IN 2012, Tate Britain staged an exhibition on the Pre-Raphaelites that attempted to tear down barriers. As Tim Barringer and Jason Rosenfeld wrote in the catalogue, it sought to ‘present the art of the Pre-Raphaelites as an avant-garde movement whose achievements across many media—painting, drawing, sculpture, photography and the applied arts, as well as literature and political theory—constitute a major contribution to the history of modern art’. Yet architecture was ignored. Its total absence from the show was startling, as, in the 1850s, the radical young architects who wanted to develop Gothic into a modern style declared that they, too, were Pre-Raphaelites.
The clearest statement of this was made by the architect George Edmund Street in an article, On the Future of Art in England, which was published in 1858. He argued that ‘the Pre-Raphaelite movement is identical with our own… The systems and rules against which architects and painters had to contend were identical. Alike we had to contend against an established system, of false laws and idle traditions, with all the prestige of an Academy to back it, and all the power in the hands of its professors. Alike we had to recur to first principles—to maintain first of all the necessity in all matters of art of absolute unwavering truth’.
この記事は Country Life UK の November 06, 2019 版に掲載されています。
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この記事は Country Life UK の November 06, 2019 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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