Young Lancelot Research Paper

BAROQUE STYLE
Baroque architecture is the building style of the Baroque era, begun in late 16th-century Italy, and lasting in some regions, notably Germany and colonial South America, until the 18th century. It had its origins in the Counter Reformation, when the Catholic Church launched an overtly emotional and sensory appeal to the faithful through art and architecture. Complex architectural plan shapes, often based on the oval, and the dynamic opposition and interpenetration of spaces were favored to heighten the feeling of motion and sensuality. Other characteristic qualities include grandeur, drama and contrast (especially in lighting), curvaceousness, and an often dizzying array of rich surface treatments, twisting elements, and glided statuary.
Elements of the elaborate Baroque style are found throughout Europe and
also traveled to Latin America and European settlements around the world. While Baroque architecture was always highly decorated, it found expression in many ways.
Italian Baroque: Catholic Popes in Italy wanted architecture to express holy splendor. They commissioned churches with enormous domes, swirling forms, huge spiraled columns, multicolored marble, and lavish murals. The same exuberance was expressed in non-religious buildings. Example: The Trevi Fountain in Rome
French Baroque: The Baroque style became more restrained in France. While lavish details were used, French buildings were usually symmetrical and orderly. The Palace of Versailles shown above is a landmark example.
English Baroque: Baroque architecture emerged in England after the Great Fire of London in 1666. Architect Christopher Wren used restrained Baroque styling when he helped rebuild the city. Example: St. Paul's Cathedral
Spain and Latin America: Builders in Spain, Mexico, and South America combined Baroque ideas with exuberant sculptures, Moorish details, and extreme contrasts between light and dark. Called Churrigueresque after a Spanish family of sculptors and architects, Spanish Baroque architecture was used through the mid-1700s, and continued to be imitated much later. Example: Casa del Prado in California is a lavish re-invention of Spanish Baroque, or Churrigueresque, architecture.
Rococo: In Germany, Austria, Eastern Europe, and Russia, Baroque ideas were often applied with a lighter touch. Pale colors and curving shell shapes gave buildings the delicate appearance of a frosted cake. The term Rococo was used to describe these softer versions of the Baroque style.
BAROQUE STYLE IN ENGLAND
English Baroque is a term sometimes used to refer to the developments in English architecture that were parallel to the evolution of Baroque architecture in continental Europe between the Great Fire of London (1666) and the Treaty of Utrecht (1713).
It was Wren who presided over the genesis of the English Baroque manner, which differed from the continental models by clarity of design and subtle taste for classicism. Following the Great Fire of London, Wren rebuilt fifty three churches, where Baroque aesthetics are apparent primarily in dynamic structure and multiple changing views. His most ambitious work was St Paul's Cathedral (1675–1711), which bears comparison with the most effulgent domed churches of Italy and France. In this majestically proportioned edifice, the Palladian tradition of Inigo Jones is fused with contemporary continental sensibilities in masterly equilibrium. Less influential were straightforward attempts to engraft the Berniniesque vision onto British church architecture (e.g., by Thomas Archer in St. John's, Smith Square, 1728) and the contemporary mood soon shifted toward the stripped down orthodoxy of British Palladianism popularised by Colen Campbell's influential Vitruvius Britannicus.
Although Wren was also active in secular architecture, the first truly baroque country house in England was built to a design by William Talman at Chatsworth, starting in 1687. The culmination of Baroque architectural forms comes with Sir John Vanbrugh and Nicholas Hawksmoor. Each was capable of a fully developed architectural statement, yet they preferred to work in tandem, most notably at Castle Howard (1699) and Blenheim Palace (1705). Appuldurcombe House, Isle of Wight, now in ruins, but conserved by English Heritage, must also be mentioned.[1]Vanbrugh's final work was Seaton Delaval Hall (1718), a comparatively modest mansion yet unique in the structural audacity of its style.
The style was naturally favoured by Catholics and Lulworth Castle Chapel is a good example. Designed in 1786 by John Tasker, it was the first free-standing Roman Catholic Church built after the Reformation.
Baroque was revived in the Edwardian period for some exuberantly confident public buildings.
Edwardian Baroque architecture
The term Edwardian Baroque refers to the Neo-Baroque architectural style of many public buildings built in the British Empire during the Edwardian era (1901–1910).
The characteristic features of the Edwardian Baroque style were drawn from two main sources: the architecture of France in the 18th century and that of Sir Christopher Wren in England in the 17th. Some of the architecture that borrowed more heavily from the English Baroque architects was known by the term Wrenaissance. Sir Edwin Lutyens was a leading exponent, designing many commercial buildings in what he termed 'the Grand Style' in the later 1910s and 20s. This period of British architectural history is considered a particularly retrospective one, since it is contemporary with Art Nouveau.

