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class="font-sans-bold font-bold text-base sm:text-sm leading-tighter tracking-wide text-red-900 select-none"><div class="empty:hidden flex items-center lg:block"><a class="hover:underline" href="/keywords/books">Books</a><div class="w-2 mx-xs lg:hidden"><svg class="" height="100%" width="100%" fill="currentColor" preserveAspectRatio="xMinYMin meet" viewBox="0 0 8 12" x="0px" y="0px"><g><path d="M1 10.168H1.336L3.88 1H3.556L1 10.168Z"></path><path d="M4.71484 10.168H5.05084L7.59484 1H7.27084L4.71484 10.168Z"></path></g></svg></div><span class="font-sans-regular font-normal capitalize block">review</span></div></div></div><div style="height:auto"><div class="ad-container" id="material_body_teads"></div></div><div class="mb-lg lg:mb-xl grid-in-headline"><h1 class="font-display-medium font-medium text-3xl sm:text-4xl leading-none max-w-col-3 print-max-w-full" itemProp="headline">The scientific brotherhood: Pre-Raphaelite art put under the microscope</h1></div><div class="mb-xl md:mb-2xl grid-in-standfirst"><h2 class="font-sans-regular font-normal text-lg sm:text-xl leading-tighter tracking-wider max-w-col-3 print-max-w-full" itemProp="about">The Victorian artist group explored the connections between art and scientific observation to enhance art’s moral purpose</h2></div><div class="leading-0 lg:max-w-col-1 mb-md grid-in-byline"><div class="font-sans-regular font-normal text-base leading-tight text-gray-800 max-w-col-2"><a class="font-sans-bold font-bold shadow-link transition-all duration-default hover:shadow-internalLink hover:text-red-900" href="/authors/stephen-wildman">Stephen Wildman</a></div></div><div class="leading-0 lg:max-w-col-1 mb-base grid-in-dateline"><div class="font-sans-regular font-normal text-base leading-tight inline-block">13 August 2019</div></div><div class="mb-2xl grid-in-toolbar border-t border-gray-300"><div class="min-w-col-1 max-w-col-3 pt-md flex items-center justify-between xs:justify-end lg:justify-between grid-in-toolbar 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the O’Shea brothers’ startlingly vivid carvings of a capital inside the Oxford Museum of Natural History Courtesy Natural History Museum, London" loading="lazy" width="600" height="400.0677277345073" decoding="async" data-nimg="1" class="max-w-col-3 print-max-w-full" style="color:transparent;height:auto;width:100%;background-size:cover;background-position:50% 50%;background-repeat:no-repeat;background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg xmlns='http://www.w3.org/2000/svg' viewBox='0 0 600 400.0677277345073'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'/%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'/%3E%3CfeComposite operator='out' in='s'/%3E%3CfeComposite in2='SourceGraphic'/%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3C/filter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image/jpeg;base64,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'/%3E%3C/svg%3E")" srcSet="https://cdn.sanity.io/images/cxgd3urn/production/6b0dc5d69d7d697c4955b6a34f85ee2109e4fb8f-2953x1969.jpg?rect=2,0,2951,1969&w=640&h=427&q=85&fit=crop&auto=format 1x, https://cdn.sanity.io/images/cxgd3urn/production/6b0dc5d69d7d697c4955b6a34f85ee2109e4fb8f-2953x1969.jpg?w=1200&h=800&q=85&fit=crop&auto=format 2x" src="https://cdn.sanity.io/images/cxgd3urn/production/6b0dc5d69d7d697c4955b6a34f85ee2109e4fb8f-2953x1969.jpg?w=1200&h=800&q=85&fit=crop&auto=format"/><figcaption class="mt-base max-w-col-2 print-max-w-full"><div class="font-sans-regular font-normal text-base sm:text-sm leading-tight text-gray-700"><p>A living ecosystem: one of the O’Shea brothers’ startlingly vivid carvings of a capital inside the Oxford Museum of Natural History <span class="text-gray-400 block">Courtesy Natural History Museum, London</span></p></div></figcaption></figure></div><div class="grid-in-content lg:grid-in-series"><div style="height:auto"><div class="ad-container mb-xl" id="material_body_slot_1"></div></div><div><div class="w-full"><div class="mb-2xl" itemProp="articleBody"><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">John Holmes may be said to have achieved the near impossible in finding a little studied aspect of Pre-Raphaelitism and producing a stimulating book covering not only painting and architecture but also poetry and prose, as befits the professor of Victorian literature and culture at Birmingham University.