Abstract
By the mid-19th century, the United Kingdom reached the peak of industrialisation and economic expansion, while revealing the first drawbacks of progress: social inequality, urban overcrowding, and aesthetic discontent as a result of productive techniques. In this context, and in opposition to the prevailing academic art, the Pre-Raphaelite Brotherhood was born. They sought the authenticity they considered lost in their time in pre-Raphaelite paintings and medieval legends, with an attentive gaze on nature. From the outset, the Brotherhood had the support of the art critic John Ruskin. His writings on a new economic ethic and the creative and dignifying value of craftsmanship marked his «disciple» William Morris and the Arts and Crafts movement.
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