artwork on fabric. Your panels come paper backed just peel off the backing sheet and sew. The panels can be machine sewn or embroidered and it can be repeatedly washed and your images will still stay bright and sharp. These sheets are absolutely perfect for decorative pillow cushion panels ~ quilting ~ Appliqué ~ bags ~ lampshades~ scrap booking ~ cards ~ fabric hang tags~ wall hangings ~ wearable art~ altered collage artwork ~ . You can embellish these panels with pearls ~ crystals ~ flowers ~ lace ~ etc. Why not go to town with the soft furnishings for the dolls' house? Let your imagination take over! Bespoke Service If you are looking for larger sizes for your project or have your own image you wish to have printed please contact us for quotation. If you can't find what you are looking for do contact us we have a huge library of images at our disposal.
Portrait of a Lady (detail), by Michael Dahl.
Pre-Raphaelites drew inspiration from the medieval era, a time steeped in romance, chivalry, and craftsmanship. Their art often depicted medieval themes, featuring flowing gowns, intricate embroidery, and lavish fabrics reminiscent of a bygone era.
John Collier (1850-1934), The Sleeping Beauty, 1921, oil on canvas, 111.7 x 142.2 cm. In a private collection This remarkable picture is eloquent testimony to the survival of Pre-Raphaelite values …
King Arthur is perhaps the most well-known subject in Anglophone literature. The Arthurian legend not only endures but also evolves and expands over time.
first exhibited 1863 oil on canvas 77.5 x 54cm
I found a new toy tonight as I was finding Pre-Raphaelite inspiration to share. Polyvore - a site where you can make little style statements to publish. I just stumbled on it and immediately got sucked in. But here is what I really wanted to show you:
Immerse your space in the enchanting world of classic art with our meticulously hand-painted oil reproduction of John William Waterhouse's "Lamia and the Soldier." This masterpiece, created in 1905, captures the essence of the Pre-Raphaelite movement, showcasing Waterhouse's exceptional skill and his ability to weave tales through brushstrokes. "Lamia and the Soldier" draws inspiration from Greek mythology and the narrative poem by John Keats. The painting tells the story of Lamia, a beautiful queen turned serpent, and the young soldier Lycius. The artist's intricate detailing and vivid colors bring this mythological tale to life, creating a timeless piece that resonates with beauty and mystery. Our skilled artisans have meticulously recreated every nuance of Waterhouse's original work, ensuring that each brushstroke reflects the passion and artistry of the Pre-Raphaelite era. The rich, warm tones and the interplay of light and shadow create a captivating atmosphere, inviting viewers to step into a realm where mythology and art converge. The captivating scene unfolds with Lamia, portrayed in exquisite detail, luring the unsuspecting soldier into her enchanting world. The intricate patterns of Lamia's gown and the meticulous rendering of the soldier's expressions convey the emotional depth characteristic of Waterhouse's work. The use of symbolism and allegory adds layers of meaning to the painting, making it a thought-provoking addition to any art collection. Our reproduction goes beyond mere duplication; it is a testament to the craftsmanship and dedication of our artists. Each stroke is carefully placed, ensuring that the essence of the original piece is preserved. The oil medium adds a lustrous finish, enhancing the colors and textures, creating a stunning visual impact. This hand-painted reproduction is more than just a piece of art; it is an investment in cultural richness and aesthetic sophistication. Display it in your home or office to evoke a sense of timeless elegance. The painting's narrative quality makes it a conversation starter, allowing you to share the enchanting story behind the artwork with your guests. Whether you are an art connoisseur, a lover of mythology, or someone seeking to elevate their living space with a touch of artistic brilliance, our reproduction of "Lamia and the Soldier" is a perfect choice. Bring the allure of Greek mythology and the mastery of the Pre-Raphaelite movement into your life with this museum-quality piece