</p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">Tate Britain’s 2012 exhibition made a not wholly convincing attempt to promote the Pre-Raphaelites as the “Victorian avant-garde”. Holmes avoids this temptation, instead outlining what he calls “the Pre-Raphaelite project”, inaugurated in the pages of the Brotherhood’s short-lived magazine <em class="font-text-light-italic font-light italic">The Germ</em> (1850) and linking all aspects of art and literature. </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">From first looking at <em class="font-text-light-italic font-light italic">The Germ</em>, somewhat neglected by scholars, Holmes finds a rich seam in the relationship between art and science, recognising that the young Pre-Raphaelites had been born into a self-consciously modern, scientific age. Rarely read essays by Frederic Stephens and John Lucas Tupper, an anatomical illustrator, together with the poem <em class="font-text-light-italic font-light italic">Newton</em> by Walter Deverell, are all seen to contribute to the overarching idea that adherence to fact and close study of the natural world assisted the moral purpose of art, a principle also promoted by Ruskin, who provided early public support for paintings shown at the Royal Academy. New thought about the relevance of deep scientific observation allows interesting discussion of familiar images such as Millais’s <em class="font-text-light-italic font-light italic">Ophelia</em> (1851-52), Holman Hunt’s <em class="font-text-light-italic font-light italic">Hireling Shepherd</em> (1851) and Dyce’s <em class="font-text-light-italic font-light italic">Pegwell Bay</em> (1858-60).</p><div class="relative mb-xl sm:max-w-col-1 sm:ltr:mr-gutter sm:rtl:ml-gutter lg:ltr:-ml-shift-col-1 lg:rtl:-mr-shift-col-1 xl:ltr:mr-gutter-xl xl:rtl:ml-gutter-xl xl:ltr:-ml-shift-col-1-xl xl:rtl:-mr-shift-col-1-xl sm:ltr:float-left sm:rtl:float-right sm:clear-both"><div class="w-14 mb-md"><svg class="fill-current text-red-900" preserveAspectRatio="xMinYMin meet" viewBox="0 0 34 24" x="0px" y="0px"><g><path d="M2 17.952C2 21.216 4.496 24 8.048 24C11.312 24 14.096 20.928 14.096 18.048C10.544 17.472 9.2 14.88 9.2 12.384C9.2 9.024 12.368 4.416 15.536 1.152L14.48 0C7.376 4.224 2 11.424 2 17.952ZM18.032 17.952C18.032 21.216 20.528 24 24.08 24C27.248 24 30.128 20.928 30.128 18.048C26.576 17.472 25.232 14.88 25.232 12.384C25.232 9.024 28.4 4.416 31.568 1.152L30.512 0C23.408 4.224 18.032 11.424 18.032 17.952Z"></path></g></svg></div><blockquote class="font-text-narrow-medium font-medium text-xl sm:text-lg leading-tight tracking-wide text-red-900 mb-md">New thought about the relevance of deep scientific observation allows interesting discussion of familiar images</blockquote></div><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">The concept of science is expanded to include many subjects, including fundamentals such as chemistry and geology as well as anatomy, astronomy, geography and natural history (through the study of nature and landscape), and even psychology (as demonstrated in William Michael Rossetti’s little-known poem <em class="font-text-light-italic font-light italic">Mrs Holmes Grey</em>). </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">The Pre-Raphaelites’ religious paintings can also be seen to have been influenced: although Christina Rossetti considered that science “existed under suffrance”, her brother William Michael could express in an essay of 1857, “The Externals of Sacred Art”, “every reason to believe that science could help to reach towards a fuller and truer understanding of the foundations of faith”. Natural theology, no longer in currency but much discussed in the mid-19th century, is considered in one chapter through its