GEORGIAN STYLE
The period of architecture that we call Georgian is very roughly equivalent to the 18th century. Although the reign of George III extended into the 19th century, and George IV did not die until 1830, the style(s) of architecture most commonly associated with Georgian England is at its most strongly identifiable in the period 1730-1800.
With all those disclaimers established, what characterized Georgian design? More than any other period of English historic architecture, Georgian style is linked with the classical period of Greece and Rome.
The Early Georgian period (1714-1750) saw a revival of Palladianism. The excesses of the Baroque had created a distaste for over-decoration and Andrea Palladio's Renaissance villas were admired as reflecting the pure lines of Classical architecture. There was a political element to this change of taste. Baroque was associated with the Counter-Reformation. The Hanoverians were a firmly Protestant dynasty. Lord Burlington, who designed the fine villa above for himself at Chiswick, was a leader of the Palladian Movement.
Late Georgian fashion was more flexible. Within a symmetrical exterior, there might be Rococo interiors with delicate, flowing decoration (see right). Some architects experimented with a largely unconvincing Gothic revival, rather like a poor stage set, or with Chinoiserie and other exotica. British involvement in India had brought contact with Mughal architecture. The first attempt to imitate it was the house at Sezincote, Gloucestershire, built in 1803 for Sir Charles Cockerell, who had served in the East India Company. It was followed by the Royal Pavilion at Brighton, redesigned in Indian style for George, Prince of Wales from 1815, with Chinese-influenced interiors.
Classical influence. The Georgian period was highly - at times almost exclusively - influenced by the classical architecture. An entire generation of aristocratic youth traveled throughout Europe on the "Grand Tour", which was supposed to put a polish on their education. These Grand Tours exposed the most influential class in Britain to the classical traditions of style and architecture. These young men (only very occasionally did women undertake a Grand Tour), came home to Britain fired by an enthusiasm for classical architecture and design.
Country Houses. During the 18th century wealth was accumulating in the hands of fewer and fewer people. Basically, the rich were getting richer, and they put money into their homes. Wealthy landowners enclosed vast tracts of land to create huge landscaped parks, and those parks acted as a setting for grand houses we call "country houses".
These country house estates were dotted with copies of classical temples and other allegorical architectural elements such as grottoes, bridges, and that group of oddments we call "follies". These elements were aligned and joined by sinuous avenues or subtle openings in carefully planted trees and shrubs. The houses which dominated these parks carried on the classical philosophy.
Baroque vs. Classicism. At the beginning of the century, theBaroque movement produced architecture which employed classical elements in a willy-nilly free-for-all profusion. The opulent cascades of ornamental elements of Baroque gave way in the Georgian period to careful - and in some cases rigid - adherence to a sense of classical proportion. If Baroque is "over-the-top", Georgian classicism is understated elegance.

ARCHITECTS
WILLIAM KENT
William Kent was born in Bridlington, Yorkshire, in 1685. He trained as a sign painter, and also worked on coaches, before taking up landscape painting. Unfortunately, his talent with the brush was not up to his vision.

For 10 years Kent lived and studied painting in Rome while he made a living by buying paintings and selling them to the English aristocracy as house furnishings.
In 1715 Kent met Lord Burlington, and Burlington was so impressed with Kent's artistic vision that he brought the young Yorkshireman back to London with him. There Kent designed and built furniture and temples on a classical theme for Burlington and his friends.
He also continued with his painting, but at Burlington's urging, he branched into architecture, where he became quite fashionable.
Kent's finest architectural work is undoubtedly Holkham Hall, built for the Earl of Leicester in the Palladian style. Architecture then included more than simple house design, and Kent was involved in the creation of interior fittings and furnishings, most designed in an ebullient Barocque fashion.
It is not as an architect that Kent is famous, however, but as the father of the "picturesque", or English landscape garden. Yet Kent was no horticulturalist - he envisioned the landscape as a classical painting, carefully arranged to maximize the artistic effects of light, shape, and colour. He was not above planting dead stumps to create the mood he required.

