The Germ Thoughts towards Nature in Poetry, Literature and Art By: Various
First Page: THE GERM Thoughts towards Nature in Poetry, Literature and Art BEING A FACSIMILE REPRINT OF THE LITERARY ORGAN OF THE PRE RAPHAELITE BROTHERHOOD, PUBLISHED IN 1850 WITH AN INTRODUCTION BY WILLIAM MICHAEL ROSSETTI LONDON ELLIOT STOCK, 62, PATERNOSTER ROW, E.C. 1901 INTRODUCTION. Of late years it has been my fate or my whim to write a good deal about the early days of the Praeraphaelite movement, the members of the Praeraphaelite Brotherhood, and especially my brother Dante Gabriel Rossetti, and my sister Christina Georgina Rossetti. I am now invited to write something further on the subject, with immediate reference to the Praeraphaelite magazine "The Germ," republished in this volume. I know of no particular reason why I should not do this, for certain it is that few people living know, or ever knew, so much as I do about "The Germ,"; and if some press critics who regarded previous writings of mine as superfluous or ill judged should entertain a like opinion now, in equal or increased measure, I willingly leave them to say so, while I pursue my own course none the less. "The Germ" is here my direct theme, not the Praeraphaelite Brotherhood; but it seems requisite to say in the first instance something about the Brotherhood its members, allies, and ideas so as to exhibit a raison d'être for the magazine. In doing this I must necessarily repeat some things which I have set forth before, and which, from the writings of others as well as myself, are well enough known to many. I can vary my form of expression, but cannot introduce much novelty into my statements of fact. In 1848 the British School of Painting was in anything but a vital or a lively condition. One very great and incomparable genius, Turner, belonged to it. He was old and past his executive prime. There were some other highly able men Etty and David Scott, then both very near their death; Maclise, Dyce, Cope, Mulready, Linnell, Poole, William Henry Hunt, Landseer, Leslie, Watts, Cox, J.F. Lewis, and some others. There were also some distinctly clever men, such as Ward, Frith, and Egg. Paton, Gilbert, Ford Madox Brown, Mark Anthony, had given sufficient indication of their powers, but were all in an early stage. On the whole the school had sunk very far below what it had been in the days of Hogarth, Reynolds, Gainsborough, and Blake, and its ordinary average had come to be something for which commonplace is a laudatory term, and imbecility a not excessive one. There were in the late summer of 1848, in the Schools of the Royal Academy or barely emergent from them, four young men to whom this condition of the art seemed offensive, contemptible, and even scandalous. Their names were William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, painters, and Thomas Woolner, sculptor. Their ages varied from twenty two to nineteen Woolner being the eldest, and Millais the youngest. Being little more than lads, these young men were naturally not very deep in either the theory or the practice of art: but they had open eyes and minds, and could discern that some things were good and other bad that some things they liked, and others they hated. They hated the lack of ideas in art, and the lack of character; the silliness and vacuity which belong to the one, the flimsiness and make believe which result from the other. They hated those forms of execution which are merely smooth and prettyish, and those which, pretending to mastery, are nothing better than slovenly and slapdash, or what the P.R.B.'s called "sloshy." Still more did they hate the notion that each artist should not obey his own individual impulse, act upon his own perception and study of Nature, and scrutinize and work at his objective material with assiduity before he could attempt to display and interpret it; but that, instead of all this, he should try to be "like somebody else," imitating some extant style and manner, and applying the cut and dry rules enunciated by A from the practice of B or C... Continue reading book >>

The Germ Thoughts towards Nature in Poetry, Literature and Art By: Various

First Page:

THE GERM

Thoughts towards Nature in Poetry, Literature and Art

BEING A FACSIMILE REPRINT OF THE LITERARY ORGAN OF THE PRE RAPHAELITE BROTHERHOOD, PUBLISHED IN 1850

WITH AN INTRODUCTION BY WILLIAM MICHAEL ROSSETTI

LONDON ELLIOT STOCK, 62, PATERNOSTER ROW, E.C. 1901

INTRODUCTION.

Of late years it has been my fate or my whim to write a good deal about the early days of the Praeraphaelite movement, the members of the Praeraphaelite Brotherhood, and especially my brother Dante Gabriel Rossetti, and my sister Christina Georgina Rossetti. I am now invited to write something further on the subject, with immediate reference to the Praeraphaelite magazine "The Germ," republished in this volume. I know of no particular reason why I should not do this, for certain it is that few people living know, or ever knew, so much as I do about "The Germ,"; and if some press critics who regarded previous writings of mine as superfluous or ill judged should entertain a like opinion now, in equal or increased measure, I willingly leave them to say so, while I pursue my own course none the less.

"The Germ" is here my direct theme, not the Praeraphaelite Brotherhood; but it seems requisite to say in the first instance something about the Brotherhood its members, allies, and ideas so as to exhibit a raison d'être for the magazine. In doing this I must necessarily repeat some things which I have set forth before, and which, from the writings of others as well as myself, are well enough known to many. I can vary my form of expression, but cannot introduce much novelty into my statements of fact.

In 1848 the British School of Painting was in anything but a vital or a lively condition. One very great and incomparable genius, Turner, belonged to it. He was old and past his executive prime. There were some other highly able men Etty and David Scott, then both very near their death; Maclise, Dyce, Cope, Mulready, Linnell, Poole, William Henry Hunt, Landseer, Leslie, Watts, Cox, J.F. Lewis, and some others. There were also some distinctly clever men, such as Ward, Frith, and Egg. Paton, Gilbert, Ford Madox Brown, Mark Anthony, had given sufficient indication of their powers, but were all in an early stage. On the whole the school had sunk very far below what it had been in the days of Hogarth, Reynolds, Gainsborough, and Blake, and its ordinary average had come to be something for which commonplace is a laudatory term, and imbecility a not excessive one.

There were in the late summer of 1848, in the Schools of the Royal Academy or barely emergent from them, four young men to whom this condition of the art seemed offensive, contemptible, and even scandalous. Their names were William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, painters, and Thomas Woolner, sculptor. Their ages varied from twenty two to nineteen Woolner being the eldest, and Millais the youngest. Being little more than lads, these young men were naturally not very deep in either the theory or the practice of art: but they had open eyes and minds, and could discern that some things were good and other bad that some things they liked, and others they hated. They hated the lack of ideas in art, and the lack of character; the silliness and vacuity which belong to the one, the flimsiness and make believe which result from the other. They hated those forms of execution which are merely smooth and prettyish, and those which, pretending to mastery, are nothing better than slovenly and slapdash, or what the P.R.B.'s called "sloshy." Still more did they hate the notion that each artist should not obey his own individual impulse, act upon his own perception and study of Nature, and scrutinize and work at his objective material with assiduity before he could attempt to display and interpret it; but that, instead of all this, he should try to be "like somebody else," imitating some extant style and manner, and applying the cut and dry rules enunciated by A from the practice of B or C... Continue reading book >>

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