antithesis with scientific naturalism, as part of the Darwinian debate. </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">Architecture attracts Holmes’s chief attention, and there is no escaping the feeling that the book has developed out of stimulating new research on the genesis, construction and decoration in the 1850s and 1860s of the Oxford Museum, here called “the greatest single work of Pre-Raphaelite art”. This is not entirely a novel idea: at the 1862 International Exhibition the work of William Morris’s newly founded firm had been seen to embody a kind of “practical Pre-Raphaelitism”, but there has been little follow-up to this in modern scholarship. </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">Careful and intriguing analysis of the written sources and the visible evidence underpins the significance of the museum—Henry Acland, its co-founder with Ruskin, reconciling Darwinism with his belief in God as a divine artist, and the O’Shea brothers’ astonishing carvings shown to be not merely decorative but offering “a living ecosystem”. </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">Admitting to piecing together isolated examples from the late 1850s and 1860s, when Pre-Raphaelitism was anyway more diffuse, Holmes makes a bold but convincing argument for the new Natural History Museum in South Kensington as “a second Pre-Raphaelite museum”. The naturalist Richard Owen seems an unlikely Pre-Raphaelite, but he was a member of the Hogarth Club, and is here revealed to have been “well liked by writers and artists”, and to have instigated the scheme of bizarre animal decoration designed by Alfred Waterhouse. The overlooked 1881 Holman Hunt portrait of Owen—“a lion in winter” and “a reluctant Lear”—is rightly and cleverly contrasted with John Collier’s urbane 1883 portrait of Thomas Huxley, modern man of science, as a neat conclusion to the book.</p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">There are other interesting themes and pockets of research in this judiciously illustrated study (half of the 150 plates are in colour), all benefiting from Yale’s impeccable editing and design. It concludes by reiterating that “the Pre-Raphaelite project… had brought a new rigour and intellectual independence to the arts”. While this may not convince every reader, it still stands as an original and useful addition to the literature. </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text"><em class="font-text-light-italic font-light italic"><strong class="font-text-medium font-medium">Stephen Wildman</strong> is an Emeritus Professor of the History of Art Department at Lancaster University</em></p><ul class="ltr:ml-lg rtl:mr-lg mb-lg text-black last:mb-0 font-text-light font-light text-lg leading-normal tracking-wide list-circle list-disc"><li><strong class="font-text-medium font-medium"><em class="font-text-light-italic font-light italic">John Holmes, The Pre-Raphaelites and Science, Yale University Press in association with the Paul Mellon Centre for Studies in British Art, 320pp, £35, $50 (hb)</em></strong></li></ul></div><div style="height:auto"><div class="ad-container mb-xl" id="material_body_slot_2"></div></div><div class="w-full 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microscope","url":"https://www.theartnewspaper.com/2019/08/13/the-scientific-brotherhood-pre-raphaelite-art-put-under-the-microscope","thumbnailUrl":"https://cdn.sanity.io/images/cxgd3urn/production/6b0dc5d69d7d697c4955b6a34f85ee2109e4fb8f-2953x1969.jpg?rect=186,209,2583,1550&w=1200&h=720&q=85&fit=crop&auto=format","image":"https://cdn.sanity.io/images/cxgd3urn/production/6b0dc5d69d7d697c4955b6a34f85ee2109e4fb8f-2953x1969.jpg?rect=186,209,2583,1550&w=1200&h=720&q=85&fit=crop&auto=format","datePublished":"2019-08-13T10:46:40.039+00:00","creator":[{"@type":"Person","name":"Stephen Wildman","url":"https://www.theartnewspaper.com/authors/stephen-wildman"}],"author":[{"@type":"Person","name":"Stephen Wildman","url":"https://www.theartnewspaper.com/authors/stephen-wildman"}],"articleSection":"review","keywords":["Books","Painting","Avant-garde","Pre-Raphaelites","Literature"]}</script></div><div