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Mark Stocker

(b Inverness, Scotland, Oct 26, 1825; d Cannes, Jan 1, 1871).

Scottish sculptor, active in England. With the help of Harriet Egerton, Duchess of Sutherland, he obtained work in London, where in 1844 he assisted with carving in the Houses of Parliament, then being rebuilt following destruction by fire. After working under Edward Hodges Baily, he enrolled in 1847 at the Royal Academy Schools, where he met members of the Pre-Raphaelite circle; he befriended Dante Gabriel Rossetti and shared his studio with Arthur Hughes. Munro’s most obviously Pre-Raphaelite work is Paolo and Francesca (marble, 1851–2; Birmingham, Mus. & A.G.). Although it is traditionally seen as following Rossetti, it preceded the latter’s Paolo and Francesca da Rimini (1855; London, Tate) and reflected Munro’s admiration of John Flaxman. Pre-Raphaelitism is evident in Paolo’s gauche pose and the work’s emotional intensity; the unrealistically smooth modelling emphasizes its visionary and poetic qualities. Munro’s stone tympanum relief King Arthur and the Knights of the Round Table...

Article

Alasdair A. Auld

[Noël]

(b Dunfermline, Fife, 1821; d Edinburgh, Dec 25, 1901).

Scottish painter, illustrator, sculptor and collector. From his earliest years he drew avidly, seeking inspiration from ancient history, the Bible and from tales of romance and legend. His father was a keen antiquarian, and his habit of collecting items of historical interest and artistic merit was inherited by his son who amassed a collection, which included arms and armour, now in the National Museum of Scotland, Edinburgh. He used items from the collection in a large number of his paintings such as ‘I wonder who lived in there?’ (1867; Mrs Eva Noël Findlay priv. col.), the Fairy Raid (1867; Glasgow A.G. & Mus.), In die Malo (1881) and Oskold and the Ellé Maids (1874). After three years as head designer in one of the biggest sewn-muslin factories in Paisley, Strathclyde, Paton went to London in 1842. Although he did not take a studentship at the Royal Academy Schools, it was there that he met John Everett Millais, and they became lifelong friends. He won prizes in the Westminster Hall competitions in ...

Article

Russian, 20th century, female.

Born 1926, in Moscow.

Sculptor.

Adelaide Pologova exhibited Spring, a coloured wood sculpture reminiscent of the 19th-century English Pre-Raphaelites, at Russian Art from the Scythians to Today ( L'Art Russe des Scythes à Nos Jours) at the Galeries Nationales at the Grand Palais in Paris in ...

Article

Polish, 20th century, male.

Born 19 October 1888, in Warsaw.

Painter, engraver, sculptor.

Stanislav Rzecki trained at the academies in Cracow and Paris; he shared the Pre-Raphaelites' taste for Gothic art and the early Renaissance.

Warsaw (Muz. Narodowe): Woman's Head (bronze); two oil paintings...

Article

British, 19th century, male.

Born 23 February 1817, in London; died 1 July 1904, in Limmerlease.

Painter, sculptor. History painting, portraits, landscapes.

Symbolism.

Pre-Raphaelite.

George Frederick Watts enrolled at the Royal Academy Schools in 1835 but left soon afterwards to work in the atelier of the sculptor William Behnes, who communicated to Watts his unstinting admiration for classical Greek sculpture. He received a single painting lesson from an unidentified miniaturist, who explained to him which colours were most appropriate to use in order to copy an original portrait by Peter Lely. This rudimentary apprenticeship appears to have been adequate, as Watts demonstrated from the start of his career a firm grasp of style and line and soon made rapid progress....

Article

British, 19th century, male.

Born 17 December 1825, in Hadleigh (Suffolk); died 7 October 1892, in London.

Sculptor, painter, draughtsman.

Symbolism.

Pre-Raphaelite.

Thomas Woolner had a remarkable aptitude for modelling from a very early age. He went to London and exhibited at the Royal Academy ...

Article

Mark Stocker

(b Hadleigh, Suffolk, Dec 17, 1825; d London, Oct 7, 1892).

English sculptor and poet . He ranks with John Henry Foley as the leading sculptor of mid-Victorian England. He trained with William Behnes and in 1842 enrolled as a student at the Royal Academy, London. In 1844 he exhibited at Westminster Hall, London, a life-size plaster group, the Death of Boadicea (destr.), in an unsuccessful attempt to obtain sculptural commissions for the Houses of Parliament. His earliest important surviving work is the statuette of Puck (plaster, 1845–7; C. G. Woolner priv. col.), which was admired by William Holman Hunt and helped to secure Woolner’s admission in 1848 to the Pre-Raphaelite Brotherhood. The work’s Shakespearean theme and lifelike execution, stressing Puck’s humorous malice rather than traditional ideal beauty, made it highly appealing. Although eclipsed by Hunt, John Everett Millais and Dante Gabriel Rossetti, Woolner was an important figure in the Brotherhood. He contributed poetry to its journal, The Germ (1850), and his work was committed to truthfulness to nature more consistently than that of any other Pre-Raphaelite, except for Hunt. This is evident in Woolner’s monument to ...