The movement's approach to landscape parallels changes taking place in the society in which the artists lived. Nature was not only represented in minute detail as testimony to a divine intelligence driving creation,but also as a setting for human activity and the site of urban expansion.Landscapes were invested with an allegorical, moral dimension, and developments in both botany and geology informed the artists' vision.Gradually the intense naturalism of early Pre-Raphaelitism gave way to a desire to lind new ways of evoking natural effects that resulted in an alternative religion of beauty expressed in the more Suggestive aesthetic landscapes of the 186os.

The revolution in the depiction of landscape brought about by the Pre-Raphaelites was arguably as radical as anything achieved by their near contemporaries, the Impressionists. Deeply rooted as they were in both scientilic and religious culture, inspired by the theories of John Ruskin, and fired by a passion for the natural world, the exhilaration experienced by Pre-Raphaelite artists when confronted with nature suffuse their works and animate their vision.

The movement's approach to landscape parallels changes taking place in the society in which the artists lived. Nature was not only represented in minute detail as testimony to a divine intelligence driving creation,but also as a setting for human activity and the site of urban expansion.Landscapes were invested with an allegorical, moral dimension, and developments in both botany and geology informed the artists' vision.Gradually the intense naturalism of early Pre-Raphaelitism gave way to a desire to lind new ways of evoking natural effects that resulted in an alternative religion of beauty expressed in the more Suggestive aesthetic landscapes of the 186os.

This authoritative and lavishly illustrated book explores a key theme within Victorian art and highlights an aspect of Pre-Raphaelitism that is often overlooked. Published to accompany a major touring exhibition,Pre-Raphaelitie Vision: Truth to Nature is the first new study of landscape in Pre-Raphaelite painting for many years. It is an essential addition to the library of all those interested in Pre-Raphaelitism and the English landscape tradition.

Artists featured include ]ohn Everett Millais, William Holman Hunt and Ford Madox Brown, but also less familiar figures such as JOhn William Inchbold, ]ohn Brett, George Price Boyce, William Davis and Daniel Alezander Williamson, as well the photographers Roger Fenton,Benjamin Brecknell Turner and ]ames Graham.

FOREWORD 

ACKNOWLEDGEMENTS

'The Enfranchised Eye'

ALISON SMITH 

Catalogue

WITH CATALOGUE ENTRIES BY

Allen Staley, Christopher Newall,

Alison Smith and Ian Warrell

'Rejecting Nothing, Selecting Nothing'

ALLEN STALEY 

'The Mere Look of Things'

ALLEN STALEY 

Holy Lands

ALLEN STALEY 

Understanding the Landscape

CHRISTOPHER NEWALL 

The Inhabited Landscape

CHRISTOPHER NEWALL 

'Impression of the Effect'

CHRISTOPHER NEWALL 

Bibliography

Chronology

COMPILED BY TIM BATCHELOR

Index of Catalogued Works