what is pre raphaelite poetry?
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The Pre-Raphaelites attempted to revitalize subject painting, which had been dismissed as artificial. Their belief that each picture should tell a story was an important step for the unification of painting and literature (eventually deemed the Sister Arts, or at least a break in the rigid hierarchy promoted by writers like Robert Buchanan
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The Characteristics of Pre-Raphaelite Poetry.
The Pre-Raphaelites were a loose and baggy collective of Victorian poets, painters, illustrators and designers whose tenure lasted from 1848 to roughly the turn of the century. Drawing inspiration from visual art and literature, their work privileged atmosphere and mood over narrative, focusing on medieval subjects, artistic introspection, female beauty, sexual yearning and altered states of consciousness. In defiant opposition to the utilitarian ethos that formed the dominant ideology of the mid-century, the Pre-Raphaelites helped to popularise the
notion of ‘art for art’s sake’. Generally devoid of the political edge that characterised much
Victorian art and literature, Pre-Raphaelite work nevertheless incorporated elements of 19th-century realism in its attention to detail and in its close observation of the natural world. Those poets who had some connection with these artists and whose work presumably shares the characteristics of their art include Dante Gabriel Rossetti, Christina Rossetti, George Meredith, William Morris, and Algernon Charles Swinburne. They were inspired by Italian art of the 14th and 15th centuries, and their adoption of the name Pre-Raphaelite expressed their admiration for what they saw as the direct and uncomplicated depiction of nature typical of Italian painting before the High Renaissance and, particularly, before the time of Raphael. The Pre-Raphaelite movement during the Victorian era was an idealistic reaction against the didacticism moral fervor, and pre-occupation of poets and novelists with contemporary society. In the reign of Queen Victoria there was a growing tendency to make literature a handmaiden social reform and an instrument for the propagation of moral and spiritual ideas. Literature became the vehicle of social, political, and moral problems confronting the Victorian age. Ruskin, Carlyle, Dickens were engaged in attacking the evils rampant in the society of their times. So the movement was against these pre-occupation of poets, prose writers, and novelists with the mundane problems of their times, that a set of high souled artists formed this group. The first characteristic of the Pre-Raphaelite Poetry is that it was a revolt and reaction against the conventionality of poetry represented by Tennyson. The poets of this school revolted against the harshening use of poetry to the service of social and political problems of the age.
The Pre-Raphaelites were a loose and baggy collective of Victorian poets, painters, illustrators and designers whose tenure lasted from 1848 to roughly the turn of the century. Drawing inspiration from visual art and literature, their work privileged atmosphere and mood over narrative, focusing on medieval subjects, artistic introspection, female beauty, sexual yearning and altered states of consciousness. In defiant opposition to the utilitarian ethos that formed the dominant ideology of the mid-century, the Pre-Raphaelites helped to popularise the
notion of ‘art for art’s sake’. Generally devoid of the political edge that characterised much
Victorian art and literature, Pre-Raphaelite work nevertheless incorporated elements of 19th-century realism in its attention to detail and in its close observation of the natural world. Those poets who had some connection with these artists and whose work presumably shares the characteristics of their art include Dante Gabriel Rossetti, Christina Rossetti, George Meredith, William Morris, and Algernon Charles Swinburne. They were inspired by Italian art of the 14th and 15th centuries, and their adoption of the name Pre-Raphaelite expressed their admiration for what they saw as the direct and uncomplicated depiction of nature typical of Italian painting before the High Renaissance and, particularly, before the time of Raphael. The Pre-Raphaelite movement during the Victorian era was an idealistic reaction against the didacticism moral fervor, and pre-occupation of poets and novelists with contemporary society. In the reign of Queen Victoria there was a growing tendency to make literature a handmaiden social reform and an instrument for the propagation of moral and spiritual ideas. Literature became the vehicle of social, political, and moral problems confronting the Victorian age. Ruskin, Carlyle, Dickens were engaged in attacking the evils rampant in the society of their times. So the movement was against these pre-occupation of poets, prose writers, and novelists with the mundane problems of their times, that a set of high souled artists formed this group. The first characteristic of the Pre-Raphaelite Poetry is that it was a revolt and reaction against the conventionality of poetry represented by Tennyson. The poets of this school revolted against the harshening use of poetry to the service of social and political problems of the age.
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