Dante and Medievalism

The romance of the Middle Ages

14 June 2017 to 24 September 2018
  • The exhibition is open daily from 10am to 5pm. Fridays open until 9.30pm.
    Tickets can be booked calling the Box Office or in person at the Gallery.

    6£ adults, 4£ concessions.

The romance of the Middle Ages fascinated Rossetti from his early years.
As a child he would read Sir Walter Scott's novels and medieval ballads. Medieval subjects appeared in his works from the early 1850s when he read the legend of King Arthur. Ruskin also encouraged him to study medieval art.

After 1856, when he met the young William Morris and Edward Burne-Jones, fellow medieval enthusiasts, Rossetti's interest became even more intense.

The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were soon joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form a seven-member "brotherhood".

The group's intention was to reform art by rejecting what they considered to be the mechanistic approach first adopted by the Mannerist artists who succeeded Raphael andMichelangelo. They believed that the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art. Hence the name: Pre-Raphaelite. In particular, they objected to the influence of Sir Joshua Reynolds, the founder of the English Royal Academy of Arts, whom they called "Sir Sloshua". To the Pre-Raphaelites, according to William Michael Rossetti, "sloshy" meant "anything lax or scamped in the process of painting ... and hence ... any thing or person of a commonplace or conventional kind". In contrast, they wanted to return to the abundant detail, intense colours, and complex compositions of Quattrocento Italian and Flemish art.

The Pre-Raphaelites have been considered the first avant-garde movement in art, though they have also been denied that status, because they continued to accept both the concepts of history painting and of mimesis, or imitation of nature, as central to the purpose of art. However, the Pre-Raphaelites undoubtedly defined themselves as a reform-movement, created a distinct name for their form of art, and published a periodical, The Germ, to promote their ideas. Their debates were recorded in the Pre-Raphaelite Journal.