
Description
This programme looks at the Pre-Raphaelite brotherhood set up in 1848. It describes their predominantly 'dry' approach to painting, and shows how, while convinced of the need to imitate nature, the...ir main interests were in social drama and contemporary life. Tim Hilton appraises the influence of John Ruskin on the group, then, by examining a number of paintings in detail, assesses the success with which they treat their moral themes.
This programme looks at the Pre-Raphaelite brotherhood set up in 1848. It describes their predominantly 'dry' approach to painting, and shows how, while convinced of the need to imitate nature, the...ir main interests were in social drama and contemporary life. Tim Hilton appraises the influence of John Ruskin on the group, then, by examining a number of paintings in detail, assesses the success with which they treat their moral themes.
Module code and title: | A101, An arts foundation course |
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Item code: | A101; 23 |
First transmission date: | 02-08-1978 |
Published: | 1978 |
Rights Statement: | |
Restrictions on use: | |
Duration: | 00:25:00 |
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Producer: | Paul Kafno |
Contributor: | Timothy Adam Hilton |
Publisher: | BBC Open University |
Keyword(s): | Painting; Pre Raphaelites |
Footage description: | From the studio Hilton explains why Millais technique was revolutionary. Over Christ in the House of His Parents he indicates features in this painting which are characteristic of Millais' work. Milton describes the aims of the Pre- Raphaelite Brotherhood. Holman Hunt's Christian Missionary Pursued by the Druids and The Hireling Shepherd are examined in detail and their moralistic themes considered. Hilton uses a Poussin-like landscape to explain the structure of traditional landscape painting. He contrasts this with Millais' Ophelia. Over Millais' portrait of Ruskin he describes the critic's relationship with the Pre-Raphaelites. Hilton compares the Pre-Raphaelite art with that of Turner. He analyses Hunt's The Awakening Conscience in some detail and explains why he dislkes the painting. Over Rossetti's Found Hilton gives his views on Rossetti. He explains the difference between 'wet' and 'dry' painters, and why he dislikes the dry Pre-Raphaelite technique. Hilton explains why he considers Ford Maddox Brown's The Last of England the best Hilton compares Henry Wallis' The Stonebreaker with Bretts' painting of the same title. He argues that moralistic realism borders on vulgarity. Martineau's Last Day in the Old Home is used as an example of vulgar painting. Hilton speaks briefly about the subjects chosen by the Pre-Raphaelites, then explains why he dislikes sentimental art. |
Master spool number: | 6HT/72931 |
Production number: | 00525_3452 |
Videofinder number: | 3945 |
Available to public: | no |