that transcends time and captivates the soul. ►Lamia (Lamia and the Soldier) by John William Waterhouse in 1905 ►Original Size: 144.7 x 90.2 cm (57 x 36 in) ►Medium: Oil on Canvas ►Made to Order ►100% hand-painted replica painting by our dedicated artist ►Quality guaranteed we will send you a digital copy for confirmation prior to shipment ►Signature: finished painting unsigned ►Rolled canvas with no frame not stretched: rolled in protective tube additional 2-inch blank border for easy stretching ►Creation time: about 4-6 weeks ►No watermarks on the finished painting ►Due to lighting effects and screen brightness/contrast settings, the color tones of the listing photos and the finished painting may vary slightly ►Please email us at support [!at] bcsgallery.com if you would like to have custom order/framing ►Free worldwide shipping ►We cannot deliver to PO Box or APO addresses ►Tracking available bcsgallery.com support [!at] bcsgallery.com
Jane Morris, William Morris, May Morris, Jenny Morris, Pre Raphaelite, Dante Rossetti
What Is Pre-Raphaelite Art? ✔ Characteristics of Pre-Raphaelite Artwork ✔ Notable Artworks ✔ The Second Generation ✔
Possibly my favorite artist ~ John William Waterhouse [ English Pre-Raphaelite painter, 1849-1917] OIl on canvas Collection of Lord Andrew Lloyd Webber Wikipedia biography with gallery: en.wikipedia.org/wiki/John_William_Waterhouse ___ Restoration by plumleaves
The beautiful painting turned out to be a painstaking process for all involved.
While Pre-Raphaelite Sisters does write the female characters of the Pre-Raphaelite era into art history, it falls short by relegating these talented artists to the roles of lover and muse.
Controversy and conservatism in Victorian England
High quality instant download printable artwork from Fanciful Fine Art, "Fairy Dance." (This is a digital download product. No physical item will be sent.) Intricate and delicate and brimming with fairy magic! This wonderfully unique original artwork will adorn your walls with an absolute fairycore aesthetic! Ideal girls room décor, and just as fitting for all lovers of the fae, flowers and elemental delights. Such an evocative composition of pretty fairy girls dancing in pastel blossoms. The perfect gift for lovers of flowers, fairy art, fairycore and ethereal aesthetics. THE ART Professional artist-created and enhanced, drawing authentic historic influence from the great masters whose work exists in the public domain. All of my artworks are entirely original, created using a combination of traditional and contemporary techniques including digital photography, artificial intelligence renders and digital composites. Customisation is available – I can adjust the crop, colour, aspect ratio, etc. upon request. THE AESTHETIC Whimsical, kitsch, vintage, feminine, girlie, softcore, fairycore. shabby chic. THE DIGITAL FILE Upon purchase, you will receive 5 downloadable high-resolution 300dpi CMYK digital files, allowing you to bring this stunning artwork to life. You can print this piece at your local print shop or from the convenience of your home printer, though please bear in mind that the print quality will be dependent on the printer/paper/ink quality. I always recommend using a professional printer. ▪️RATIO 2:3 in: 4x6 | 8x12 | 10x15 | 12x18 | 16x24 | 20x30 | 24x36 cm: 10x15 | 20x30 | 30x45 | 40x60 | 50x75 ▪️RATIO 3:4 in: 6x8 | 9x12 | 12x16 | 15x20 | 18x24 | 24x32 cm: 15x20 | 18x24 | 24x32 | 38x50 | 45x60 ▪️RATIO 4:5 in: 4x5 | 8x10 | 12x15 | 16x20 | 24x30 cm: 10x12cm | 20x25 | 28x35 | 30x38 | 40x50 ▪️RATIO 11:14 in: 11x14 cm: 27.5x35 ▪️ ISO A1-A4 Portrait CAN BE PRINTED AS A5 | A4 | A3 | A2 | A1 Each of the JPGs will have a slightly different layout due to the ratio cropping. The colours of the final print may vary slightly due to monitor and printer settings. You can access your downloads after purchase by visiting your Etsy Profile > Purchases and Reviews. Thank you so much for visiting my Etsy art shop. I hope you've enjoyed your visit, and if there's anything I can do to help, please feel free to get in touch. © Copyright 2024. All Rights Reserved. Personal Use Only. Any unauthorized reproduction, distribution, or altering or receiving digital files including creating derivative works or variations, is strictly prohibited.
