The name of another remarkable artist must be mentioned, that of Frederick Sandys, contemporary with the pre-Raphaelites, imbued with their spirit, and following their methods of work. A wonderful draughtsman and powerful designer, who in all his work shows himself fully alive to beauty of decorative design in the completeness, care, and taste with which the accessories of his pictures and designs are rendered. His powers of design and draughtsmanship are perhaps best shown in the illustrations engraved on wood which appeared in “Once a Week,” “The Cornhill Magazine,” and elsewhere, which were shown with the collections of the artist’s work at the International Society’s last exhibition at the New Gallery, and at the Winter Exhibition at Burlington House in the present year (1905).
Manoli. By Frederick Sandys
From “The Cornhill Magazine”
In some quarters it appears to be supposed that the pre-Raphaelite movement consisted entirely of Rossetti, and that to explain its development you have only to add water—or caricature. It is extraordinary to think in what uncritical positions professional critics occasionally land themselves.
I cannot understand how any candid and fairly well-informed person can fail to perceive that the pre-Raphaelite movement was really a very complex movement, containing many different elements and the germs of different kinds of development in art.
If it was primitive and archaic on one side, it was modern and realistic on another, and again, on another, romantic, poetic, and mystic; or again, wholly devoted to ideals of decorative beauty.
The very names of the original members of the brotherhood, to say nothing of later adherents, suggest very marked differences of temperament and character, and these differences were reflected in their art.
The stimulating writings of Ruskin must also be counted a factor in the movement, in his recognition of the fundamental importance of beautiful and sincere architecture and its relation to the sister arts: in his enthusiasm for truer ideals both in art and life: in the ardent love of and study of nature so constantly, so eloquently expressed throughout his works.
Despite all controversial points, despite all contradictions—mistakes even—I think that every one who has at any time of his life come under the influence of Ruskin’s writings must acknowledge the nobility of purpose and sincerity of spirit which animates them throughout.