Editing Pre-Raphaelite Brotherhood (section)

==Later developments and influence==
[[File:De Morgan Medea.jpg|thumb|upright|''[[Medea]]'' by [[Evelyn De Morgan]], 1889, in [[quattrocento]] style]]
Artists influenced by the brotherhood include [[John Brett (artist)|John Brett]], [[Philip Calderon]], [[Arthur Hughes (artist)|Arthur Hughes]], [[Gustave Moreau]], [[Evelyn De Morgan]],<ref name=hilton202>{{harvnb |Hilton |1971 |pp=202–05}}</ref> [[Frederic Sandys]] (who entered the Pre-Raphaelite circle in 1857)<ref name=hilton202/> and [[John William Waterhouse]]. [[Ford Madox Brown]], who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles. One follower who developed his own distinct style was [[Aubrey Beardsley]], who was pre-eminently influenced by Burne-Jones.<ref name=hilton202/>

After 1856, Dante Gabriel Rossetti became an inspiration for the medievalising strand of the movement. He was the link between the two types of Pre-Raphaelite painting (nature and Romance) after the PRB became lost in the later decades of the century. Rossetti, although the least committed to the brotherhood, continued the name and changed its style. He began painting versions of femme fatales using models including [[Jane Morris]], in paintings such as ''[[Proserpine (Rossetti)|Proserpine]]'', ''[[The Day Dream (painting)|The Day Dream]]'', and ''[[Pia de' Tolomei (Rossetti painting)|La Pia de' Tolomei]]''. His work influenced his friend [[William Morris]], in whose firm [[Morris & Co.|Morris, Marshall, Faulkner & Co.]] he became a partner, and with whose wife Jane he may have had an affair. Ford Madox Brown and Edward Burne-Jones also became partners in the firm. Through Morris's company, the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in [[medieval]] designs and other crafts leading to the [[Arts and Crafts movement]] headed by William Morris. Holman Hunt was involved with the movement to reform design through the [[Della Robbia Pottery]] company.

After 1850, Hunt and Millais moved away from direct imitation of medieval art. They stressed the realist and scientific aspects of the movement, though Hunt continued to emphasise the spiritual significance of art, seeking to reconcile religion and science by making accurate observations and studies of locations in Egypt and [[Palestine (region)|Palestine]] for his paintings on biblical subjects. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned his reversal of principles.

[[File:The Death of King Arthur by James Archer (1860).jpg|thumb|left|[[James Archer (artist)|James Archer]], ''The Death of King Arthur'', {{Circa|1860}}]]
Pre-Raphaelitism had a significant impact in Scotland and on Scottish artists. The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born [[William Dyce]] (1806–1864). Dyce befriended the young Pre-Raphaelites in London and introduced their work to Ruskin.<ref>D. Macmillan, ''Scottish Art 1460–1990'' (Edinburgh: Mainstream, 1990), {{ISBN|0500203334}}, p. 348.</ref> His later work was Pre-Raphaelite in its spirituality, as can be seen in his ''The Man of Sorrows'' and ''David in the Wilderness'' (both 1860), which contain a Pre-Raphaelite attention to detail.<ref>M. MacDonald, ''Scottish Art'' (London: Thames and Hudson, 2000), {{ISBN|0500203334}}, p. 100.</ref> [[Joseph Noel Paton]] (1821–1901) studied at the Royal Academy schools in London, where he became a friend of Millais and he subsequently followed him into Pre-Raphaelitism, producing pictures that stressed detail and melodrama such as ''The Bludie Tryst'' (1855). His later paintings, like those of Millais, have been criticised for descending into popular sentimentality.<ref name="Macmillan">D. Macmillan, ''Scottish Art 1460–1990'' (Edinburgh: Mainstream, 1990), {{ISBN|0500203334}}, p. 213.</ref> Also influenced by Millais was [[James Archer (artist)|James Archer]] (1823–1904), whose work includes ''Summertime, Gloucestershire'' (1860)<ref name="Macmillan" /> and who from 1861 began a series of [[Arthurian]]-based paintings including ''La Morte d'Arthur'' and ''Sir Lancelot and Queen Guinevere''.<ref>R. Barber, ''The Holy Grail: Imagination and Belief'' (Harvard University Press, 2004), {{ISBN|0674013905}}, p. 275.</ref>

Pre-Raphaelism also inspired painters like [[Lawrence Alma-Tadema]].<ref>{{Cite web|url=http://fineartbookstore.com/s-120-Pre-Raphaelites|title=Fine Art Books Art Instruction {{!}} Photography Books {{!}} Visual Arts Periods, Groups & Movements: Pre-Raphaelites|website=fineartbookstore.com|language=en|access-date=2017-12-27}}</ref> The movement influenced many later British artists into the 20th century.

Rossetti came to be seen as a precursor of the wider European [[Symbolism (arts)|Symbolist]] movement. There is evidence to suggest that a number of paintings by the German artist [[Paula Modersohn-Becker]] were influenced by Rossetti.<ref>Rebecca Jelbert: "Paula Modersohn-Becker’s self-portraits and the influence of Dante Gabriel Rossetti." ''The Burlington Magazine'', vol.159, no.1373 (2017): 617–22.</ref>

[[Birmingham Museum & Art Gallery]] has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young [[J. R. R. Tolkien]],<ref>See, for example, Bucher (2004) for a brief discussion on the influence of the Pre-Raphaelites on Tolkien.</ref> who wrote ''[[The Hobbit]]'' and ''[[The Lord of the Rings]]'', with influences taken from the same mythological scenes portrayed by the Pre-Raphaelites. Tolkien considered his own group of school friends and artistic associates, the so-called TCBS, as a group in the vein of the Pre-Raphaelites.
[[File:Arthur Hughes - Fair Rosamund - Google Art Project.jpg|thumbnail|[[Arthur Hughes (artist)|Arthur Hughes]], ''Fair Rosamund'', 1854]]
In the 20th century artistic ideals changed, and art moved away from representing reality. After the [[First World War]], Pre-Raphaelite art was devalued for its literary qualities<ref name="Treuherz 2003">{{cite encyclopedia |last=Treuherz |first=Julian |title=Pre-Raphaelitism |encyclopedia=The Dictionary of Art |editor-last=Turner |editor-first=Jane |publisher=Oxford University Press |year=2003 |isbn=978-1-884446-05-4 |doi=10.1093/gao/9781884446054.article.t069496 |oclc=5104656181}}</ref> and was scorned by critics as sentimental and concocted "artistic bric-a-brac".<ref>Burroughs, B. (1935). "1935 Views the Pre-Raphaelites". ''The American Magazine of Art'', '''28'''(1): 6–13.</ref> In the 1960s there was a major revival of Pre-Raphaelitism. Exhibitions and catalogues of works, culminating in a 1984 exhibition in London's [[Tate Gallery]], re-established a canon of Pre-Raphaelite work.<ref>Barringer, Tim (1999). ''Reading the Pre-Raphaelites'', p. 17. Yale University Press.</ref> Among many other exhibitions, there was another large show at [[Tate Britain]] in 2012–13.<ref>[http://www.tate.org.uk/whats-on/tate-britain/exhibition/pre-raphaelites-victorian-avant-garde ''Pre-Raphaelites: Victorian Avant-Garde''], Tate Britain, accessed 27 August 2014</ref>

In the late 20th century the [[Brotherhood of Ruralists]] based its aims on Pre-Raphaelitism, while the [[Stuckism|Stuckists]] and the [[Birmingham Group (artists)|Birmingham Group]] have also derived inspiration from it.