Although tempera has been out of favor since the Late Renaissance and Baroque eras, it has been periodically rediscovered by such later artists such as William Blake, the Nazarenes, the Pre-Raphaelites, and Joseph Southall.

Ruskin, who had been a champion of the Pre-Raphaelites and J. M. W. Turner, reviewed Whistler's work in his publication Fors Clavigera on July 2, 1877.

In early life he had been in close alliance with the Pre-Raphaelites, and he did a great deal to improve public taste in domestic decoration and furniture.

In the 1850s Ward came into conflict with the Pre-Raphaelites, especially Millais, whose style of art he considered to be un-British.

Imagism was a movement in early 20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language and was described as the most influential movement in English poetry since the activity of the Pre-Raphaelites.

Most of the Clique opposed the Pre-Raphaelites, but O ' Neil was the most virulent in his condemnation of the movement, attacking them in both paintings and writings.

The arts and crafts movement was an aesthetic movement, directly influenced by the Gothic revival and the Pre-Raphaelites, but moving away from aristocratic, nationalist and high Gothic influences to an emphasis on the idealised peasantry and medieval community, particularly of the 14th century, often with socialist political tendencies and reaching its height between about 1880 and 1910.

The movement was inspired by the writings of the critic John Ruskin and spearheaded by the work of William Morris, a friend of the Pre-Raphaelites and a former apprentice to Gothic-revival architect E. E. Street.

In the 19th and 20th centuries, there were intermittent revivals of tempera technique in Western art, among the Pre-Raphaelites, Social Realists, and others.

However, the Pre-Raphaelites undoubtedly defined themselves as a reform-movement, created a distinct name for their form of art, and published a periodical, The Germ, to promote their ideas.

Although much of the latter's material is derived from Franny Moyle's factual book Desperate Romantics: The Private Lives of the Pre-Raphaelites, the series occasionally departs from established facts in favour of dramatic licence and is prefaced by the disclaimer: " In the mid-19th century, a group of young men challenged the art establishment of the day.

Among other works of art and literature to which Paglia applies her analysis of the Western canon are: the Venus of Willendorf, the Bust of Nefertiti, Ancient Greek sculpture, Donatello's David, Sandro Botticelli's Birth of Venus and Primavera, Leonardo Da Vinci's Mona Lisa and The Virgin and Child with St. Anne, Michelangelo, Edmund Spenser's The Faerie Queene, William Shakespeare's As You Like It and Antony and Cleopatra, Jean-Jacques Rousseau, Marquis de Sade, Johann Wolfgang von Goethe's Wilhelm Meister's Apprenticeship, William Blake, William Wordsworth, Samuel Taylor Coleridge's Rime of the Ancient Mariner, Lord Byron's Don Juan, Percy Bysshe Shelley, John Keats, Honoré de Balzac, Théophile Gautier, Charles Baudelaire, Joris-Karl Huysmans, Emily Brontë's Wuthering Heights, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Ralph Waldo Emerson, Walt Whitman, Henry James, The Pre-Raphaelites, Jean Auguste Dominique Ingres, Algernon Charles Swinburne, Walter Pater, Oscar Wilde's The Importance of Being Earnest and The Picture of Dorian Gray, and Emily Dickinson.

By the end of the 1970s he was commissioned to write a number of notable pieces, such as the classically inspired The Brotherhood, based on the art of the Pre-Raphaelites, and The Eye of the Wind Rhapsody, an orchestral work celebrating the exploration of the New World by British sailing ships.

He was also an inveterate enemy of the Pre-Raphaelites and of the Aesthetic Movement, which he satirised in his painting A Private View at the Royal Academy ( 1883 ), in which Oscar Wilde is depicted discoursing on art while Frith's friends look on disapprovingly.

The collections of applied art are complemented by the Brangwyn Gift of paintings, drawings and prints by the Pre-Raphaelites and other Victorian and later artists, as well as works by Sir Frank Brangwyn himself.

Much Victorian art is now out of critical favour, with interest concentrated on the Pre-Raphaelites and the innovative movements at the end of the century.

There is also a significant collection of Victorian era art, including Pre-Raphaelites, which features paintings by artists such as John Everett Millais, Dante Gabriel Rossetti, Abraham Solomon, Edward John Poynter and Edwin Landseer, and a view of Salisbury Cathedral by John Constable.

Despite its Indocentric nationalism, this view was already commonplace within British art of the time, stemming from the ideas of the Pre-Raphaelites.

Since the Pre-Raphaelites were fixed on portraying things with near-photographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many painters and critics.

In his love of the details of nature, in his precise ( though by no means faultless ) drawing of outline, and in his predilection for local coloring, he has distinct affinities with the Pre-Raphaelites.

