This document showcases details from notable Pre-Raphaelite paintings, including John William Waterhouse's Jealous Circe, John Everett Millais' Ophelia, Dante Gabriel Rossetti's Lady Lilith, Edward Burne-Jones' The Love Song, Frederick Sandys' Medea, Edward Burne-Jones' Laus Veneris, John Everett Millais' Isabella, and paintings from other Pre-Raphaelite artists. The Pre-Raphaelite Brotherhood was a group of 19th century English painters and poets who sought to reform art by rejecting the mechanistic approach of Mannerist artists and returning to the abundant detail, intense colors and complex

2. Art in Detail
The most notable Pre-Raphaelite Paintings

4. WATERHOUSE, John William
Jealous Circe
1892
Oil on canvas, 180.7 × 87.4 cm
Art Gallery of South Australia (AGSA), Adelaide

5. WATERHOUSE, John William
Jealous Circe (detail)
1892
Oil on canvas, 180.7 × 87.4 cm
Art Gallery of South Australia (AGSA), Adelaide

6. WATERHOUSE, John William
Jealous Circe (detail)
1892
Oil on canvas, 180.7 × 87.4 cm
Art Gallery of South Australia (AGSA), Adelaide

7. WATERHOUSE, John William
Jealous Circe (detail)
1892
Oil on canvas, 180.7 × 87.4 cm
Art Gallery of South Australia (AGSA), Adelaide

8. WATERHOUSE, John William
Jealous Circe (detail)
1892
Oil on canvas, 180.7 × 87.4 cm
Art Gallery of South Australia (AGSA), Adelaide

10. ROSSETTI, Dante Gabriel
Lady Lilith
1866-68 (altered 1872-73)
Oil on canvas, 97.8 × 85.1 cm
Delaware Art Museum, Wilmington

11. ROSSETTI, Dante Gabriel
Lady Lilith (detail)
1866-68 (altered 1872-73)
Oil on canvas, 97.8 × 85.1 cm
Delaware Art Museum, Wilmington

12. ROSSETTI, Dante Gabriel
Lady Lilith (detail)
1866-68 (altered 1872-73)
Oil on canvas, 97.8 × 85.1 cm
Delaware Art Museum, Wilmington

13. ROSSETTI, Dante Gabriel
Lady Lilith (detail)
1866-68 (altered 1872-73)
Oil on canvas, 97.8 × 85.1 cm
Delaware Art Museum, Wilmington

15. BURNE-JONES, Edward
The Love Song
1868–77
Oil on canvas, 114.3 x 155.9 cm
Metropolitan Museum of Art, New York City

16. BURNE-JONES, Edward
The Love Song (detail)
1868–77
Oil on canvas, 114.3 x 155.9 cm
Metropolitan Museum of Art, New York City

17. BURNE-JONES, Edward
The Love Song (detail)
1868–77
Oil on canvas, 114.3 x 155.9 cm
Metropolitan Museum of Art, New York City

18. BURNE-JONES, Edward
The Love Song (detail)
1868–77
Oil on canvas, 114.3 x 155.9 cm
Metropolitan Museum of Art, New York City

19. BURNE-JONES, Edward
The Love Song (detail)
1868–77
Oil on canvas, 114.3 x 155.9 cm
Metropolitan Museum of Art, New York City

21. SANDYS, Frederick
Medea
1866-1868
Oil on wood panel with gilded background, 61.2
x45.6 cm
Birmingham Museum and Art Gallery, Birmingham

22. SANDYS, Frederick
Medea (detail)
1866-1868
Oil on wood panel with gilded background, 61.2
x45.6 cm
Birmingham Museum and Art Gallery, Birmingham

23. SANDYS, Frederick
Medea (detail)
1866-1868
Oil on wood panel with gilded background, 61.2
x45.6 cm
Birmingham Museum and Art Gallery, Birmingham

24. SANDYS, Frederick
Medea (detail)
1866-1868
Oil on wood panel with gilded background, 61.2
x45.6 cm
Birmingham Museum and Art Gallery, Birmingham

26. BURNE-JONES, Edward
Laus Veneris
1873–1878
Oil on canvas, 122.5 x 183.3 cm
The Laing Art Gallery, Newcastle-upon-Tyne

27. BURNE-JONES, Edward
Laus Veneris (detail)
1873–1878
Oil on canvas, 122.5 x 183.3 cm
The Laing Art Gallery, Newcastle-upon-Tyne

28. BURNE-JONES, Edward
Laus Veneris (detail)
1873–1878
Oil on canvas, 122.5 x 183.3 cm
The Laing Art Gallery, Newcastle-upon-Tyne

29. BURNE-JONES, Edward
Laus Veneris (detail)
1873–1878
Oil on canvas, 122.5 x 183.3 cm
The Laing Art Gallery, Newcastle-upon-Tyne

