By Daniel Brown

This e-book is ready the old second whilst writers and critics first used the time period “realism” to explain illustration in literature and portray. whereas scholarship on realism has a tendency to continue from an assumption that the time period has a normal that means and heritage, this e-book unearths that mid-nineteenth-century critics and writers first used the time period reluctantly, with a lot confusion over what it may really suggest. It didn't gather the prepared which means we now take with no consideration till the tip of the 19th century. in truth, its first definitions got here essentially in terms of instance and analogy, via descriptions of present practitioners, or via fictionalized representations of artists. by means of investigating unique debates over the time period “realism,” this e-book exhibits how writers concurrently engaged with broader matters concerning the altering meanings of what was once actual and who had the authority to determine this.

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Extra resources for Representing Realists in Victorian Literature and Criticism

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PRE-RAPHAELITE MANIFESTOS Ruskin’s belief that the Pre-Raphaelites were reviving a lost methodology, or at least reviving it with a difference for a modern age, was one that the Pre-Raphaelites actively encouraged, as exemplified in Dante Gabriel Rossetti’s ‘Hand and Soul’ (1849). Originally published in the first issue of the Pre-Raphaelite’s short-lived literary journal The Germ,12 ‘Hand and Soul’ is rather unique for its time and functions as both a short story and as an essay on art. Given the small readership for The Germ, ‘Hand and Soul’ would probably not have had as much popular influence as did the paintings by Millais and Hunt that they displayed in public galleries.

According to Levine, Reynolds shared the beliefs of many of his contemporaries that ‘“ideal” truths [were] located in the mind rather than the world’ (2003, p. 28), and he was highly influential in encouraging artists ‘to achieve harmony . . between the ideas of the mind and idealities of the world’ (2003, p. 29). In order to achieve this harmony, Academicians such as Reynolds expected artists to 2 PRE-RAPHAELITISM AS REALISM 33 arrange their subjects in shapes and patterns that were supposedly pleasing to the mind, believing that this pleasure reflected the realization of truth.

As we will continually see, one of the major goals of those who experimented with the realist movement was to articulate a deep, hidden ‘soul’, or self, by way of surface representations. Furthermore, these experiments often aimed to bring together the sciences of psychology and sociology in attempting to represent the inner lives and motives of characters. However, Rigaud defies such attempts, because of his ‘flagrantly inauthentic’ nature. That is, nobody can claim to know him rationally because his very nature is irrational, and one cannot assume that he shares common traits with the rest of humanity because he is not human in more than a superficial sense.

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