His gardens were dotted with classical temples replete with philosophical associations, a fact which would have been readily apparent to his learned patrons.

Kent's most important gardening creations were at Stowe, Rousham, and Chiswick House. At Stowe, he smoothed away the rigid lines of the formal gardens to create sinuous shaded walks.

William Kent died in 1748, but his contributions to the 'natural" gardening style which evolved into the English landscape garden cannot be overstated.
“CAPABILITY” BROWN
Lancelot "Capability" Brown was born in Kirkharle, Northumberland in 1715 (more about his nickname "Capability" in a moment). Young Lancelot was educated at Cambo School, before serving as a gardener's boy in the service of Sir William Loraine. From there he moved on to Wotton, owned by Sir Richard Grenville.
From Wotton he joined the gardening staff of Lord Cobham, at Stowe, Buckinghamshire. There he served under William Kent, one of the founders of the new English style of Landscape Gardening. The men became close, and Brown married Kent's daughter.
At Stowe, Brown was responsible for actually implementing Kent's designs, but it seems clear that Lord Cobham also allowed Brown to take on work for his aristocratic friends while he was still employed at Stowe.
Lord Cobham died in 1749, and Brown left Stowe to set up his own gardening practice based in London two years later. To say that Brown was successful in his profession is an understatement of the highest
order.
He became immensely sought after by the aristocracy, and it is estimated that he was responsible for some 170 gardens surrounding the finest country houses and estates in Britain. So numerous are his designs, and so widespread was his influence, that it is almost harder to find a prominent country house that did not have a garden designed by Capability Brown.
Lancelot Brown soon acquired the peculiar nickname "Capability" from his habit of telling clients that their gardens had "great capabilities". In his talented hands, they certainly did.

Brown has been criticized, with some justification, for destroying the works of previous generations of gardeners to create his landscapes. He worked with a grand vision, and preferred to sweep away the past and create a fresh garden to his own standards.

What were those standards? The English landscape garden under Capability Brown was a place of wide green undulating lawns with sinuous bands and clumps of trees, planted with the utmost care to give the impression of a romantic natural scene.

The trees opened up to give carefully planned glimpses of interest points, often classical temples, bridges, or monuments. Everything was meticulously contrived to give a sense of informality, of natural beauty, though of course nothing in the garden was "natural" at all.

In later life Brown was appointed head gardener at Hampton Court Palace in 1761, though he continued his private practice.

Capability Brown died Feb. 6, 1783, in London, leaving behind himself a legacy unparalleled in the history of English gardening.