John William Waterhouse (1849-1917) English Pre-Raphaelite painter. Oil on canvas Private collection I have uploaded this painting before. This is a higher resolution scan.
Controversy and conservatism in Victorian England
A combination of broken computer and weekend away left me without means of posting for a whole four days and I have missed you all. Thankfully for my sanity, all is back to normal and I would like to have a quick chat with you about the paintings of Thomas Cooper Gotch. Not exactly a Pre-Raphaelite, but still Gotch’s work is something beyond the ‘normal’ of Victorian art, and I find I am drawn to his images with a combination of ‘My Goodness, that’s wonderful…’ and ‘That is just weird…’ Gotch began as a Newlyn painter in 1887, painting realist works, all very straightforward. A Cottage Interior, Newlyn (1884) Then he went to Italy…. Alleluia (1896) Thomas Cooper Gotch I think we all know Alleluia by now, it is certainly his most famous work, possibly rivalled by The Child Enthroned. The bevy of young, innocent girls sing from heavenly scrolls of music. The girl in the centre at the back, clasps her hands in prayer and appears to have a burst of halo-ed light surrounding her. Each girl is dressed slightly differently, and is an individual. I am reminded of Burne-Jones’ The Golden Stair, also showing a bevy of musical girls. The Golden Stairs (1880) Edward Burne-Jones Burne-Jones’ girls are individuals but the difference are far more subtle in their faces and clothes, unlike Gotch's striking and colourful collection of singers. It’s interesting to compare the two as I didn’t think the colours of Gotch’s work were so strong until you put it next to the cool beauty of The Golden Stair. For some reason I thought the Burne-Jones painting was called ‘The Heavenly Stair’ but I think that was because of details like the doves, the white gowns and the whopping great long trumpets (being carried in a correct health and safety manner). I don’t mean to be fetish-y, but I end up staring at all the feet. That’s a lot of amazing feet. I had a conversation with Grace from The Beautiful Necessity blog about which is our favourite nymph in Waterhouse’s Hylas and the Nymphs and I think the same can be done with Alleluia. My favourite has to be far right back row. She has such a beautiful dress, in the most delicate colours, and she has a complicated facial expression of quietness and contemplation as she sings. Also interesting is the young lady, second from the left in the front row, who seems to have seen something more interesting than what she’s singing. I like to think that Mrs Gotch just came into the studio with a plateful of party rings and a bottle of lemonade. If that isn’t a good time, I don’t know what is. The Child Enthroned (1894) Hester, daughter of Gotch, sat for the single figure in The Child Enthroned. Unlike the central girl in Alleluia, there is no doubting the halo of this lass. It is notable that the painting was created in the same year as ‘the Children’s Charter’ provided protection for the young. There is no doubt that this work, and Gotch’s other ‘child-centric’ images venerates the young, but The Child Enthroned seems to take it to a new height. I love the cushion she rests her feet on, as if to emphasise that she is too small to reach the floor. It gives the image a precarious mix of power of the girl together with the vulnerability of her age and innocence. I think she is the Victorian version of Hit Girl from Kick Ass, but that’s just personal opinion. A Pageant of Childhood (1899) It wasn’t just little girls that got medieval opulence and semi-religious status in Gotch’s work. In The Pageant of Childhood young boys don tights and pointy shoes and join in the fun. Music figures in this work too, as if to mark out the purity and elevated status of the characters, although I do question the wisdom of giving a child cymbals. What happened to ‘seen and not heard’? My head begins to ache just looking at the crash-happy girl in red and gold. They Come I had to check twice that They Come was by Gotch as the few colours contrasted sharply with the delicate tapestries of the previous works. This exists in grey-green and red, with pale pink and black providing light and shade. Unlike the corridors that the previous works seem to be set in, with their opulent wallpapers, the line of girls seem to be lined up against a wall, and not happily so. They group together in twos and threes on a mat of palms or rushes looking like they are facing a firing