The Art of Plain Talk by Rudolph Franz Flesch

By Rudolph Franz Flesch

Guide on writing truly and concisely.

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He was an eclectic character, and his persistence in wanting to convert minds as resistant as those of Hunt and Rossetti to materialism was amusing. John Melhuish Strudwick, The Gentle Music of a Bygone Day, 1890. Oil on canvas, 79 x 61 cm. The Pre-Raphaelite Trust. At the same time, Hunt exhibited Rienzi swearing Revenge over his Brother’s Corpse. A fight John Melhuish Strudwick, Isabelle and the Pot of Basil. The De Morgan Centre, London. nature, which almost never happened at the time for the backgrounds of historic paintings.

And the man who inspired them made their first collective attempt at a new art. At first, everything went very well. The paintings by Hunt and Millais were hung in prominent places, and the painters were congratulated by many of the people in attendance on the morning of the private view. Their realism did not shock the audience at all, The Times was benevolent, and the professors of the Royal Academy were moderate in their criticism. B on Isabel’s chair, a visible sign of the conspiracy. The Pre-Raphaelites even immediately found buyers, which is a sign of predestination in England as it is elsewhere, or perhaps more so than abroad.

But as soon as she no longer had her beloved plant, Isabel fell ill and wasted away. And finally she died, mournfully asking everyone else who approached her and pilgrims returning from faraway lands, what had become of her basil-pot. This was the drama from which each of the Pre-Raphaelites was expected to depict a scene, rigorously applying the theories of their new school: no imitation of the masters, no generalisation, each figure reproduced from a model and from one single model, outlines as original and individual as possible, painting on an unprepared white canvas, Edward Burne-Jones, The Golden Stairs, 1880.

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