31. MILLAIS, Sir John Everett
Isabella
1849
Oil on canvas, 103 cm x 142.8 cm
Walker Art Gallery, Liverpool

32. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 cm x 142.8 cm
Walker Art Gallery, Liverpool

33. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 cm x 142.8 cm
Walker Art Gallery, Liverpool

34. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 cm x 142.8 cm
Walker Art Gallery, Liverpool

35. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 cm x 142.8 cm
Walker Art Gallery, Liverpool

36. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 cm x 142.8 cm
Walker Art Gallery, Liverpool

37. MILLAIS, Sir John Everett
Isabella (detail)
1849
Oil on canvas, 103 cm x 142.8 cm
Walker Art Gallery, Liverpool

39. MILLAIS, Sir John Everett
Ophelia
1851-52
Oil on canvas, 76 x 112 cm
Tate Gallery, London

40. MILLAIS, Sir John Everett
Ophelia (detail)
1851-52
Oil on canvas, 76 x 112 cm
Tate Gallery, London

41. MILLAIS, Sir John Everett
Ophelia (detail)
1851-52
Oil on canvas, 76 x 112 cm
Tate Gallery, London

42. MILLAIS, Sir John Everett
Ophelia (detail)
1851-52
Oil on canvas, 76 x 112 cm
Tate Gallery, London

43. MILLAIS, Sir John Everett
Ophelia (detail)
1851-52
Oil on canvas, 76 x 112 cm
Tate Gallery, London

44. Art in Detail_ The most notable Pre-Raphaelite
Paintings
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45. WATERHOUSE, John William
Jealous Circe
Image of Circe, a figure from Greek mythology. This painting shows a scene from Ovid's Metamorphoses. A jealous Circe
throws a magic potion into the well, where her rival in love Scylla is going to bathe.

46. MILLAIS, Sir John Everett
Ophelia
Ophelia is arguably both John Everett Millais' masterpiece and the most iconic work of the Pre-Raphaelite Brotherhood.
Millais worked for months in the open air in the countryside, composing the background with painstaking detail. In addition to
flowers and boughs, Millais included reeds, the muddy bank, and a water rat.
Well beyond earlier Victorian genre paintings, in Ophelia Millais strived to recreate a moment from a fictional work as it really
happened, in a way that is highly realistic, while being simultaneously romantic and dramatic.

47. ROSSETTI, Dante Gabriel
Lady Lilith
In the Judeo-Christian tradition, Lady Lilith refers to the apocryphal first wife of Adam, a mystical figure who is often closely
associated with the serpent in the Garden of Eden.
Although she appears in various narratives as a demon, murderess, and child abductor, the Pre-Raphaelites were probably most
familiar with her Romantic description as a femme fatale in John Wolfgang von Goethe's poem Faust.
In Faust Goethe tells how Lilith traps men with her "dangerous" long hair, lyrically conflating her locks with a serpent's deadly
embrace.
Rossetti depicts Lilith as an iconic, her languid nature is reiterated in the inclusion of the poppy in the lower right corner—the flower
of opium-induced slumber. Lilith entraps Adam with "one strangling golden hair," thereby playing off unbound female hair as a
Victorian symbol for the fallen woman.

48. BURNE-JONES, Edward
The Love Song
Drawing inspiration from the gothicizing Pre-Raphaelite movement, Burne-Jones conjured a twilight scene with a richly
romantic, medieval air, enhanced by allusions to Italian Renaissance art, from the warm, dewy colors to the gracious figures and
original frame, which recalls sixteenth-and-seventeenth-century Venetian designs.

49. SANDYS, Frederick
Medea
This painting caused much heated debate in The Times when it was rejected from the Royal Academy Summer Exhibition of
1868, despite it being hailed as a masterpiece by many critics.
Greek legend describes Medea as a sorceress and the wife of Jason. When he deserted her for another woman, Medea poisoned
both her rival (Glauce ) and her two children.

50. BURNE-JONES, Edward
Laus Veneris
A sensuous languor and a synaesthesia of art, sex and music pervade Laus Veneris (The Song of Venus), which loosely
evokes the German legend of Tannhäuser, as well as the Wagner opera of 1861.
Burne-Jones creates an image of female beauty and sensuality that is fundamentally modern.

51. MILLAIS, Sir John Everett
Isabella
The wealthy Florentine merchant brothers opposed the love of their poor apprentice Lorenzo for their sister Isabella. The
brothers later murdered Lorenzo but Isabella found his body, cut off the head and buried it in a pot of basil.
The story is from a poem by John Keats, based on the 14th century Italian writer Boccaccio.

52. The Pre-Raphaelite Brotherhood was a group of English painters, poets and critics that, in 1848, set out
to reform art by rejecting the mechanistic approach to art that was adopted by the Mannerist artists that
succeeded the Italian greats, Michelangelo and Raphael.
They defined themselves as a reform movement, with the intention of returning abundant detail, intense
colors and complex compositions into the art of the time.