Howard Castle: Grosvenor Gallery and Pre-Raphalite Artists. St Martin's Pre-Raphaelite Church, Brampton, Cumbria Page 1 of 1 George Howard, 9th Earl of Carlisle (1843 - 1911) An unusual aristocrat, his interests were in art rather politics, field sports and estate management, and his character was gentle and considerate. He was an M.P. for a time, but left the management of the estate to his masterful and capable wife, Rosalind. The son of Charles Howard, and nephew of the previous Earl, his mother, Mary Parke, died at his birth. Educated at Eton and Trinity College, Cambridge, he already took an interest in art, perhaps due to the example of the mother he never knew, who was trained by the artist De Witt. Rosalind tells how 'In June 1863 George and I on the first day of our meeting first liked one another so well that as we stood looking at the painted window which tells the life of St. Frydeswyde, we knew that we each liked the other.' This window is one of Burne-Jones's earliest at Christchurch Cathedral, Oxford. The following year they were married and came to live at Naworth. In 1865 he studied at the South Kensington School of Art. His masters were Giovanni Costa and Alphonse Legros and he became a prolific painter, mainly in water-colour. Most of his subjects were landscapes. He was both friend and patron of the Pre-Raphaelites, Rossetti, Burne-Jones and Morris. He commissioned Webb to build his house, 1 Palace Green, which was completed in 1869 and was unusual for the West End, both in its design and its material - brick. Morris and Burne-Jones designed the interior. Among his friends were Browning, George Eliot, Jowett, Mazzini, Tennyson, Trollope, Belloc, Matthew Arnold and Gladstone, most of whom stayed at Naworth, He inherited the title in 1889. He took a great interest in the building of Brampton Church, though not himself a churchman, and was responsible for the choice of Webb as architect. The east window commemorates his father, and he commissioned three small windows in memory of his child Bessie. He also commissioned Webb to do work at Naworth and to build a house for the agent, Four Gables, and for the vicar, Green Lane House. This was never a vicarage house and he later sold it. He and Rosalind had eleven children, including Mary, who married Gilbert Murray, Charles, who succeeded to the title, the grandfather of the present Earl, Cecilia, who married Charles Roberts, Geoffrey, who inherited Castle Howard, and Dorothy, who married Lord Henley. He was buried at Lanercost Priory. If you can't see the menu on the left, select here for the website of St Martin's Pre-Raphaelite Church, Brampton, Cumbria. http://www.stmartinsbrampton.org.uk/howard.htm 4/23/2010 1 ne Pre-Raphaelites Special Topics Page I Timeline of Art History | The Metropolitan M Page 1 of 3 Home TIMELINE OF ART HISTORY Seems Site Map Index Special Topics M Timeline Home Related Timeline Content The Pre-Raphaelites In 1848, as revolutions swept continental Europe and an uprising for social reform, known as Chartism, unsettled Britain, seven rebellious young artists in London formed a secret society with the aim of creating a new British art. They called themselves the Pre-Raphaelite Brotherhood, and the name, whose precise origin is contested, nevertheless indicates the chief source of their inspiration. Disenchanted with contemporary academic painting-most of them were colleagues at the Royal Academy of Art and famously disparaged the Academy's founding president, Sir Joshua Reynolds (1723-1792), as "Sir Sloshua"-the Brotherhood instead emulated the art of late medieval and early Renaissance Europe until the time of Raphael, an art characterized by minute description of detail, a luminous palette of bright colors that recalls the tempera paint used by medieval artists, and subject matter of a noble, religious, or moralizing nature. In mid-nineteenth-century England, a period marked by political upheaval, mass industrialization, and social ills, the Brotherhood at its inception strove to transmit a message of artistic renewal and moral reform by imbuing their art with seriousness, sincerity, and truth to nature. At London's Royal Academy and Free Exhibition shows of 1849, several paintings were exhibited with the cryptic initials "P.R.B." along with the artists' signatures; among these were Rienzi Vowing to Obtain Justice for the Death of His Young Brother, Slain in a Skirmish between the Colonna and Orsini Factions (private collection) by William Holman Hunt (1827-1910), Isabella (Walker Art Gallery, Liverpool) by John Everett Millais (1829-1896), and the Girlhood of Mary Virgin (Tate, London) by Dante Gabriel Rossetti (1828- 1882). These canvases, though diverse in subject, embodied the Brotherhood's initial aims in their keen observation of the natural world and depiction of subjects that lead the viewer to contemplate moral issues of justice, piety, familial relationships, and the struggle of purity against corruption. Hunt's work illustrates a passage from a popular Victorian novel, set in fourteenth-century Rome, by Bulwer Lytton, and is characterized by a careful description of the outdoor setting. Millais' Isabella is based on Johr Keats' retelling of a story from Boccaccio's Decameron; the artist re-creates in sumptuous detail the tastes and textures of a medieval banquet, from the creased tablecloth strewn with nutshells to guests at the grandly arrayed gathering. In his portrayal of the life of the Virgin, Rossetti employs an archaizing style and symbolic elements associated with early Renaissance painting: the lily, representing purity, the dove of the Holy Spirit, and the cruciform trellis. Other founding members of the Brotherhood-James Collinson (1825- 1881; he resigned after converting to Catholicism in 1850), William Michael Rossetti (1829-1919), Frederic George Stephens (1828-1907), and the sculptor Thomas Woolner (1825-1892)-exhibited less frequently than its three prolific leading members. The works of the Pre-Raphaelites met with critical opposition to their pietism, archaizing compositions, intensely sharp focus-which, with an absence of shadows, flattened the depicted forms-and the stark coloration they achieved by painting on a wet white ground. They had, however, several important champions. Foremost among them was the writer John Ruskin (1819-1900), an ardent supporter of painting from nature and a leading exponent of the Gothic Revival in England. Ruskin particularly admired the Pre-Raphaelites' significant innovations to English landscape painting: their dedication to working en plein air, strict botanical accuracy, and minute detail. Though he did not initially admire the Brotherhood's http://www.metmuseum.org/toah/hd/praf/hd_praf.htm 12/8/2005 ne Pre-Raphaelites | Special Topics Page I Timeline of Art History | The Metropolitan M Page 2 of 3 aims, he later wrote that they "may, as they gain experience, lay in our England the foundation of a school of art nobler than the world has seen for three hundred years." Experience, in fact, served less to unify the Brotherhood and promote its founding ideals than to foster individual identities and styles. By the early 1850s, the Brotherhood dissolved, though several of the artists remained close friends and collaborators for the rest of their careers. In 1854, Hunt left for a two-year sojourn in the Near East, where he broadened his painting style while upholding the Pre-Raphaelite ideal of Christian subject matter in works such as The Scapegoat (1854-55; Lady Lever Art Gallery, Port Sunlight). In 1853, Edward Burne-Jones (1833-1898) and William Morris (1834-1896)-two divinity students beginning their studies at Exeter College Oxford-forged a friendship rooted in common interests: theology, art, and medieval literature. Two years later, they decided to pursue careers in art; mentored by Rossetti, whom they met at Oxford in 1856, they became the second generation of Pre-Raphaelitesi While Rossetti and Burne-Jones retained the saturated palette and exhaustive detail of the earliest Pre- Raphaelite paintings, the focus of their work shifted. With subjects taken from poetry and medieval legend-such as the tales of King Arthur and the Divine Comedy of Dante-they presented an aesthetic of beauty for its own sake, and, with other artists and writers such as Oscar Wilde and Walter Pater, popularized the Aesthetic movement in the 1860s. Rossetti's Lady Lilith of 1867 (08.162.1) originally bore a label admonishing the young male viewer not to be ensnared by the beauty of the Faustian enchantress, but the figure, with her revealing dress, languid posture, and long red hair, is rendered with a sensuality that subverts the label's warning. Burne-Jones treated a number of allegorical and legendary themes, such as The Love Song (47.26) and The Wheel of Fortune (1883; Musée d'Orsay, Paris), and often focused, as did Rossetti, on portrayals of female vice and virtue. As their works became more decorative, the Pre-Raphaelites were increasingly