{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Pre-Raphaelites, Victorian Avant-Garde exhibition opens in London' data-url='/boclips/videos/5c54bbadd8eafeecae126deb' data-video-url='/boclips/videos/5c54bbadd8eafeecae126deb' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nPre-Raphaelites, Victorian Avant-Garde exhibition opens in London\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eAP TelevisionLondon, UK - September 10, 20121.Close pan right of 'Ophelia' by John Everett Millais (1851-2)2. Close pull focus from 'Paolo e Francesca' by Alexander Munro (1851-2) to 'Dante Alighieri' also by Munro (1856) both in...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eAP Television\u003cbr/\u003eLondon, UK - September 10, 2012\u003cbr/\u003e1.Close pan right of 'Ophelia' by John Everett Millais (1851-2)\u003cbr/\u003e2. Close pull focus from 'Paolo e Francesca' by Alexander Munro (1851-2) to 'Dante Alighieri' also by Munro (1856) both in marble\u003cbr/\u003e3. Close of 'The Hireling Shepherd' by William Holman Hunt (1851-2)\u003cbr/\u003e4. Close zoom of 'Astarte Syriaca' by Dante Gabriel Rossetti (1877)\u003cbr/\u003e5. Mid pull from painting to wide of main gallery\u003cbr/\u003e6. Close of 'The Shadow of Death' by William Holman Hunt (1870-3)\u003cbr/\u003e7. Close pan right of detail of same\u003cbr/\u003e8. Mid tracking shot of Tim Barringer\u003cbr/\u003e9. SOUNDBITE: (English) Tim Barringer, Professor of History of Art, Yale University:\u003cbr/\u003e\"The pre-Raphaelites were a group of young artists who gathered together in London in 1848 with the intention of reviving pure art in the same way it had been painted many hundreds of years before in the time before Raphael. They saw around them degeneracy, what they saw as decay and they saw a new industrial society. What they wanted to do was invent a new kind of art that had the same purity as the painting of early Masters before the time of Raphael.\"\u003cbr/\u003e10. Close of Sir Lancelot as seen in 'The Lady of Shalott' by William Holman Hunt (1888-1905)\u003cbr/\u003e11. Mid of same\u003cbr/\u003e12. Mid zoom to detail of bird in same\u003cbr/\u003e13. SOUNDBITE: (English) Tim Barringer, Professor of History of Art, Yale University:\u003cbr/\u003e\"Now what is extraordinary about this painting is its rich colour pallet which I'm sure you can perceive, it's vibrant use of new colours that are actually made available through industrial production. Holman Hunt conjures up a kind of medieval world which is vibrant, theatrical, brilliant, and he also gives us a sense of energy and tension which I think is really very much about the 19th Century struggle between women and men.\"\u003cbr/\u003e14. Mid tilt up of stained glass windows by Edward Burne-Jones from 1890 and hung in St James church, Marylebone\u003cbr/\u003e15. Pull focus of angel's face \u003cbr/\u003e16. Wide of 'Work' by Ford Madox Brown (1852-63)\u003cbr/\u003e17. Various details of same\u003cbr/\u003e18. SOUNDBITE: (English) Tim Barringer, Professor of History of Art, Yale University\u003cbr/\u003e\"I think we have to look at Ford Madox Brown's great painting 'Work' because this is one time when the pre-Raphaelites as it were shone their bright light on Victorian society itself. Work is an enormous canvas covered in figures and it gives us a sort of panorama of Victorian society with the intellectuals on the right hand side, it shows us the poor on the left hand side but in the middle he does something quite radical which is to show as the hero of this Victorian panorama the labourer, the manual worker who's digging a hole in the road to bury some new water pipes. So instead of the middle class, or the aristocracy or Queen Victoria herself as the hero of the age we see the working man. It's a kind of socialist vision of Victorian England.\"\u003cbr/\u003e19. Close pan right of 'The Doom Fulfilled' by Edward Burne-Jones (1885-8)\u003cbr/\u003e20. Close tilt down of 'The Baleful Head' by Edward Burne-Jones (1885-8)\u003cbr/\u003e21. Mid of 'Chill October' by John Everett Millais (1870)\u003cbr/\u003e22. Wide of Tate curator walking up to painting\u003cbr/\u003e23. Close over the shoulder tilt up of curator looking at painting\u003cbr/\u003e24. Close of 'King Cophetua and the Beggar Maid' by Edward Burne-Jones (1880-4)\u003cbr/\u003e25. Close slow tilt up of 'Don Juan and Haidee' by Ford Madox Brown (1873)\u003cbr/\u003e26. Mid of same\u003cbr/\u003e27. Mid of 'A Vision of Fiammetta' by Dante Gabriel Rossetti (1878)\u003cbr/\u003e28. Close pull focus of eye in same painting\u003cbr/\u003eLondon's pre-Raphaelite artists combined rebellion and revivalism to create one of the 19th Century's most significant and influential art movements.\u003cbr/\u003eNow the Tate Britain has brought together a collection of nearly 200 paintings, including works by Dante Gabriel Rossetti and William Holman Hunt.\u003cbr/\u003eShakespeare's tragic heroine Ophelia lies dead in the river in a scene from Hamlet.\u003cbr/\u003eThe flowers she picked in her madness float by her side.