About The Raphaelites

About the Original Pre-Raphaelites

The original Pre-Raphaelites were a group of Painters, Critics and Poets from 19th Century England. Formed in secret, their aim was to produce art that was of a higher calibre than their peers at the time, whilst adhering to the values that they had laid down upon their formation. Faced with the domineering sway of the English Royal Academy of Arts, they were a group of quiet rebellion who would go on to have an incredible influence themselves on the History of Art in England.

The Pre-Raphaelites were so named because of their relationship with the works of Raphael. The 15th Century Painter and Architect had picked up an incredible amount of popularity during the 19th Century. This had lead to an obsession with symmetry, proportion and the notion of ideal beauty. Mannerist painters such as Tintoretto and El Greco made waves during this time with exacting depictions of religious scenes that stretched the boundaries of reality in an attempt to communicate the otherworldliness of the religious characters involved.

Whilst the rest of the English Royal Academy focused on reiterating what many of these Italian Mannerist painters were saying 200 years earlier, the Pre-Raphaelites wanted to move towards a mode of art that was more true to life in its appeal. By moving away from a mechanistic approach to drawing form, they found that they could be more expressive with their paintings – better representing the state of human existence.

The Four Doctrines of the Pre-Raphaelites and how it relates to Film


1) To have genuine ideas to express

Just like the Pre-Raphaelites, we feel its not enough to simply recommend a movie for you to watch. Underneath each film, regardless of its genre or pedigree, lies a great deal of subtext and meaning just waiting to be mined. It is up to us as film critics to find these truths within the celluloid and present them to you in the most unique way possible.


2) Study nature adventively, so as to know how to express it

When assessing a film, it is imperative that we attend to every facet of the production. From its casting decisions to the costume design, all the way to the writing and editing of the production. Much like William Michael Rossetti and Frederic George Stephens, we are working people with full time commitments who make time to write about art. So when we write our articles we must ensure that they are finished to the highest calibre.


3) To sympathise with what is serious and heartfelt in art that has come before, excluding what is conventional or learned by rote

Due to have limited time to watch and write about film, the writers of the Pre-Raphaelites must learn to be selective of what they write about. We cannot get bogged down in watching and reviewing movies that retread old ground. When a film is clearly reworking an old concept with no new twist, we must set it aside for work that pursues a more original purpose.


4) Most important of all, to produce thoroughly good artistic writing

There is no point in attempting art on an intellectual level, unless the challenger can write in clear and cognisant manner. How can we expect to judge art effectively unless we are also shooting for the same level of excellence and originality. We are intent on producing content that will be as entertaining to read as they are informative!


Although our concept might seem unnecessarily convoluted, we believe good film should be more than simply a distraction. Good film should transport us; mind, body and soul.