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  1. Summary of The Pre-Raphaelites. The Pre-Raphaelites opposed the dominance of the British Royal Academy, which championed a narrow range of idealized or moral subjects and conventional definitions of beauty drawn from the early Italian Renaissance and Classical art.

  2. 4 de abr. de 2024 · Pre-Raphaelite Brotherhood, group of young British painters who banded together in 1848 in reaction against what they conceived to be the unimaginative and artificial historical painting of the Royal Academy and who purportedly sought to express a new moral seriousness and sincerity in their works.

    • The Editors of Encyclopaedia Britannica
  3. Periods and movements. Regions. Religions. Techniques. Types. v. t. e. The Pre-Raphaelite Brotherhood ( PRB, later known as the Pre-Raphaelites) was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson ...

  4. www.tate.org.uk › art › art-termsPre-Raphaelite | Tate

    Art Term. Pre-Raphaelite. The Pre-Raphaelites were a secret society of young artists (and one writer), founded in London in 1848. They were opposed to the Royal Academy’s promotion of the ideal as exemplified in the work of Raphael. Sir John Everett Millais, Bt. Ophelia (1851–2) Tate.

  5. 18 de feb. de 2023 · By Artchive / February 18, 2023. The rigid rules of classical art and the social unrest emerging due to widespread industrialization created the conditions for a rebellious group of young British artists to express their discontentment. The English Pre Raphaelite painters formed the Pre-Raphaelite Brotherhood (PRB) in 1848.

  6. The Pre-Raphaelite Brotherhood was a secret society of young artists founded in London in 1848. They were opposed to the Royal Academy’s promotion of the ideal as found in the work of...

  7. 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.