ROMANTIC PERIOD
The Romantic era or period was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. Partly a reaction to the Industrial Revolution,[1] it was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature.[2] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education[4] and the natural sciences.[5] Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant.
English literature
In English literature, the group of poets now considered the key figures of the Romantic movement includes William Wordsworth, Samuel Taylor Coleridge, John Keats, Mary Wollstonecraft Shelley, Percy Bysshe Shelley, and the much older William Blake, followed later by the isolated figure of John Clare. The publication in 1798 of Lyrical Ballads, with many of the finest poems by Wordsworth and Coleridge, is often held to mark the start of the movement. The majority of the poems were by Wordsworth, and many dealt with the lives of the poor in his native Lake District, or the poet's feelings about nature, which were to be more fully developed in his long poem The Prelude, never published in his lifetime. The longest poem in the volume was Coleridge's The Rime of the Ancient Mariner which showed the Gothic side of English Romanticism, and the exotic settings that many works featured. In the period when they were writing the Lake Poets were widely regarded as a marginal group of radicals, though they were supported by the critic and writer William Hazlitt and others.
In contrast to Germany, Romanticism in English literature had little connection with nationalism, and the Romantics were often regarded with suspicion for the sympathy many felt for the ideals of the French Revolution, whose collapse and replacement with the dictatorship of Napoleon was, as elsewhere in Europe, a shock to the movement. Though his novels celebrated Scottish identity and history, Scott was politically a firm Unionist. Several spent much time abroad, and a famous stay on Lake Geneva with Byron and Shelley in 1816 produced the hugely influential novel Frankenstein by Shelley's wife-to-beMary Shelley and the novella The Vampyre by Byron's doctor John William Polidori. The lyrics of Robert Burns in Scotland and Thomas Moore, from Ireland but based in London or elsewhere reflected in different ways their countries and the Romantic interest in folk literature, but neither had a fully Romantic approach to life or their work.
Romantic visual arts
In the visual arts, Romanticism first showed itself in landscape painting, where from as early as the 1760s British artists began to turn to wilder landscapes and storms, and Gothic architecture, even if they had to make do with Wales as a setting. Caspar David Friedrich and J. M. W. Turner were born less than a year apart in 1774 and 1775 respectively and were to take German and English landscape painting to their extremes of Romanticism, but both were formed when forms of Romanticism was already strongly present in art. John Constable, born in 1776, stayed closer to the English landscape tradition, but in his largest "six-footers" insisted on the heroic status of a patch of the working countryside where he had grown up, a challenge to the traditional hierarchy of genres which relegated landscape painting to a low status. Turner also painted very large landscapes, and above all seascapes, some with contemporary settings and staffage, but others with small figures turning the work into a history painting in the manner of Claude Lorrain, like Salvator Rosa a late Baroque artist whose landscapes had elements that Romantic painters turned to again and again. Friedrich made repeated use of single figures, or features like crosses, set alone amidst a huge landscape, "making them images of the transitoriness of human life and the premonition of death".[59] Other groups of artists expressed feelings that verged on the mystical, many very largely abandoning classical drawing and proportions. These includedWilliam Blake and Samuel Palmer and the other members of the Ancients in England, and in Germany Philipp Otto Runge.
JOSEPH MALLORD WILLIAM "J. M. W." TURNER, RA (baptised 14 May 1775[a] – 19 December 1851) was a British Romantic landscape painter, water-colourist, and printmaker. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting.[1] Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light"[2] Some of his most famous works are Calais Pier, Dido Building Carthage, Rain, Steam and Speed, Burial at Sea, and The Grand Canal, Venice. His work is regarded as a Romantic preface to Impressionism.
By the age of 13 he was making drawings at home and exhibiting them in his father's shop window for sale.
Turner was 15 years old when he received a rare honor--one of his paintings was exhibited at the Royal Academy. By the time he was 18 he had his own studio. Before he was 20 print sellers were eagerly buying his drawings for reproduction.
He quickly achieved a fine reputation and was elected an associate of the Royal Academy. In 1802, when he was only 27, Turner became a full member. He then began traveling widely in Europe.
In 1850 he exhibited for the last time. One day Turner disappeared from his house. His housekeeper, after a search of many months, found him hiding in a house in Chelsea. He had been ill for a long time. He died the following day--Dec. 19, 1851.
JOHN CONSTABLE (11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as "Constable Country"—which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".[2] The breadth of his vision of the English countryside is evident in masterpieces such as Salisbury Cathedral from the Bishop’s Grounds 1822–23, A boat passing a lock 1826 and The Vale of Dedham 1827–28.
He made many open-air sketches, using these as a basis for his large exhibition paintings, which were worked up in the studio. In 1799 he was a probationer, and in 1800 a student at the Royal Academy schools. He exhibited from 1802 at the Royal Academy in London, and later at the Paris Salon. He influenced the Barbizon School and the French Romantic movement. Constable was influenced by Dutch artists such as Jacob van Ruisdael. The works of Peter Paul Rubens and Claude also proved to be useful colouristic and compositional models. However, the realism and vitality of Constable's work make it highly original.
JOHN SELL COTMAN (16 May 1782 – 24 July 1842)[1][2] was an English marine and landscape painter, etcher, illustrator and author, a leading member of the Norwich school of artists.
In 1800, aged 18, Cotman exhibited at the Royal Academy for the first time, showing five scenes of Surrey and one of Harlech Castle. In 1800 he was also awarded an honorary palette by the Society of Arts. On the last of the three visits to Yorkshire, he made a series of watercolours of the River Greta.[5]
Cotman worked in oils, watercolour, pencil and chalk, and produced many hundreds of etchings. His work can be found in the UK at the Castle Museum and Art Gallery in Norwich (well over 2000 pieces), Tate Gallery, the British Museum and Victoria & Albert Museum in London, the Fitzwilliam Museumin Cambridge, City Art Gallery and other regional centres. In the USA, Cotman is represented at the Yale Center for British Art in New Haven, Connecticut and other galleries around the country.
Published works
• Etchings of Ancient Buildings in England (1811)
• Specimens of Norman and Gothic Architecture in the County of Norfolk (1817)
• Excursions in the County of Norfolk' (1818). (with Cromwell, Thomas.)
• Sepulchral brasses in Norfolk (London: Henry G. Bohn, 1819).
• .Architectural Antiquities of Normandy (1822). (with Dawson Turner)
JOHN JOSEPH COTMAN (1814–1878) was an English landscape painter, the son of John Sell Cotman.
Cotman was born in 1814 at Southtown, Great Yarmouth. He was sent to work for his uncle, a haberdasher but spent much of his time making sketches in the coutryside. When his father was appointed drawing-master at Kings College School in London in 1834, Cotman accompanied him to the capital, but later returned to Norwich to take over his brother Miles Edmund Cotman's teaching work there. Cotman worked mostly in watercolour, painting, unlike his brother, in a rather loose, free manner. He died in Norwich in 1878.[1]
NORWICH SCHOOL (ART MOVEMENT)
The Norwich School[1][2] of painters, founded in 1803 in Norwich, was the first provincial art movement in Britain. Artists of the school were inspired by the natural beauty of the Norfolk landscape and owed some influence to the work of landscape painters of the Dutch Golden Age such as Hobbema and Ruisdael.
The Norwich Society of Artists was founded in 1803 by John Crome and Robert Ladbrooke as a club where artists could meet to exchange ideas. Its aims were "an enquiry into the rise, progress and present state of painting, architecture, and sculpture, with a view to point out the best methods of study to attain the greater perfection in these arts." The leading light of the movement was undoubtedly John Crome who attracted many friends and pupils until his death in 1821. The mantle of leadership then fell on John Sell Cotman, a member of the society since 1807, who continued to keep the society together until he left Norwich for London in 1834 to take up a post at King's College School. The society effectively ceased to exist from that date.
The Norwich School's great achievement was that a small group of self-taught working class artists were able to paint with vitality the hinterland surrounding Norwich, assisted by meagre local patronage. Far from creating pastiches of the Dutch 17th century, Crome and Cotman, along with Joseph Stannard, established a school of landscape painting which deserves greater fame; the broad washes of Cotman's water-colours anticipate Frenchimpressionism.
The reason the Norwich School artists are not so well known as other painters of the period, notably Constable and Turner, is because the majority of their canvases were collected by the industrialist J. J. Colman (of Colman's mustard fame), and have been on permanent display in Norwich Castle Museum since the 1880s. The lack of exposure was remedied in 2001, when many of the school's major works were exhibited outside Norwich for the first time at the Tate Gallery, London.
SIR HENRY RAEBURN FRSE RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painterand Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to His Majesty in Scotland.[1]
Apprenticed to a jeweller, it is not precisely known how Raeburn's attention turned to painting. His small full-length portrait of the Rev Robert Walker Skating on Duddingston Loch (Edinburgh, National Gallery of Scotland) of about 1784 is probably his most famous work. Raeburn was elected a member of the Royal Academy in London in 1815. In 1822 he was knighted by George IV and given the post of King's Limner in Scotland.
Sir Henry Raeburn died in St Bernard's House, Stockbridge, Edinburgh. His memorial is in the Church of St John the Evangelist, Edinburgh.
SIR THOMAS LAWRENCE PRA FRS (13 April 1769 – 7 January 1830) was a leading English portrait painter and president of the Royal Academy.
He was a child prodigy and largely self-taught; at the age of 10 he was making accomplished portraits in crayon. He took to painting in 1786 and became a pupil at the Royal Academy school in 1787; in the following year, at the age of 19, he exhibited his first portrait. In 1794 he became a member of the Academy and Painter-in-Ordinary to the King (George III) on the death of Reynolds in 1792. He was knighted in 1815 and became President of the Academy five years later.
In 1818-20 he was in Aachen, Vienna and Rome on behalf of the Prince Regent, making full-length portraits of the allied sovereigns who had contributed to the defeat of Napoleon; these were for the prince's Waterloo Gallery at Windsor.