squad. What really makes the picture seem curious is the little girl sprinkling rose petals from jewelled cones that appear to be attached to her sash. What on earth is that all about? From the red dresses and the palms on the floor, I would offer a possibly religious reading, with the girls as martyrs, their innocence about to be sacrificed. Is Gotch suggesting that the girls are moving away from their lives of beauty and richness into the adult world, and when you are an adult you lose the stunning opulence of innocence? Comparing The Pageant of Childhood with They Come, I definitely feel more anxious for the girls in red dresses, as if the rose petals under their feet symbolise them, about to be trampled in the adult world. The Flag (1910) The Light of the World (1854) William Holman Hunt Talking about disturbing images, this one scares me rigid. I feel the spooky bare-foot child has a lot in common with The Light of the World, both religious figures in the wilderness, but there is something about the girl that I find terrifying. Maybe it’s her lack of concern as she wanders around at night with her flag, maybe it’s her very direct gaze. She is a little girl in a dark wood but she looks like she hasn’t any fear. She is the certainty of religion, a promise that the audience could be as invincible as her if we embraced religion. Unlike The Light of the World, where Jesus wants us to open the door and let him in, there is no clue as to what we need to do for the child. Possibly she symbolises the hope that exists in the wilderness, that if a child can walk unafraid through the dark, then we should follow. The Dawn of Womanhood Moving back indoors, here is an image that seems to incorporate aspects of the other pictures we have seen. A child on a throne reaches towards a shadowy woman in white. A winged girl sits by her side and roses are scattered on the floor. I read this to mean that love (in the form of the roses) will lead a girl to become a woman. The angel by her side could be cupid, waiting to direct the girl towards love, but she seems to look towards the spectre with doubt and a little apprehension. The girl on the throne reaches for the ghost of the woman, but seems to be unaware that she will have to come off her throne if she wants to follow the trail of roses. Also interesting is that the woman wears a simple white dress, as if the robes and luxury of childhood have to be cast aside and a more simple aesthetic has to be adopted. There is a sense in this picture and in They Come that the transition from girl to wife is an not altogether pleasant one, however inevitable and necessary it might be. La Reine Clothilde I leave you with a stunning image, this time of Clothilde who has become a queen. It is hard to guess her age, but she looks less childlike than The Child Enthroned and more like a young woman on the brink of adulthood and possibly this is the bittersweet message of the image. Clothilde is a queen with a shining crown of gold, but her reign is going to be short. From The Dawn of Womanhood we know that when the beautiful Clothilde finds love, which seems inevitable, she will have to surrender her crown. I don’t know enough about Gotch, I need to know more, but I am reminded of an undercurrent in Victorian society that feared the decline of a girl’s beauty with the advent of sexual awareness. One of the excuses Ruskin gave for not consummating his marriage was that it would have destroyed Effie’s beauty, a sentiment echoed in Joanne Harris’ Sleep, Pale Sister, where the artist Henry Chester fears his child bride (also Effie) and attempts to suppress her adult emotions with drugs and neglect. My Crown and Sceptre (1891) I would not accuse Gotch of the repression of women into eternal childhood, and the few discussions of his work I have read seem to emphasise his glorification of childhood as being something to treasure, and a rare valuing of daughters in a patriarchal society. However, there is an undeniable valuing of beauty rather than potential. Furthermore, all the glory these girls possess now will have to be surrendered when they become wives, as the spectre of adult womanhood in The Dawn of Womanhood is dressed in simple white. You can wear as much rich fabric as you like, and hold a sceptre and golden crown but the moment you are deflowered, you are dethroned. I agree with the angel. A veneration that taken away the moment you have anything to do with men is to be treated with suspicion, in my opinion. Furthermore, what does that say about men…?
