Illustrated: Portrait of William Holman Hunt (C19th) by Frederick Hollyer, The Stapleton Collection; Portrait of Dante Gabriel Rossetti, 1853 by W.H. Hunt / © Birmingham Museums and Art Gallery; Self Portrait, 1847 by Sir John Everett Millais / © Walker Art Gallery,
You can find the images used on Pinterest, click here.
•Barringer, T., 2012. Reading the Pre-raphaelites, 2nd Revised edition edition. ed. Yale University Press, New Haven, CT.
•Prettejohn, E., 2007. Art of the Pre-Raphaelites, The, New in Paperback edition. ed. Tate Publishing, London.
•Rosenfeld, J., 2012. Pre-Raphaelites. Tate Publishing, New York, NY.
•Marsh, J., 2013. The Pre-Raphaelite Circle. National Portrait Gallery.
More Detail includes:
•Barringer, T., Rosenfeld, J., Smith, A., 2012. Pre-Raphaelites: Victorian Avant-garde. Tate Publishing, London.
•Staley, A., 2001. The Pre-Raphaelite Landscape, 2nd Revised edition edition. ed. Yale University Press, New Haven.
•Newall, C., Staley, A., 2004. Pre-Raphaelite Vision: Truth to Nature. Tate Publishing, New York, NY.
Tate resources : Pre-Raphaelite Founded in London in 1848, a secret society of young artists (and one writer) who were opposed to the Royal Academy’s promotion of the ideal as exemplified in the work of Raphael http://www.tate.org.uk/learn/online-resources/glossary/p/pre-raphaelite
National Gallery, Washington resources (including link to a 54 page booklet pdf.)
Victorian Web resources aplenty http://www.victorianweb.org/painting/prb/index.html
William Holman Hunt (1827-1916)
Dante Gabriel Rossetti (1828-82)
John Everett Millais (1829-1896)
James Collinson (1825-1881)
Thomas Woolner (1828-1892)
Frederick George Stephens (1828-1907)
William Michael Rossetti (1829-1919)
"I insisted upon the designation Pre-Raphaelite as more radically exact, and as expressing what we had already agreed should be our principles. The second question, what our corporation itself should be called, was raised by the increase of our company. Gabriel improved upon previous suggestions with the word Brotherhood, over-ruling the objection that it savoured of clericalism. When we agreed to use the letters PRB as our insignia, we made each member promise to keep its meaning absolutely secret, foreseeing the danger of offending the reigning powers of the time.” (Holman Hunt)
That Germaine Greer Review in full: "The PRB led its followers into a welter of truly bad art: stultified, inauthentic, meretricious and vulgar."