No wonder English landscape painting of the second half of the 19th century went down in the history of art: it was here that the first Art Nouveau movement in the world seethed – the Pre-Raphaelite movement. Founded in 1848, the “Brotherhood of Pre-Raphaelites” can rightfully be considered the first vanguard movement in Europe.
The elaborate manner of writing, wide strokes of paint, applied with the help of hard brushes, deliberately imitate the Venetian painting of the 16th century and, in particular, the technique of Titian and Veronese.
The attitude of the Pre-Raphaelites to nature is one of the most important aspects of this movement from the point of view. John Ruskin’s call to “turn to nature with all my heart and go hand in hand with her trustingly and hardworking had a great influence on the Pre-Raphaelites. Young members of the Pre-Raphaelite Brotherhood, such as Henry Moore, John Brett, Montague Dawson, Charles Napier Hamy, Charles Parsons Knight, William Pye and Gary Van der Weyden, eagerly studied Ruskin’s works on Turner’s legacy. Their own style is a unique synthesis of plein air painting and their own experience of navigation. Many of them went to sea since the early childhood , and later devoted their life to marine painting. And what does a marine landscape painter need to create an incredible seascape, in addition to excellently delivered equipment? Of course, to love the sea and be able to capture it at various times.