A simply stunning oil on original canvas by the leading English Pre-Raphaelite painter and writer John Maler Collier. All Hallowe’en is a psychologically charged and mysterious composition, featuring a young woman clad in a nightgown who looks at her reflection in the haunting glow of a candle. Her expression is difficult to read, and the artist does not reveal what it is that has caught her eye behind her and what might be partially reflected in the glass. This work belongs to a series of “problem paintings” by the artist, which feature ambiguous and inconclusive dilemmas, many of which took place in domestic settings. Signature: Signed & dated lower left. Dimensions: Framed: 40"x56" Unframed: 34"x50" Provenance: Walter Herries Pollock, "The Hon. John Collier," The Art Annual, London, 1914, p. 6, illustrated John Collier began his artistic education with Sir Edward John Poynter before going to Paris and studying under J.P. Laurens. He also worked with Alma Tadema. He exhibited in London at the Royal Academy, at Suffolk Street and the Grosvenor Gallery between 1874 and 1893. He also exhibited at exhibitions in Sydney. He was a member of the Institute of Painters in Oil Colours. In 1932 he exhibited a Portrait of the Artist at the Salon des Artistes Français. Museum and Gallery Holdings: Blackburn: Hetty Sorrel; Portrait of A.N. Hornoy Florence (Uffizi): Self-portrait (1907, oil on canvas) London (National Portrait Gal.): Charles Robert Darwin (1883 (1881), oil on canvas, replica); Thomas Henry Huxley (1883, oil on canvas); William Kingdon Clifford (1889, oil on canvas, reduced replica) London (Tate Collection): Mrs Huxley (c. 1927-1928, oil on canvas); The Last Voyage of Henry Hudson (exhibited in 1881, oil on canvas) London (Victoria and Albert Mus.): Portrait of the Hon. Lord Masham, Bt. Sydney: The Lute Player; Portrait of J.L. Toale
Transform your living space with the captivating allure of historical art by adding our stunning oil painting reproduction of John William Waterhouse's Cleopatra. This large oil painting, meticulously recreated by our skilled artists, brings the timeless beauty and mystique of Cleopatra to your living room wall art, enriching your home with a sense of grandeur and historical significance. John William Waterhouse, a master of the Pre-Raphaelite movement, is renowned for his enchanting and detailed depictions of historical and mythological figures. Our reproduction of Cleopatra captures the elegance, power, and sensuality of the iconic Egyptian queen, ensuring that every intricate detail and rich color is faithfully replicated. This large oil painting serves as a striking focal point, adding depth, sophistication, and a touch of historical romance to any room. Perfect for history enthusiasts and art lovers alike, this piece of history wall art will inspire admiration and become a cherished part of your home decor. Enhance your living room with the timeless elegance of Cleopatra by adding our exquisite oil painting reproduction of John William Waterhouse's masterpiece. Let this historical wall art piece transport you and your guests to the ancient world, celebrating the legacy of one of history's most fascinating figures. Visit for other art paintings: https://boselliart.etsy.com DIMENSIONS Custom sizes are available to suit your preferences. PROCESSING TIME Our paintings are meticulously crafted using oil paint, and the entire process typically takes approximately 3-4 weeks. The use of oil-based paint necessitates adequate time for proper drying in a well-ventilated area. FRAME SELECTION AND PROCESS We will curate a presentation for you to choose the ideal frame that complements both your painting and your living space. This presentation showcases our finished oil paintings alongside various frame options. Upon receiving your approval, we will carefully package and send both the painting and chosen frame to you. PACKAGING Painting Only: Securely rolled and packaged in a reinforced tube designed specifically for paintings. Ready to Hang: Safely enclosed in a fourth layer of cardboard within a sturdy box. This ensures that your painting arrives in pristine condition, ready to adorn your space.
Фотосессия - The Cult of Beauty Журнал : Vogue US Dec. 2011 Модель : Saoirse Ronan Фотограф : Steven Meisel
The first public offering by Dante Gabriel Rossetti appeared in 1849 bearing the initials PRB. This young artist would help change the face of British art in the 19th century.
The Pre-Raphaelite Brotherhood was formed in London in 1848 by seven young artistic radicals who rejected the ‘loose’ handling of some 18th century painters, in favour of a detailed finish and deliberate simplicity which they perceived in the work of artists before Raphael (1483-1520), the Classical painter of the Italian Renaissance. They found inspiration in
