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Charles Fairfax Murray: The Unknown Pre-Raphaelite
 
 

Charles Fairfax Murray: The Unknown Pre-Raphaelite (Hardcover)

by David B. Elliott (Author)
5.0 out of 5 stars  See all reviews (1 customer review)

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Product details

  • Hardcover: 266 pages
  • Publisher: Oak Knoll Press,US (31 Dec 2000)
  • Language English
  • ISBN-10: 1584560304
  • ISBN-13: 978-1584560302
  • Product Dimensions: 24.8 x 17.8 x 2.6 cm
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 944,796 in Books (See Bestsellers in Books)

Product Description

Synopsis

Murray (1849-1919) was a painter, dealer, connoisseur, collector, and benefactor. He was friends with William Morris, the Rossettis, and Edward Burne-Jones and protege to John Ruskin. Elliot, a descendent, presents the first biography of the little known figure, exploiting his access to papers on both sides of the family and archives in Britain, Eu

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1 of 1 people found the following review helpful:
5.0 out of 5 stars a fascinating insight into the Pre-Raphaelite world, 14 Nov 2000
By A Customer
The world of the Pre-Raphaelites comes vividly to life, with this biography of an unjustly neglected figure. Charles Fairfax Murray's life is an absorbing subject in itself: apprentice in his teens to the likes of Burne Jones, father to two families at once in Italy and Britain, not to mention the collector of one of Europe's largest private art collections.

There is much more, however, to be gained from this painstakingly layered narrative. Fairfax Murray had a pivotal role in the whole Pre-Raphaelite movement, so this biography offers a new perspective on the more familiar names, as well as broader themes of Victorian aesthetics and society. David Elliott gives us ample detail and example, drawing heavily on primary sources such as letters and journals, mostly leaving the story to have its own impact. This is not a biography which shoves its views down the reader's throat or uses the subject as a springboard to other preoccupations. The man who never wanted to be centre stage is put in the spotlight; somehow, we seem to learn more this way, both about Fairfax Murray himself, and about those with whom he worked.

If you have any interest in the Pre-Raphaelites, Victorian Britain, art history or just in the unveiling of the great achievements of someone hitherto obscure, you should read this book.

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