What Was the Controversy with Pre-Raphaelite Art?
Pre-Raphaelite art sparked significant controversy primarily due to its radical departure from established artistic norms of the mid-19th century, particularly its embrace of medievalism, meticulous detail, and a candid approach to depicting subjects that often shocked contemporary sensibilities.
Key Areas of Pre-Raphaelite Controversy
The Pre-Raphaelite Brotherhood (PRB), founded in 1848 by William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, aimed to reform art by rejecting the conventions of Raphael and the Royal Academy. This ambition led to several points of contention:
1. Aesthetic "Ugliness" and Jarring Detail
One of the most immediate criticisms leveled against Pre-Raphaelite paintings was their perceived "ugliness." The Brotherhood's extreme devotion to detail, intended to render nature with unprecedented fidelity, often resulted in compositions that were condemned as jarring to the eye. Unlike the smooth, idealized finish favored by academic art, Pre-Raphaelite works often featured sharp lines, vivid colors, and an almost brutal realism.
- Example: Charles Dickens, a prominent public figure and critic, famously considered John Everett Millais's painting Christ in the House of His Parents (often referred to as Mary in some critiques due to the prominent figure of Mary) to be ugly. This painting, which depicted Mary as a realistic, working woman rather than an ethereal figure, used Millais's sister-in-law, Mary Hodgkinson, as the model for Mary, further fueling the controversy over its unconventional portrayal of a sacred subject.
2. Backward-Looking Medievalism
The Brotherhood's strong leanings towards medieval art, predating Raphael, were widely attacked as backward-looking in an era that championed progress and modernity. Critics felt that their artistic philosophy was regressive, turning away from the perceived advancements of the Renaissance and later academic traditions. This rejection of the classical ideal and embrace of what was seen as a cruder, less refined style was a significant point of contention.
3. Controversial Depictions and Model Choices
The Pre-Raphaelites often chose to depict religious, literary, and historical subjects with an unprecedented level of realism, which often conflicted with prevailing notions of decorum and beauty, especially when applied to sacred themes.
- Realism over Idealism: Instead of idealizing figures, they depicted them with naturalistic features, blemishes, and expressions, making revered figures seem too human or even "common."
- Use of Ordinary Models: The practice of using ordinary people, including family members and friends, as models for important figures like the Virgin Mary or Christ, was seen as disrespectful and inappropriate by many. Millais's use of his sister-in-law for Mary in Christ in the House of His Parents is a prime example of this.
Summary of Controversies
| Aspect of Controversy | Description | Example/Impact |
|---|---|---|
| Aesthetic "Ugliness" | Extreme detail and vibrant colors were perceived as jarring and unbeautiful, departing from academic ideals of smoothness and balance. | Charles Dickens deemed Millais's depiction of Mary in Christ in the House of His Parents "ugly" due to its stark realism and the unconventional portrayal of sacred figures. |
| Backward Medievalism | Their artistic philosophy, rooted in pre-Raphaelite styles, was criticized as regressive and a rejection of artistic progress since the Renaissance. | Seen as a step backward in art, moving away from established classical beauty and sophisticated techniques. |
| Controversial Depictions | Use of ordinary models and realistic portrayals for sacred or idealized subjects challenged traditional notions of religious and historical art. | Millais's use of his sister-in-law, Mary Hodgkinson, as the model for Mary in Christ in the House of His Parents was scandalous for its commonness. |
Ultimately, the controversies surrounding Pre-Raphaelite art stemmed from its challenge to the very foundations of academic art, pushing boundaries in terms of subject matter, technique, and aesthetic philosophy, which eventually paved the way for new artistic movements.