interested in the decorative arts. In 1861, Burne-Jones and Rossetti joined Morris' new design firm of Morris, Marshall, Faulkner & Co. (reorganized as Morris & Co. in 1875), producing murals, stained glass, furniture, textiles, jewelry, and wall coverings inspired by botanical motifs. The firm responded to the rift between fine and applied arts caused by the Industrial Revolution and mass production by reviving the workshop practices of medieval Europe, considered a paragon of spirituality and artistic integrity. By the mid-1880s, a movement to unify the arts, known as Arts and Crafts, took root in England and by century's end was flourishing throughout the British Isles. Jennifer Meagher Research Assistant European Paintings Back to top Learn more on www.metmuseum.org Drawings and Prints: Features & Exhibitions; Permanent Collection; Online Resources (links); Books in the Me Books in the Met Store (American) European Paintings: Features & Exhibitions; Permanent Collection; Online Resources (links); Books in the Met European Sculpture and Decorative Arts: Features & Exhibitions; Permanent Collection; Online Resources (link Store Antonio Ratti Textile Center: Features & Exhibitions; Permanent Collection; Online Resources (links) http://www.metmuseum.org/toah/hd/praf/hd_praf.htm 12/8/2005 Laward Burne-Jones Page 1 of 2 Text Only Skip Navigation help Thu Birmingham.gov.uk Home A-Z index What's new? What's on? Jo Business & Economy Community Environment Health Learning Leisure & Tourism Transport Search: GO You are in: Leisure & Tourism Museums and Heritage Famous People Edward Burne-Jones or try our advanced search Leisure & Tourism Edward Burne-Jones Museums and Heritage Famous People Edward Burne-Jones This page may be referred to as: Birmingham City Council http://www.birmingham.gov.uk/burnejones Chiefly associated with the second generation of Pre- Raphaelites, Burne-Jones also worked closely with designer William Morris throughout his life. Edward Coley Burne-Jones was born at 11 Bennetts Hill on August 28 1833. Within days his mother, Elizabeth, died and the child was raised by his father, also Edward, a gilder and frame maker. While birth certificates were not introduced until three years later, a record of his baptism at St Philip's Church (now Birmingham Cathedral) on January 1 1834 is stored in the archives of Birmingham Central Library. He later designed the magnificent stained glass windows for St Philip's. Burne-Jones spent the first 20 years of his life in Birmingham, then a grimy industrial town. His earliest memories are said to have been of the city's celebrations for Queen Victoria's coronation. At the age of 11, the young Edward Burne-Jones was admitted to King Edward VI School, then situated in New Street. Demolished over 60 years ago, the building was designed by Sir Charles Barry and Augustus Pugin, the architects responsible for the Houses of Parliament. According to King Edward's School's archives, Burne-Jones was regularly at the top of his many prizes, particularly for mathematics. He also showed a talent for drawing - including his teachers. Some years ago, the school's archivists discovered a series of small portraits caricatures of masters and pupils which many believe to be the work of the young Burne-J experts have failed to reach a firm conclusion. In 1853, he went up to Exeter College, Oxford, and it was here he met William Morris. At th men intended to go into the Church but, after a tour of northern France in 1855, Burne-Jon become a painter and Morris to train as an architect. Both left Oxford without graduating. F 1856 he and Morris shared rooms in London at 17 Red Lion Square, which previously had by Rossetti and Walter Deverell. Known to early friends simply as Jones, he adopted the n Jones at about this time. Apart from a few informal lessons from Rossetti, whom he met in 1856, Burne-Jones was I taught, his early work consisting of pen and ink drawings and watercolours - all of romantic subjects. He took part in the Oxford Union mural campaign in 1857, joined the Hogarth Clu in the following year made the first of four lengthy trips to Italy. In 1860 Burne-Jones married Georgiana Macdonald, the sister of an old school friend. The http://www.birmingham.gov.uk/burnejones.bcc 12/8/2005 The Etruscan School, 1870-1900: English artists working in Rome. (Book, 1978) [World Page 1 of 2 Home Search Create lists, bibliographies and reviews: Sign in or create a free account WorldCat Advanced Search Find Library