Andres Sophia - Poetry in Pre-Raphaelite paintings: transcending boundaries

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Poetry in
Pre-Raphaelite Paintings

Transcending Boundaries

Edited by Sophia Andres
and Brian Donnelly

Library of Congress Cataloging-in-Publication Data

Names: Andres, Sophia, editor. | Donnelly, Brian, editor.
Title: Poetry in pre-Raphaelite paintings:
transcending boundaries / edited by Sophia Andres and Brian Donnelly.
Description: New York: Peter Lang, 2018.
Includes bibliographical references and index.
Identifiers: LCCN 2017026102 | ISBN 978-1-4331-4078-5 (hardback: alk. paper)
ISBN 978-1-4331-4075-4 (ebook pdf) | ISBN 978-1-4331-4076-1 (epub)
ISBN 978-1-4331-4077-8 (mobi)
Subjects: LCSH: English poetry19th centuryHistory and criticism.
Art and literatureGreat BritainHistory19th century.
Pre-RaphaelitismGreat Britain. | Literature in art.
Visual perception in art. | Visual perception in literature.
Classification: LCC PR585.A78 P64 2017 | DDC 821/.809357dc23
LC record available at https://lccn.loc.gov/2017026102
DOI 10.3726/10803

Bibliographic information published by Die Deutsche Nationalbibliothek.
Die Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.d-nb.de/.

Cover image:
La Belle Dame Sans Merci by Frank Dicksee (18531928).
Courtesy of Bristol Museum and Art Gallery/Bridgeman Images.

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About the author

Sophia Andres is Professor of English and Kathlyn Cosper Dunagan Professor at the University of Texas of the Permian Basin. She is the author of The Pre-Raphaelite Art of the Victorian Novel: Narrative Challenges to Visual Gendered Boundaries (winner of the 2006 SCMLA Book Award). Brian Donnelly is Lecturer in the Department of English at the University of California, Santa Barbara. He is the author of Reading Dante Gabriel Rossetti: The Painter as Poet (2015).

About the book

Poetry in Pre-Raphaelite Paintings is an international collection of essays written by seasoned and emerging scholars. This book explores, discusses, and provides new perspectives on Pre-Raphaelite paintings inspired by poems and poems inspired by Pre-Raphaelite paintings, ranging from the inauguration of the movement in 1848 until the end of the nineteenth century. Through a textual and visual journey, this work reflects an innovative approach to Pre-Raphaelite art and Victorian poetry. The rationale in collating this collection of essays is to suggest new approaches for studies in Victorian visual and verbal art. This collection urges new ways of looking at Pre-Raphaelite art and poetry and its dynamic impact on the changing face of Victorian artistic practices through the second half of the nineteenth century, re-evaluating the extent to which this relatively short-lived movement influenced diverse writers and artists and their work. This book will be of interest to students and scholars of Pre-Raphaelites, Victorian poetry and painting, and the intersection between them.

Advance Praise for Poetry in Pre-Raphaelite Paintings

These essays provide rich, multi-layered portals into the hearts and minds of Pre- Raphaelite artists, while disrupting conventional interpretations of space, identity and gender. They advance nuanced discourse across disciplines, outlining the integration between poetry of the period, Pre-Raphaelite poetry in particular, and the visual art produced through that integration. Poetry in Pre-Raphaelite Paintings is not only important for ongoing academic research on the subjects, but it is unique for the ways it can prompt practicing arts professionals (including museums), to engage viewers in a total phenomenological and sensory experience in front of the physical work of art. The essays challenge us to consider gender and identity politics in the interior and exterior spaces of mind and canvas, while contemplating the lush brushstrokes and written lines of these memorable Victorian masterpieces.

Rita R. Wright, Director, Springville Museum

This international collection not only reconsiders how painting and poetry enrich each other, but also extends the nature of ekphrasis itself beyond its traditional boundaries, as a method of expressing gendered spatial relations, as an extension of the artists own self, as a mode capable equally of releasing a subject into view as it is of representing an object. Of particular note are the essays enabling us to see how the sister-arts reveal what is interior, reminding us that a poem is as much introspection as it is a visual event. It is a collection in which an artists experiments are reframed as stylistic innovations, biographical interpretation is replaced with arguments about intertextual framework, and the voiceless receive both faces and voices. Reading these essays produces, as one author suggests, a violent delight, asking us to consider what questions we have not been asking and which we need to ask now.

Bryn Gribben, Seattle University

This thought-provoking collection of essays explores the intersection of Pre- Raphaelite painting and poetry and reimagines a poetics of the visual. By destabilizing the categories of verbal and visual representation and bringing together familiar and unfamiliar poems and paintings, the authors model new and exciting ways of thinking about gender, musicality, photography, the temporal-spatial divide, the use of the voice, morality, sexuality, social implications, and aestheticism as they are conveyed through word and image by the Pre-Raphaelites.

Constance M. Fulmer, Blanche E. Seaver Chair of English Literature,
Pepperdine University, Malibu, California

This eBook can be cited

This edition of the eBook can be cited. To enable this we have marked the start and end of a page. In cases where a word straddles a page break, the marker is placed inside the word at exactly the same position as in the physical book. This means that occasionally a word might be bifurcated by this marker.

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: Elizabeth Eleanor Siddal, The Eve of St Agnes, c. 1850, The National Trust.

: Elizabeth Eleanor Siddal, The Lady of Shalott, 1853, Private Collection.

: Dante Gabriel Rossetti,