#pre-raphaelite

He depicted his fiancée, Evelyn Pyke-Nott, as the popular nursery rhyme character, while her sister, Isabel Codrington, stands behind with a plate of jam tarts. The composition is deeply rooted in the Aesthetic movement, emphasizing decorative beauty and high-keyed color. Shaw emulated Jan van Eyck by using pure pigments to achieve a luminous, jewel-like surface. Critics view the elaborate headdress and wand as secular adaptations of religious iconography, transforming the character into a modern Queen of Heaven. The work remains in a distinctive frame of the artist’s own design. Loc. Private Collection. Dim. 91.4 cm H x 71.1 cm W (36 x 28 in.).

Wrapped in heavy, somber shadows, the weary spirit of winter looks backward with quiet resignation, holding onto the stark, icy silence of a fading world.

Stepping hesitantly into the light, the vulnerable spirit of spring carries the heavy, beautiful burden of rebirth, coaxing new life to bloom from the frozen earth.

Unlike the naturalistic style of many of his peers, Rheam’s work often embraced themes of the Pre-Raphaelite Brotherhood, allegories and literary subjects.

Ultimately, the painting acts as a visual representation of reincarnation and the ebb and flow of life. It mirrors Victorian literary themes, notably Percy Bysshe Shelley’s famous line, "If Winter comes, can Spring be far behind?"

Loc. Private Collection (Sold at Christie's in 2018). Dim. 77.5 cm H x 43.2 cm W (30 1/2 x 17 in.).

Debuting at her 1901 Dowdeswell Galleries solo show, the work tells a powerful story about what it really means to stand by someone through thick and thin. The painting serves as a commentary on the hypocrisy of high society, showing how "fair-weather friends" turn away the moment someone faces a sudden downfall or public shaming. The tied-up androgynous figure, Adversity, has been publicly shamed. Love, wearing a bright red robe and a glowing halo, freely chooses to sit right in the sharp thorns just to hold the outcast's helpless, bound hands. In the background, a wealthy crowd turns its back and retreats into its exclusive world, locking the outcasts out. At the disgraced couple's feet, a lone bird rests amidst white flowers, showing that a faithful soul and pure devotion can endure life's harshest trials. The composition features a rich tapestry of intricate patterns and jewel-like colors, reflecting the artist’s mastery of watercolor and her deep appreciation for medieval and Renaissance aesthetics. Loc. Delaware Art Museum, Wilmington. Dim. 52.7 cm H x 35.2 cm W (20 3/4 x 13 7/8 in.).

She is set against a river landscape near Kelmscott Manor. By 1871, the affair was an open secret in London. To protect his family and shield Jane's reputation from a public scandal, William Morris co-signed the lease on this remote country estate with Rossetti to keep the lovers away from prying eyes. The composition's earthy palette uses deep greens and melancholy browns to reflect this heavy atmosphere.

The dark backdrop makes Jane's striking green eyes and vivid red lips pop, giving her a lifelike presence.

In the original chalk study, Jane held a pansy as a symbol of love and remembrance. Rossetti replaced it with willow branches in the final painting to shift the mood toward sorrow and longing. He used the flexible wood to symbolize an enduring strength within their complex romance. Loc. Delaware Art Museum, Wilmington. Dim. 33 × 26.7 cm (13 × 10 1/2 in)

When he fails to return as promised, her profound grief moves the gods to transform her into an almond tree. In this scene, the remorseful prince returns to embrace the timber, and Phyllis leans out from the blossoming branches to reclaim him. The work became a major scandal due to the male nudity and the recognizable features of the artist's mistress, Maria Zambaco, prompting Burne-Jones to withdraw the painting and resign from the Old Water-Colour Society. Loc. Birmingham Museum & Art Gallery, Birmingham. Dim. 91.5 cm H x 45.8 cm W (36 x 18 in.).

The painting is famous for its magical "inner glow". Hughes was a master of watercolor, using a labor-intensive stippling technique to create depth and a luminous quality that rivals oil paintings. The color palette contrasts the cool, deep blues of the twilight forest and the warm, incandescent ambers of the fairy lanterns. Loc. Private collection. Dim. 114.3 cm H x 76.2 cm W (45 x 30 in.).

A yellow garment called a sanbenito peeks out from under her dark robe to show she was marked for execution. In the background, a real guard remains tied up with rosary beads. Millais was inspired by viewing rare 1600s Spanish Inquisition engravings in a friend's library. Motivated to critique religious persecution, he applied his successful formula of lovers in peril. His wife, Effie, shared his passion for the story and researched authentic Spanish costumes to bring it to life. Loc. Museo de Arte de Ponce, Ponce, Puerto Rico. Dim. 109.5 cm H x 79.1 cm W (43 1/8 x 31 1/8 in.).

Every detail in the cluttered room serves as a moral signifier, such as the absence of a wedding ring and a cat toying with a bird, which mirrors her entrapment. Bathed in natural light, the woman gazes toward a sunlit garden reflected in the mirror behind her, a visual metaphor for her spiritual awakening and the hope for a brighter life. Loc. Tate Britain, London, UK Dim. 76.2 cm H x 55.9 cm W (30.0 x 22.0 in.)