Kurs: Europa w latach 1800 - 1900 > Rozdział 4
Lekcja 2: Środkowa faza epoki wiktoriańskiej i nurt prerafaelicki- Krótki przewodnik po nurcie prerafaelickim
- The Aesthetic Movement
- Pre-Raphaelites: Curator's choice - Millais's Isabella
- Sir John Everett Millais, Christ in the House of His Parents
- Sir John Everett Millais, Christ in the House of His Parents
- Sir John Everett Millais, Ophelia
- Sir John Everett Millais, Ophelia
- Millais, Ophelia
- Millais, Mariana
- Millais, Mariana
- Millais, Portret Johna Ruskina
- Millais, The Vale of Rest
- Millais, The Vale of Rest
- Hunt, Claudio and Isabella
- Hunt, Claudio and Isabella
- Hunt, Our English Coasts ("Strayed Sheep")
- Hunt, Our English Coasts ("Strayed Sheep")
- Hunt, Our English Coasts
- Hunt, the Awakening Conscience
- Hunt, The Awakening Conscience
- Ford Madox Brown, Work
- Pre-Raphaelites: Curator's choice - Ford Madox Brown's 'Work'
- Rossetti, Ecce Ancilla Domini
- Rossetti, Beata Beatrix
- Rossetti, Proserpine
- Wallis, Chatterton
- Wallis, Chatterton
- Dyce's Pegwell Bay, Kent - a Recollection of October 5th, 1858
- Dyce, Pegwell Bay, Kent - a Recollection of October 5th, 1858
- Emily Mary Osborn, Nameless and Friendless
- John Roddam Spencer Stanhope, Thoughts of the Past
- John Roddam Spencer Stanhope, Thoughts of the Past
- Burne-Jones, The Golden Stairs
- Burne-Jones, The Golden Stairs
- Burne-Jones, King Cophetua and the Beggar Maid
- Burne-Jones, King Cophetua and the Beggar Maid
- Sleeping Beauty — but without the Kiss: Burne-Jones and the Briar Rose series
- Burne-Jones, The Depths of the Sea
- Burne-Jones, Nadzieja
- Burne-Jones, Nadzieja
- Waterhouse, The Lady of Shalott
- William Butterfield, All Saints, Margaret Street
- William Morris and Philip Webb, Red House
- Prerafaelici
William Butterfield, All Saints, Margaret Street
Architect: William Butterfield
Primary patrons: Alexander Beresford Hope and Henry Tritton
Designed 1849
Cornerstone laid by Edward Bouverie Pusey, 1850
Consecrated 1859
Rozmawiają: Dr. Ayla Lepine and Dr. Steven Zucker
William Butterfield had little more than 100 square feet of real estate, but designed perhaps the greatest example of High Victorian Gothic architecture. The spire soars 227 feet above London and its interior is a kaleidoscope of color and pattern that expresses the vision of the Oxford Movement and the Ecclesiological Society. In 1841, the Society announced its intentions for their model church:
It must be in a Gothic Style.
It must be built of solid materials.
Its ornament should decorate its construction.
Its artist should be 'a single pious and laborious artist alone, pondering deeply over his duty to do his best for the service of God's Holy Religion'.
Above all the church must be built so that the 'Rubricks and Canons of the Church of England may be Consistently observed, and the Sacraments rubrically and decently administered’.
. Stworzone przez: Beth Harris i Steven Zucker.