|The Doubtful Coin John Frederick Lewis|
|Mr Heatherley's Holiday (1874) Samuel Butler|
There are also pictures from William Millais and Arthur Houghton, together with James Smetham's Naboth's Vineyard, which resides at the Tate...
|Naboth's Vineyard (1856)|
|George Herbert at Bemerton (1861) William Dyce|
So that is the 1951 exhibition. Mostly Hunt, Millais and Rossetti, with a certain amount of representation of others, but who is missing that we would unquestioningly accept as being Pre-Raphaelite today?
|Hylas and the Nymphs J W Waterhouse|
|Cadence of Autumn Evelyn de Morgan|
|The Boer War (1901) John Liston Byam Shaw|
|The Little Foot Page (detail) Eleanor Fortescue Brickdale|
When reading about the 1951 exhibition I began to wonder about the reasoning behind holding the exhibition and the choice of artists, and how that would play in the autumn. Maybe it can be argued that the Pre-Raphaelites were the first and possibly only British art movement (despite where they got their influences) and in a year where we celebrated nationhood, the vision of a group of British artists, following their own passionate vision in revolt of everyone else is the sort of Victorians we need to feel we come from. Post-War, the nation needed to feel there was a future, even in the vision of their past. Maybe this year we need a vision of our ancestors, not cosy and chocolate-box-y, but as revolutionaries, men and women who pushed boundaries, because that is what our country feels it does well. After all, this is the nation whose monarch sky-dives out of a plane with James Bond. We need our artists to shake the establishment, and that is what our Pre-Raphaelite visionaries did. Roll on September. Or 1951. Whichever comes first.