Matthew Dennison

UnEnglish triumph

Sometimes an exhibition does what it says on the tin. The Pre-Raphaelites and Italy, the Ashmolean’s first major show post-revamp, is such an exhibition.

issue 30 October 2010

Sometimes an exhibition does what it says on the tin. The Pre-Raphaelites and Italy, the Ashmolean’s first major show post-revamp, is such an exhibition.

Sometimes an exhibition does what it says on the tin. The Pre-Raphaelites and Italy, the Ashmolean’s first major show post-revamp, is such an exhibition.

This fidelity is simultaneously its strength and its weakness. In a dazzling and far-reaching show, the exhibition organisers ultimately leave us questioning the nature and meaning not only of Pre-Raphaelitism but also of 19th-century concepts of Italy. This may be part of the exhibition’s achievement. It does not make for the easy ride exhibition-goers have come to expect from the Pre-Raphaelites. In place of those all-too-familiar lusciously coloured images of narcotic sexiness and tantalising sidelights on to their creators’ erratic private lives, we are presented with 140 pictures produced by a large group of artists.

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in