THE REGENCY PERIOD (THE EARLY 19th)
The Regency style of architecture refers primarily to buildings built in Britain during the period in the early 19th century when George IV was Prince Regent, and also to later buildings following the same style. In many respects it is a natural continuation of the Georgian style which preceded it, with several important differences.
There were two major streams of architectural styles popular in the Regency period. The first, which lived on far into the Victorian period, was one of medieval revival. This is often termed Victorian Gothic, or more accurately, Gothic Revival. This style was based on medieval architecture, in particular the Gothic churches of the late 13th and early 14th century. The second, and more popular style of Regency architecture, was classical in nature. That is, it used the philosophy and traditional designs of Greek and Roman architecture. The typical Regency upper or middle-class house was built in brick and covered in stucco or painted plaster. Fluted Greek columns, painted and carefully moulded cornices and other decorative touches, were all reproduced in cheap stucco. The key words to describe the overall effect are "refined elegance".
An instigator of this style was John Nash who designed the Regency terraces of Regent's Park and Regent Street in London. Excellent examples of Regency properties dominate Brighton and Hove in East Sussex.
JOHN NASH, (born 1752, London?, Eng.—died May 13, 1835, Cowes, Isle of Wight), English architect and city planner best known for his development of Regent’s Park and Regent Street, a royal estate in northern London that he partly converted into a varied residential area. Trained by the architect Sir Robert Taylor, Nash became a speculative builder and architect in London. As the work in London continued, Nash took on other projects for the Prince Regent, including the remodeling of Brighton Pavillion.
There was already a villa at Brighton, designed by Henry Holland, and the Prince Regent asked Nash to make it into a palace. This Nash did, beginning in the Indian fashion then popular, and as work progressed, incorporating further Eastern design elements. The result has been called "Indian Gothic with a flavour of Chinese".
Back in London, Nash remodelled Carlton House as Carlton House Terrace (1827-1833) and built Cumberland Terrace (1827), The Royal Mews (1825), Haymarket Theatre (1820), All Soul's church in Langham Place (1822-25). He also created what is now Trafalgar Square.
He died at his home on 13 May 1835.[67] His funeral took place at St. James's Church, East Cowes on 20 May.