class="print-hidden"><div style="height:auto"><div class="ad-container" 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Holmes avoids this temptation, instead outlining what he calls “the Pre-Raphaelite project”, inaugurated in the pages of the Brotherhood’s short-lived magazine \"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"The Germ\",\"_key\":\"6208200a9c17\"},{\"_type\":\"span\",\"marks\":[],\"text\":\" (1850) and linking all aspects of art and literature. \",\"_key\":\"5199e4ae8a9f\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"040c88be2dae\"},{\"_key\":\"46cb3a72ea1a\",\"markDefs\":[],\"children\":[{\"_key\":\"df9e4b528a50\",\"_type\":\"span\",\"marks\":[],\"text\":\"From first looking at \"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"The Germ\",\"_key\":\"07f39e7a9ad2\"},{\"_type\":\"span\",\"marks\":[],\"text\":\", somewhat neglected by scholars, Holmes finds a rich seam in the relationship between art and science, recognising that the young Pre-Raphaelites had been born into a self-consciously modern, scientific age. Rarely read essays by Frederic Stephens and John Lucas Tupper, an anatomical illustrator, together with the poem \",\"_key\":\"23e60da3de1b\"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"Newton\",\"_key\":\"6c775df6e60e\"},{\"_key\":\"4853832c14f9\",\"_type\":\"span\",\"marks\":[],\"text\":\" by Walter Deverell, are all seen to contribute to the overarching idea that adherence to fact and close study of the natural world assisted the moral purpose of art, a principle also promoted by Ruskin, who provided early public support for paintings shown at the Royal Academy. New thought about the relevance of deep scientific observation allows interesting discussion of familiar images such as Millais’s \"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"Ophelia\",\"_key\":\"3b1ddcf0f406\"},{\"text\":\" (1851-52), Holman Hunt’s \",\"_key\":\"152c1cd69caa\",\"_type\":\"span\",\"marks\":[]},{\"marks\":[\"em\"],\"text\":\"Hireling Shepherd\",\"_key\":\"69225bcfee85\",\"_type\":\"span\"},{\"_type\":\"span\",\"marks\":[],\"text\":\" (1851) and Dyce’s \",\"_key\":\"e8246b8ea250\"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"Pegwell Bay\",\"_key\":\"e32bc4e60415\"},{\"_key\":\"6bb7ba9ba0c8\",\"_type\":\"span\",\"marks\":[],\"text\":\" (1858-60).\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"New thought about the relevance of deep scientific observation allows interesting discussion of familiar images\",\"_key\":\"f30939b592e4\"}],\"_type\":\"block\",\"style\":\"blockquote\",\"_key\":\"598fccab8aea\"},{\"_key\":\"90bd7b4ed7d5\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"The concept of science is expanded to include many subjects, including fundamentals such as chemistry and geology as well as anatomy, astronomy, geography and natural history (through the study of nature and landscape), and even psychology (as demonstrated in William Michael Rossetti’s little-known poem \",\"_key\":\"093d14845c5a\"},{\"marks\":[\"em\"],\"text\":\"Mrs Holmes Grey\",\"_key\":\"26342e4c72f5\",\"_type\":\"span\"},{\"_type\":\"span\",\"marks\":[],\"text\":\"). \",\"_key\":\"00feac654c06\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"_key\":\"1bc6334a05f5\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"The Pre-Raphaelites’ religious paintings can also be seen to have been influenced: although Christina Rossetti considered that science “existed under suffrance”, her brother William Michael could express in an essay of 1857, “The Externals of Sacred Art”, “every reason to believe that science could help to reach towards a fuller and truer understanding of the foundations of faith”. Natural theology, no longer in currency but much discussed in the mid-19th century, is considered in one chapter through its antithesis with scientific naturalism, as part of the Darwinian debate. \",\"_key\":\"d46a2c6ca7c2\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"markDefs\":[],\"children\":[{\"marks\":[],\"text\":\"Architecture attracts