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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Save our family farms
IT Tremains to be seen whether the Government will listen to the more than 20,000 farming people who thronged Whitehall in central London on November 19 to protest against changes to inheritance tax that could destroy countless family farms, but the impact of the good-hearted, sombre crowds was immediate and positive.
A very good dog
THE Spanish Pointer (1766–68) by Stubbs, a landmark painting in that it is the artist’s first depiction of a dog, has only been exhibited once in the 250 years since it was painted.
The great astral sneeze
Aurora Borealis, linked to celestial reindeer, firefoxes and assassinations, is one of Nature's most mesmerising, if fickle displays and has made headlines this year. Harry Pearson finds out why
'What a good boy am I'
We think of them as the stuff of childhood, but nursery rhymes such as Little Jack Horner tell tales of decidedly adult carryings-on, discovers Ian Morton
Forever a chorister
The music-and way of living-of the cabaret performer Kit Hesketh-Harvey was rooted in his upbringing as a cathedral chorister, as his sister, Sarah Sands, discovered after his death
Best of British
In this collection of short (5,000-6,000-word) pen portraits, writes the author, 'I wanted to present a number of \"Great British Commanders\" as individuals; not because I am a devotee of the \"great man, or woman, school of history\", but simply because the task is interesting.' It is, and so are Michael Clarke's choices.
Old habits die hard
Once an antique dealer, always an antique dealer, even well into retirement age, as a crop of interesting sales past and future proves
It takes the biscuit
Biscuit tins, with their whimsical shapes and delightful motifs, spark nostalgic memories of grandmother's sweet tea, but they are a remarkably recent invention. Matthew Dennison pays tribute to the ingenious Victorians who devised them
It's always darkest before the dawn
After witnessing a particularly lacklustre and insipid dawn on a leaden November day, John Lewis-Stempel takes solace in the fleeting appearance of a rare black fox and a kestrel in hot pursuit of a pipistrelle bat
Tarrying in the mulberry shade
On a visit to the Gainsborough Museum in Sudbury, Suffolk, in August, I lost my husband for half an hour and began to get nervous. Fortunately, an attendant had spotted him vanishing under the cloak of the old mulberry tree in the garden.
