In 1844, William Henry Fox Talbot, the father of British photography, confidently evaluated this newly invented reproduction technique in his collection The Pencil of Nature. Talbot deliberately photographed delicate lace, meticulous leaf veins, and everyday objects of various shapes to demonstrate the potential of photography to document detail.

This kind of quality which seems to be able to capture all the

Details and reproduce it in a scientific way, made photography quickly establish its “objective” and “real” status after its invention in the first half of the 19th century. However, just four years after Talbot wrote this text, The Pre-Raphaelites used precise and realistic painting techniques to forge their strong style of rebellion against academic conventions.

The Pre-Raphaelites formed in 1848 by William Holman Hunt

John Everett Millais and Dente Kuwait Phone Number Gabriel Rossetti. The three of them are young students at the Royal Academy of Arts in London, dissatisfied with the rigid and dogmatic teaching methods of the academy, and hope to return to Raphael’s previous creative style full of religious piety and simple sincerity, so as to reform contemporary artificial art.

For example, “Ophelia” by John Everett Millais, one of the main members, depicts the various flowers and plants growing on the waterfront in detail in the way of on-the-spot sketching. Challenging Talbot’s comparison of photography and painters. Whether photography or painting is more real, one wonders how this thirst for “reality” came about? What is the relationship between Pre-Raphaelite art and the development of photography at the same time?

Hunt says they inspired by art critic John Ruskin’s book

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Modern Painters, where the “rejecting nothing, selecting nothing” manifesto encourages them to get outside and paint what they see as nature. [1] Interestingly, although the pre-Raphaelite painters lived in the 1850s when photography was flourishing and popular, the creative policy of faithfully documenting what they saw also echoed the characteristics of photography, but they had very little view on photography. Seen in the text, there is no record of the experience of using photography to assist painting.

In fact, the Pre-Raphaelites were no strangers to photography. They made friends with many well-known photographers at that time, such as Julian Margaret Cameron, Charles Lutwidge Dodgson (Lewis Carroll, author of “Alice in Wonderland”), David Willkie Winfield, Oscar Gustave Erlander, etc., and they also became the subjects under their lenses.

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