The Committee of the Pre-Raphaelite Society would like to thank everyone who has renewed their membership in 2018. We would like to express a special thank you to all those members who included donations with their annual membership subscription renewal remittance.
The much anticipated, Edward Burne-Jones exhibition will feature at Tate Britain this Autumn and in celebration of this important event, the Pre-Raphaelite Society is offering new members the opportunity to take up an extended offer membership period at a much reduced price – you can buy 15 months membership for the price of 12 months. If you join the PRS between 1st October and 31st December 2018, you will receive four copies of the Review journal plus an initial welcome-pack copy – making a total of five Reviews for the price of three, along with our PRSUS Newsletter, numerous book offers, exhibition details and invitations to an excellent series of lectures and visits. Membership can be taken out for as little as £13 per annum, for UK subscribers, and $45 for US subscribers.
To join the Society simply visit our website https://pre-raphaelitesociety.org/membership-donations/
Oxford, 21-22 February 2019
Keynotes: Stacey Sell (National Gallery, Washington D.C.)
In light of the latest exhibition on Edward Burne-Jones (1833-1898) at Tate Britain (24 October 2018-24 February 2019), this two-day conference seeks a fresh reassessment of the artist who, standing at the forefront of a pivotal transition, was progressive but also resisted by ‘modernist’ art history. Burne-Jones’s complex use of tradition, which itself sought to challenge established artistic practices, is perhaps one reason he has been underappreciated, even as the Pre-Raphaelites have risen in popularity as the British nineteenth-century equivalent to the rebellious French avant-garde. This conference will explore new facets of Burne-Jones’s vast and varied oeuvre – we seek papers from a wide array of vantages to reflect the artist’s own innumerable interests that intersect in his pieces, which themselves reference one another. His paintings and decorative designs hang in galleries and churches throughout England and the world; this conference, in tandem with this major exhibition of his work at the Tate, anticipates renewed and energised international scholarship on the artist and his multitudinous connections, collaborations, and influences in the society, culture and art of the nineteenth century. We hope to further and more deeply dwell upon Burne-Jones’s influences and formation by hosting the conference in Oxford, where he studied at Exeter College and began making those pivotal decisions to turn to a career in art. Scheduled near the closing of the exhibition, so that we may reflect upon and reassess the show itself, the papers collected here would aim to impact the way Edward Burne-Jones is recognised and accessed in modern scholarship on Pre-Raphaelitism and Victorian society. We hope to stimulate discussion at the conference, and also to produce a comprehensive, dynamic publication reviewing the proceedings and offering even more material for further scholarship on this important artist whose body of work is so vast and varied that much remains to be discovered and discussed.
We are accepting paper proposals from an array of topics related to Burne-Jones and his complexly variegated oeuvre, not exclusive to:
- Biblical, mythical and poetic influences
- The fine and decorative arts; the interconnectivity between media within the oeuvre of Burne-Jones and how we can conceptualise it
- Materials, techniques, and studio practice
- Burne-Jones’s drawing practices
- Art and the Church in the 19th century
- Burne-Jones and Oxford
- Burne-Jones and Italy
- Burne-Jones and France
- Patronage and commission history, including the practice of Morris & Co.
- Critical reception
- The ‘Last Pre-Raphaelite’: Historiographical reception of Burne-Jones and his work from the 20th century to today
- After Burne-Jones: His Influence on Symbolism in England, Europe and America
It is with great sadness that we have learned of the death of our President, The Very Reverend Peter Berry, on Friday 25th May. Peter Berry held a Canon Residentiary at Coventry Cathedral and was Provost of Birmingham Cathedral for 13 years. He founded the Pre-Raphaelite Society on 26th October 1988.
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Rules for Entry
1st Prize: £50
The three winning poems will be published in the Pre-Raphaelite Society’s Review, along with two Commended poems.
- Entry is open to all writers of any nationality, aged 18 years and over.
- The competition will be judged by the PRS Vice-President Dr Serena Trowbridge; and by the Society’s Poet‑in‑Residence, Sarah Doyle. All entries will be seen by both judges.
- Poems may be in any style, but must be written in English.
- Poems must in some way reflect an aspect (or aspects) of the lives or works of the Pre‑Raphaelite Brotherhood or their broader circle.
- Every poem should be accompanied by a brief (maximum 100 words) explanation of how the poem relates to the Pre-Raphaelites.
- Poems must be typed/printed on A4 paper; hand-written entries are not permitted.
- The maximum length for each poem is 100 lines.
- The closing date for the competition is 31st December 2018.
- A maximum of three poems per entrant may be submitted.
- Entry is £2 per poem, or £5 for the maximum of three poems
- Poems must be the entrant’s own work.
- Poems may not have been previously published – in print, electronically or online; nor broadcast via any means (including podcasting); nor exhibited in a public place.
- Poems should not be submitted for consideration elsewhere during the competition and during the subsequent period of adjudication.
- Winning poems should not be submitted for publication elsewhere prior to appearing in the Review.
- Poems may not have won a prize in previous competitions.
- Poems may not be withdrawn or altered once submitted into the competition.
How to Enter
- No identifying marks should appear on the poem/s or on accompanying explanation/s.
- On a SEPARATE sheet of paper, please include your name, address, telephone number, email address and the name/s of your poems.
- Cheques should be made payable to ‘The Pre-Raphaelite Society’.
- Please send TWO COPIES of your poem/s and explanation/s, along with the entrance fee, and one copy of your personal details to:
The Competition Secretary, 21 Shaw Lane, Stoke Prior, Worcestershire B60 4DP
- The judges’ decisions are final and no correspondence can be entered into.
- Entry into the competition implies an understanding and acceptance of the Rules of Entry.
You are invited to enter a monograph of not more than 2000 words for The John Pickard Essay Prize. The monograph may be on any individual related to the Pre-Raphaelite circle.
The winner will receive £100 prize and publication in the Spring 2019 Review and subsequently the essays of runners-up may also be published. The final decision will be made by the Committee of the Pre-Raphaelite Society.
Entries are to be received by 31st December 2018, and may be emailed to Sally-Anne Huxtable (firstname.lastname@example.org).
Every year the Pre-Raphaelite Society runs a Poetry Prize alongside the John Pickard Essay Prize.
The 2017 Pre-Raphaelite Poetry Prize
The Editor is delighted to announce that the Poetry Prize winner is awarded to Susan Castillo Street for her poem ‘Bird of God’
Second place is Amanda Oosthuizen for ‘Bells and Marigolds’
Third place is Frances Sackett for ‘Two Faces of a Daugher’
The Poet in Residence’s commendation goes to Wendy Holborow for ‘The Seeds and Fruit of English Poetry’
And the Vice-President’s commendation goes to Eithne Cullen for ‘The Poet on a Pony’
Congratulations to the winners of the Poetry Prize. These poems will be featured in a future issue of the PRS Review.
Competition details for The Pre-Raphaelie Poetry Prize will be released soon.
Every year the Pre-Raphaelite Society runs a Poetry Prize and the John Pickard Essay Prize. We are delighted to announce the winners for 2017:
The 2017 John Pickard Essay Prize
The Editor is delighted to announce that the John Pickard Essay Prize winner is Katherine Hinzman, for her essay ‘‘It is clear I am a heretic’: Edward Burne-Jones, Theology, and Artistic ‘Heresy’’.
Second place is Melissa Gustin for ‘Pomegranates in Autumn: Ruminations on Rossetti’s Final Proserpine’.
Third place is David Billingsley for ‘The drawings behind Pre-Raphaelite love and death’.