Holmes’s chief attention, and there is no escaping the feeling that the book has developed out of stimulating new research on the genesis, construction and decoration in the 1850s and 1860s of the Oxford Museum, here called “the greatest single work of Pre-Raphaelite art”. This is not entirely a novel idea: at the 1862 International Exhibition the work of William Morris’s newly founded firm had been seen to embody a kind of “practical Pre-Raphaelitism”, but there has been little follow-up to this in modern scholarship. \",\"_key\":\"d36c9fc79faf\",\"_type\":\"span\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"2d668e24820e\"},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"5ca3f8d74188\",\"markDefs\":[],\"children\":[{\"text\":\"Careful and intriguing analysis of the written sources and the visible evidence underpins the significance of the museum—Henry Acland, its co-founder with Ruskin, reconciling Darwinism with his belief in God as a divine artist, and the O’Shea brothers’ astonishing carvings shown to be not merely decorative but offering “a living ecosystem”. \",\"_key\":\"6d8202d6d027\",\"_type\":\"span\",\"marks\":[]}]},{\"_key\":\"25f16e31c290\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Admitting to piecing together isolated examples from the late 1850s and 1860s, when Pre-Raphaelitism was anyway more diffuse, Holmes makes a bold but convincing argument for the new Natural History Museum in South Kensington as “a second Pre-Raphaelite museum”. The naturalist Richard Owen seems an unlikely Pre-Raphaelite, but he was a member of the Hogarth Club, and is here revealed to have been “well liked by writers and artists”, and to have instigated the scheme of bizarre animal decoration designed by Alfred Waterhouse. The overlooked 1881 Holman Hunt portrait of Owen—“a lion in winter” and “a reluctant Lear”—is rightly and cleverly contrasted with John Collier’s urbane 1883 portrait of Thomas Huxley, modern man of science, as a neat conclusion to the book.\",\"_key\":\"5c8b7a336f1b\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"_key\":\"2925323f2962\",\"markDefs\":[],\"children\":[{\"text\":\"There are other interesting themes and pockets of research in this judiciously illustrated study (half of the 150 plates are in colour), all benefiting from Yale’s impeccable editing and design. It concludes by reiterating that “the Pre-Raphaelite project… had brought a new rigour and intellectual independence to the arts”. 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ecosystem: one of the O’Shea brothers’ startlingly vivid carvings of a capital inside the Oxford Museum of Natural History Courtesy Natural History Museum, London\"}],[\"$\",\"figcaption\",null,{\"children\":[\"$\",\"div\",null,{\"children\":[[\"$\",\"p\",\"9f7104e8025e\",{\"children\":[\"A living ecosystem: one of the O’Shea brothers’ startlingly vivid carvings of a capital inside the Oxford Museum of Natural History \",[\"$\",\"span\",\"646229a7f766\",{\"children\":[\"Courtesy Natural History Museum, London\"],\"className\":\"text-gray-400 block\"}]]}]],\"className\":\"font-sans-regular font-normal text-base sm:text-sm leading-tight text-gray-700\"}],\"className\":\"mt-base max-w-col-2 print-max-w-full\"}]],\"className\":\"max-w-col-3 print-max-w-full\"}],\"className\":\"grid-in-media mb-lg\"}],null,[\"$\",\"div\",null,{\"children\":[[\"$\",\"div\",null,{\"children\":[\"$\",\"div\",null,{\"className\":\"ad-container 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Holmes avoids this temptation, instead outlining what he calls “the Pre-Raphaelite project”, inaugurated in the pages of the Brotherhood’s short-lived magazine \",[\"$\",\"em\",\"6208200a9c17\",{\"children\":[\"The Germ\"],\"className\":\"font-text-light-italic font-light italic\"}],\" (1850) and linking all aspects of art and literature. \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"46cb3a72ea1a\",{\"children\":[\"From first looking at \",[\"$\",\"em\",\"07f39e7a9ad2\",{\"children\":[\"The Germ\"],\"className\":\"font-text-light-italic font-light italic\"}],\", somewhat neglected