PRE-RAPHAELISTS
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. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member "brotherhood".
Although the young would-be art revolutionaries never published a manifesto, their works and memoirs show that having read Ruskin's praise of the artist as prophet, they hoped to create an art suitable for the modern age by:
1. The PRB with brilliant perversity painted bright-colored, evenly lit pictures that appeared almost flat.
2. The PRB also emphasized precise, almost photographic representation of even humble objects, particularly those in the immediate foreground.
3. Following Ruskin, they attempted to transform the resultant hard-edge by combining it with typological symbolism. At their most successful, the PRB produced a magic or symbolic realism, often using devices found in the poetry of Tennyson and Browning.
4. Believing that the arts were closely allied, the PRB encouraged artists and writers to practice each other's art, though only D.G. Rossetti did so with particular success.
5. Looking for new subjects, they drew upon Shakespeare, Keats, and Tennyson.

AESTHETIC MOVEMENT
Aesthetic Movement is an art movement supporting the emphasis of aesthetic values more than social-political themes for literature, fine art, music and other arts.[1][2] It was particularly prominent in Europe during the 19th century. In the 19th century, it was related to other movements such as symbolism or decadence represented in France, or decadentismo represented in Italy, and may be considered the British version of the same style.[citation needed]
Aesthetic visual arts
Artists associated with the Aesthetic style include James McNeill Whistler, Dante Gabriel Rossetti, and Aubrey Vincent Beardsley. Although the work of Edward Burne-Jones was exhibited at the Grosvenor Gallery which promoted the movement, it also contains narrative and conveys moral or sentimental messages hence it falls outside the given definition.
Aesthetic Movement decorative arts
The primary element of Decorative Art is utility. Aesthetic style furniture is characterized by several common themes:
• Ebonized wood with gilt highlights.
• Far Eastern influence.
• Prominent use of nature, especially flowers, birds, ginkgo leaves, and peacock feathers.
• Blue and white on porcelain and other fine china.
As aesthetic movement decor was similar to the corresponding writing style in that it was about sensuality and nature, nature themes often appear on the furniture. It is reported that Oscar Wilde used aesthetic decorations during his youth.
AUBREY VINCENT BEARDSLEY (21 August 1872 – 16 March 1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
With only minimal art training, Beardsley was commissioned to illustrate an edition of Malory's Le Morte Darthur. His highly erotic illustrations for Oscar Wilde's Salomé won him notoriety but lead to a loss of work after the Wilde scandal.