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’.
Denne historien er fra November 06, 2019-utgaven av Country Life UK.
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Denne historien er fra November 06, 2019-utgaven av Country Life UK.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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Kitchen garden cook - Apples
'Sweet and crisp, apples are the epitome of autumn flavour'
The original Mr Rochester
Three classic houses in North Yorkshire have come to the market; the owner of one inspired Charlotte Brontë to write Jane Eyre
Get it write
Desks, once akin to instruments of torture for scribes, have become cherished repositories of memories and secrets. Matthew Dennison charts their evolution
'Sloes hath ben my food'
A possible paint for the Picts and a definite culprit in tea fraud, the cheek-suckingly sour sloe's spiritual home is indisputably in gin, says John Wright
Souvenirs of greatness
FOR many years, some large boxes have been stored and forgotten in the dark recesses of the garage. Unpacked last week, the contents turned out to be pots: some, perhaps, nearing a century old—dense terracotta, of interesting provenance.
Plants for plants' sake
The garden at Hergest Croft, Herefordshire The home of Edward Banks The Banks family is synonymous with an extraordinary collection of trees and shrubs, many of which are presents from distinguished friends, garnered over two centuries. Be prepared to be amazed, says Charles Quest-Ritson
Capturing the castle
Seventy years after Christian Dior’s last fashion show in Scotland, the brand returned under creative director Maria Grazia Chiuri for a celebratory event honouring local craftsmanship, the beauty of the land and the Auld Alliance, explains Kim Parker
Nature's own cathedral
Our tallest native tree 'most lovely of all', the stately beech creates a shaded environment that few plants can survive. John Lewis-Stempel ventures into the enchanted woods
All that money could buy
A new book explores the lost riches of London's grand houses. Its author, Steven Brindle, looks at the residences of plutocrats built by the nouveaux riches of the late-Victorian and Edwardian ages
In with the old
Diamonds are meant to sparkle in candlelight, but many now gather dust in jewellery boxes. To wear them today, we may need to reimagine them, as Hetty Lintell discovers with her grandmother's jewellery