by scholars, Holmes finds a rich seam in the relationship between art and science, recognising that the young Pre-Raphaelites had been born into a self-consciously modern, scientific age. Rarely read essays by Frederic Stephens and John Lucas Tupper, an anatomical illustrator, together with the poem \",[\"$\",\"em\",\"6c775df6e60e\",{\"children\":[\"Newton\"],\"className\":\"font-text-light-italic font-light italic\"}],\" by Walter Deverell, are all seen to contribute to the overarching idea that adherence to fact and close study of the natural world assisted the moral purpose of art, a principle also promoted by Ruskin, who provided early public support for paintings shown at the Royal Academy. New thought about the relevance of deep scientific observation allows interesting discussion of familiar images such as Millais’s \",[\"$\",\"em\",\"3b1ddcf0f406\",{\"children\":[\"Ophelia\"],\"className\":\"font-text-light-italic font-light italic\"}],\" (1851-52), Holman Hunt’s \",[\"$\",\"em\",\"69225bcfee85\",{\"children\":[\"Hireling Shepherd\"],\"className\":\"font-text-light-italic font-light italic\"}],\" (1851) and Dyce’s \",[\"$\",\"em\",\"e32bc4e60415\",{\"children\":[\"Pegwell Bay\"],\"className\":\"font-text-light-italic font-light italic\"}],\" (1858-60).\"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"div\",\"598fccab8aea\",{\"children\":[[\"$\",\"div\",null,{\"children\":[\"$\",\"svg\",null,{\"children\":[\"$\",\"g\",null,{\"children\":[\"$\",\"path\",null,{\"d\":\"M2 17.952C2 21.216 4.496 24 8.048 24C11.312 24 14.096 20.928 14.096 18.048C10.544 17.472 9.2 14.88 9.2 12.384C9.2 9.024 12.368 4.416 15.536 1.152L14.48 0C7.376 4.224 2 11.424 2 17.952ZM18.032 17.952C18.032 21.216 20.528 24 24.08 24C27.248 24 30.128 20.928 30.128 18.048C26.576 17.472 25.232 14.88 25.232 12.384C25.232 9.024 28.4 4.416 31.568 1.152L30.512 0C23.408 4.224 18.032 11.424 18.032 17.952Z\"}]}],\"className\":\"fill-current text-red-900\",\"preserveAspectRatio\":\"xMinYMin meet\",\"viewBox\":\"0 0 34 24\",\"x\":\"0px\",\"y\":\"0px\"}],\"className\":\"w-14 mb-md\"}],[\"$\",\"blockquote\",null,{\"children\":[\"New thought about the relevance of deep scientific observation allows interesting discussion of familiar images\"],\"className\":\"font-text-narrow-medium font-medium text-xl sm:text-lg leading-tight tracking-wide text-red-900 mb-md\"}]],\"className\":\"relative mb-xl sm:max-w-col-1 sm:ltr:mr-gutter sm:rtl:ml-gutter lg:ltr:-ml-shift-col-1 lg:rtl:-mr-shift-col-1 xl:ltr:mr-gutter-xl xl:rtl:ml-gutter-xl xl:ltr:-ml-shift-col-1-xl xl:rtl:-mr-shift-col-1-xl sm:ltr:float-left sm:rtl:float-right sm:clear-both\"}],[\"$\",\"p\",\"90bd7b4ed7d5\",{\"children\":[\"The concept of science is expanded to include many subjects, including fundamentals such as chemistry and geology as well as anatomy, astronomy, geography and natural history (through the study of nature and landscape), and even psychology (as demonstrated in William Michael Rossetti’s little-known poem \",[\"$\",\"em\",\"26342e4c72f5\",{\"children\":[\"Mrs Holmes Grey\"],\"className\":\"font-text-light-italic font-light italic\"}],\"). \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"1bc6334a05f5\",{\"children\":[\"The Pre-Raphaelites’ religious paintings can also be seen to have been influenced: although Christina Rossetti considered that science “existed under suffrance”, her brother William Michael could express in an essay of 1857, “The Externals of Sacred Art”, “every reason to believe that science could help to reach towards a fuller and truer understanding of the foundations of faith”. Natural theology, no longer in currency but much discussed in the mid-19th century, is considered in one chapter through its antithesis with scientific naturalism, as part of the Darwinian debate. \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"2d668e24820e\",{\"children\":[\"Architecture attracts Holmes’s chief attention, and there is no escaping the feeling that the book has developed out of stimulating new research on the genesis, construction and decoration in the 1850s and 1860s of the Oxford