DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61290#0087
THE PRE-RAPHAELITE BROTHERHOOD 63
Street, and seven members enrolled themselves
under the name of “The Pre-Raphaelite Brother-
hood.” The union consisted of Rossetti, Millais,
Holman Hunt, William Michael Rossetti, the
younger brother of the painter, Thomas Woolner,
F. G. Stephens, and James Collinson—the least
stable of the Brotherhood and the first seceder
from its ranks. In the Academy of that year a
picture by Collinson had already been exhibited,
entitled “ The Charity Boy’s Debut.” He was
a painter of uncertain artistic calibre, and of a
lethargic and mystical temperament; converted
to Pre-Raphaelitism by the ardour of Rossetti,
but shortly forsaking his art studies and joining
the Roman Catholic communion with a view of
qualifying for the priesthood. This ambition also
was subsequently given up, and, thus vacillating
between the church and the studio, his probation
ended in no particular career. The remaining
members of the Brotherhood—apart from the
leading painters—may be said to represent the
minor literature of the movement. F. G. Stephens
and W. M. Rossetti have attained permanent
distinction as art-critics, while Thomas Woolner,
before winning his later fame as a sculptor, gave
in the form of poetry his chief contribution to the
early propaganda of the Brotherhood.
The rules laid down as to method in painting,—
such as, that every subject and accessory should
Street, and seven members enrolled themselves
under the name of “The Pre-Raphaelite Brother-
hood.” The union consisted of Rossetti, Millais,
Holman Hunt, William Michael Rossetti, the
younger brother of the painter, Thomas Woolner,
F. G. Stephens, and James Collinson—the least
stable of the Brotherhood and the first seceder
from its ranks. In the Academy of that year a
picture by Collinson had already been exhibited,
entitled “ The Charity Boy’s Debut.” He was
a painter of uncertain artistic calibre, and of a
lethargic and mystical temperament; converted
to Pre-Raphaelitism by the ardour of Rossetti,
but shortly forsaking his art studies and joining
the Roman Catholic communion with a view of
qualifying for the priesthood. This ambition also
was subsequently given up, and, thus vacillating
between the church and the studio, his probation
ended in no particular career. The remaining
members of the Brotherhood—apart from the
leading painters—may be said to represent the
minor literature of the movement. F. G. Stephens
and W. M. Rossetti have attained permanent
distinction as art-critics, while Thomas Woolner,
before winning his later fame as a sculptor, gave
in the form of poetry his chief contribution to the
early propaganda of the Brotherhood.
The rules laid down as to method in painting,—
such as, that every subject and accessory should