Thereafter they remained the touchstone of one approach to history painting until at least the early 19th century – the Raphael whose influence the Pre-Raphaelites wanted to reject was perhaps above all the Raphael of the cartoons.

His son, the poet Philip Bourke Marston ( 1850 – 1887 ), was blind from the age of three wrote four volumes of verse in the manner of the Pre-Raphaelites ; they include Songtide ( 1871 ) and Wind Voices ( 1883 ).

The Pre-Raphaelite Brotherhood ( also known as the Pre-Raphaelites ) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti.

He has written a number of biographies, two volumes of poetry, and has also edited volumes of poetry by John Dryden and the Pre-Raphaelites.

That year he also produced a series of six pictures, each depicting a female head in a different pose, which biographer Phil Baker thought were particularly good ; Baker remarked that during the late 1920s, Spare was actually producing " some of his finest drawing ", reminiscent in many respects with the work of the Pre-Raphaelites.

Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Unlike most other members of The Clique, Egg also admired the Pre-Raphaelites ; he bought work from the young William Holman Hunt and shared ideas on color theory with him.

Collings has played historical characters such as Percy Grainger in Ken Russell's Song of Summer ( 1968 ), John Ruskin in The Love School ( 1975 ), a BBC series about the Pre-Raphaelites, and Sir Anthony Babington in Elizabeth R. He is also known for his roles in the long-running British science fiction television series Doctor Who including Vorus in Revenge of the Cybermen, Mawdryn in the serial Mawdryn Undead and Poul in The Robots of Death.

As stated on her homepage, Eißmann was also influenced by: " the Pre-Raphaelites, book-illustrators like Arthur Rackham, Edmond Dulac, Ivan Bilibin and Alan Lee, Art Nouveau, artists like Edward Hopper and Jan Vermeer ".

This German school had its English counterpart in the Pre-Raphaelites, who were primarily inspired by the critical writings of John Ruskin, who admired the painters before Raphael ( such as Botticelli ) and who also recommended painting outdoors, hitherto unheard of.

To the Pre-Raphaelites, according to William Michael Rossetti, " sloshy " meant " anything lax or scamped in the process of painting ... and hence ... any thing or person of a commonplace or conventional kind ".

Many Pre-Raphaelites ended their careers mainly painting other subjects.

Leader's early works bore the influence of the Pre-Raphaelites with their attention to fine detail and emphasis on painting from nature " en plein air ".

Influenced by Romanticism his painting is symbolist with mythological subjects often overlapping with the Pre-Raphaelites.

The painting is held in a private collection, but was on show at an exhibition on the Pre-Raphaelites at Tate Britain in London during 2004.

" When she was a child, she used to make water colours in the library, painting Queen Victoria, and copying the Pre-Raphaelites and Greek Mythology.

The work originated in Goethe's occupation with painting and mainly exerted an influence onto the arts ( Philipp Otto Runge, J. M. W. Turner, the Pre-Raphaelites, Wassily Kandinsky ).

Influential critics, above all John Ruskin, far from denouncing mediaeval obscurantism, praised the imagination and fantasy exemplified by its Gothic architecture, influencing the Pre-Raphaelites.

To be present is a marked preference for dark colours and sentiments, similar to gothic fiction, Pre-Raphaelites or Art Nouveau.

Critics include many of the Pre-Raphaelites, and William Blake, the latter having published his vitriolic Annotations to Sir Joshua Reynolds ' Discourses in 1808.

They became strongly influenced by the paintings of the Pre-Raphaelites, John Ruskin's essay " The Nature of Gothic " from the second volume of The Stones of Venice, Thomas Malory's Morte d ' Arthur and the poetry of Alfred, Lord Tennyson.

A striking beauty, she mixed freely with the Pre-Raphaelites and posed many times for Dante Gabriel Rossetti, with whom Jane sustained a long affair.

There he studied under A. S. Hartrick, who had worked with Van Gogh and Gauguin, Reginald Savage and Herbert Cole, and who introduced him to the work of the Impressionists and Pre-Raphaelites.

Kate Greenaway and the Pre-Raphaelites were the principal influences on her work.

The Pre-Raphaelites were a strong, lifelong influence on Barker.

Various movements of the romantic period saw themselves as classical revolts against a prevailing trend of emotionalism and irregularity, for example the Pre-Raphaelites.

This style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics.

Bitumen produces unstable areas of muddy darkness, an effect that the Pre-Raphaelites despised.

The Pre-Raphaelites were influenced by Ruskin's theories.

Birmingham Museum & Art Gallery has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young J. R. R.