Museum, here called “the greatest single work of Pre-Raphaelite art”. This is not entirely a novel idea: at the 1862 International Exhibition the work of William Morris’s newly founded firm had been seen to embody a kind of “practical Pre-Raphaelitism”, but there has been little follow-up to this in modern scholarship. \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"5ca3f8d74188\",{\"children\":[\"Careful and intriguing analysis of the written sources and the visible evidence underpins the significance of the museum—Henry Acland, its co-founder with Ruskin, reconciling Darwinism with his belief in God as a divine artist, and the O’Shea brothers’ astonishing carvings shown to be not merely decorative but offering “a living ecosystem”. \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"25f16e31c290\",{\"children\":[\"Admitting to piecing together isolated examples from the late 1850s and 1860s, when Pre-Raphaelitism was anyway more diffuse, Holmes makes a bold but convincing argument for the new Natural History Museum in South Kensington as “a second Pre-Raphaelite museum”. The naturalist Richard Owen seems an unlikely Pre-Raphaelite, but he was a member of the Hogarth Club, and is here revealed to have been “well liked by writers and artists”, and to have instigated the scheme of bizarre animal decoration designed by Alfred Waterhouse. The overlooked 1881 Holman Hunt portrait of Owen—“a lion in winter” and “a reluctant Lear”—is rightly and cleverly contrasted with John Collier’s urbane 1883 portrait of Thomas Huxley, modern man of science, as a neat conclusion to the book.\"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"2925323f2962\",{\"children\":[\"There are other interesting themes and pockets of research in this judiciously illustrated study (half of the 150 plates are in colour), all benefiting from Yale’s impeccable editing and design. It concludes by reiterating that “the Pre-Raphaelite project… had brought a new rigour and intellectual independence to the arts”. 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class="w-full max-w-col-2-xl last:mb-0 mb-sm"><div class="w-full max-w-col-2-xl empty:hidden last:mb-0 mb-xl"><p class="font-sans-regular font-normal text-base sm:text-sm leading-snug text-gray-700 w-full max-w-col-2-xl">An excellently wrought assessment of the cast of characters that defined the mid-19th century</p></div><div class="leading-none mb-sm last:mb-0"><span class="text-gray-700 font-sans-regular font-normal text-sm sm:text-xs leading-tight whitespace-nowrap"><span class="whitespace-normal"><a class="font-sans-bold font-bold shadow-link transition-all duration-default hover:shadow-internalLink hover:text-red-900" href="/authors/charlotte-gere">Charlotte Gere</a></span></span></div></div></div><div class="relative w-full max-w-col-5 before:bg-gray-300 pt-lg before:absolute before:top-0 before:left-0 before:w-full before:h-px mb-2xl flex flex-col sm:max-w-col-1"><div class="mb-sm col-span-2 col-start-1 row-start-2"><div class="text-red-900 font-sans-bold font-bold text-sm sm:text-xs leading-tighter tracking-wide select-none"><div class="empty:hidden"><span class="mr-xs"><a class="hover:underline" href="/keywords/tate-britain">Tate Britain</a></span><span class="w-2 mr-xs inline-block mb-[-3px]"><svg class="" height="100%" width="100%" fill="currentColor" preserveAspectRatio="xMinYMin meet" viewBox="0 0 8 12" x="0px" y="0px"><g><path d="M1 10.168H1.336L3.88 1H3.556L1 10.168Z"></path><path d="M4.71484 10.168H5.05084L7.59484 1H7.27084L4.71484 10.168Z"></path></g></svg></span><span class="font-sans-regular font-normal capitalize">archive</span></div></div></div><span class="inline-block mb-sm last:mb-0"><span class="font-sans-regular font-normal text-sm sm:text-xs leading-tight tracking-loose text-gray-700">31 August 2012</span></span><a class="block text-gray-800 hover:text-red-900 transition-colors duration-default cursor-pointer mb-md" href="/2012/09/01/exhibition-explores-the-avant-garde-aspects-of-the-conservative-pre-raphaelites"><h4 class="w-full 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