\u003cbr/\u003eThis oil on canvas by Sir John Everett Millais from the 1850s is valued at around USD $48 million, but its importance in the pre-Raphaelite art movement is even more valuable.\u003cbr/\u003eThe painting is praised for its realistic depiction of a natural landscape.\u003cbr/\u003eBut it's poor subject - the 19-year-old model Elizabeth Siddal - had to lie fully-clothed in a cold bathtub in the artist's studio in the middle of winter - she caught a severe cold as a result.\u003cbr/\u003eThe pre-Raphaelite painters were inspired by the beauty and purity of the early Renaissance painters. \u003cbr/\u003eTim Barringer is professor of History of Art at Yale University. \u003cbr/\u003eHe explains: \"The pre-Raphaelites were a group of young artists who gathered together in London in 1848 with the intention of reviving pure art in the same way it had been painted many hundreds of years before in the time before Raphael. They saw around them degeneracy, what they saw as decay and they saw a new industrial society. What they wanted to do was invent a new kind of art that had the same purity as the painting of early Masters before the time of Raphael.\"\u003cbr/\u003eThe pre-Raphaelites became Britain's first modern art movement, but not everybody was impressed by what they saw.\u003cbr/\u003eCritics were shocked and even Charles Dickens criticised the boldness, rebellion and defiance of the young artists.\u003cbr/\u003eToday, the paintings by the pre-Raphaelites are recognised for their exquisite detail and vividness.\u003cbr/\u003eAnd few paintings are as vivid as William Holman Hunt's 'The Lady of Shalott'. \u003cbr/\u003eHolman Hunt - along with Dante Gabriel Rossetti - is recognised as one of the key founders of the pre-Raphaelite movement.\u003cbr/\u003eBarringer explains the significance of his 'The Lady of Shalott'.\u003cbr/\u003e\"Now what is extraordinary about this painting is its rich colour pallet which I'm sure you can perceive, it's vibrant use of new colours that are actually made available through industrial production. Holman Hunt conjures up a kind of medieval world which is vibrant, theatrical, brilliant, and he also gives us a sense of energy and tension which I think is really very much about the 19th Century struggle between women and men,\" he says.\u003cbr/\u003eThe pre-Raphaelites drew inspiration from many sources.\u003cbr/\u003eOn show are paintings depicting Greek mythology, the New Testament or everyday life in Victorian England. But whatever the subject, the pre-Raphaelite artist's intent was always committed to bringing about social change.\u003cbr/\u003eBarringer thinks one of the most significant works in the collection is a large oil painting by Ford Madox Brown.\u003cbr/\u003eHe explains: \"I think we have to look at Ford Madox Brown's great painting 'Work' because this is one time when the pre-Raphaelites as it were shone their bright light on Victorian society itself. Work is an enormous canvas covered in figures and it gives us a sort of panorama of Victorian society with the intellectuals on the right hand side, it shows us the poor on the left hand side but in the middle he does something quite radical which is to show as the hero of this Victorian panorama the labourer, the manual worker who's digging a hole in the road to bury some new water pipes. So instead of the middle class, or the aristocracy or Queen Victoria herself as the hero of the age we see the working man. It's a kind of socialist vision of Victorian England.\"\u003cbr/\u003eOther works on show include Edward Burne-Jones' series of paintings based on the Greek myth of Perseus, which was commissioned by politician Arthur Balfour in 1875.\u003cbr/\u003eHere Perseus slays the sea-monster while Andromeda looks on. In the final painting 'The Baleful Head', Perseus shows his love Andromeda the severed head of Medusa, reflected in the water of a well.\u003cbr/\u003eBurne-Jones painting 'King Cophetua and the Beggar Maid' hangs next to these works.\u003cbr/\u003eLike 'The Lady of Shalott' it is also based on a poem by Lord Tennyson. King Cophetua was an African king who hated women but is suddenly love-struck by a beggar maid, Penelophon.\u003cbr/\u003eThe work is understood to be a socialist allegory and the King casts aside the trappings of wealth to kneel in awe before the beggar girl.\u003cbr/\u003eThe Pre-Raphaelites: Victorian Avant-Garde exhibition runs from September 12, 2012 - January 13, 2013 at the Tate Britain in London.\u003cbr/\u003eIt is open daily and admission costs ÄÅ¼Ë14 (USD $22).\u003cbr/\u003eClients are reminded: \u003cbr/\u003e(i) to check the terms of their licence agreements for use of content outside news programming and that further advice and assistance can be obtained from the AP Archive on: Tel +44 (0) 20 7482 7482 Email: info@aparchive.com. \u003cbr/\u003e(ii) they should check with the applicable collecting society in their Territory regarding the clearance of any sound recording or performance included within the AP Television News service \u003cbr/\u003e(iii) they have 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