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“He feeds upon her face by day and night,
And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
Not as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.”
― Christina Rossetti

“With her wild red hair draped around her pallid visage, she could easily be mistaken for a nymph from a Pre-Raphaelite painting. But then again, those nymphs were rarely hung-over or quite such a freckled, busty little thing.”
― Renate Linnenkoper, Exogenesis

“She wore a loose-fitting purple velvet Pre-Raphaelite gown, and her abundant dark-brown hair flowed down her back and shoulders to her waist. As she drew near, I noticed her warm brown eyes peeping at me beneath lush, un-plucked brows, her smiling red lips and smooth, un-powdered cheeks almost begging for kisses. She possessed a beauty much different from Daisy, more like a wildflower in the unspoiled earth than a prize-winning rose in a formal garden. However, her Pre-Raphaelite fashion might have been an affectation of a different kind, a bit closer to nature but a stylish imitation just the same.”
― Gary Inbinder, The Flower to the Painter

“We are, in the main, 'word-blind' to Pre-Raphaelite and Decadent verse. This blindness results from a major change in habits of sensibility. Our contemporary sense of the poetic, our often unexamined presumptions about valid or spurious uses of figurative speech have developed from a conscious negation of fin de siécle ideals.”
― George Steiner, After Babel: Aspects of Language and Translation

“This photo is classic aestheticism. The engaging expression, the loose dress and fluid posture. Early to mid-1860's, if I had to guess."
"It reminded me of the Pre-Raphaelites."
"Related, definitely; and of course the artists of the time were all inspired by one another. They obsessed over things like nature and truth; color, composition, and the meaning of beauty. But where the Pre-Raphaelites strove for realism and detail, the painters and photographers of the Magenta Brotherhood were devoted to sensuality and motion."
"There's something moving about the quality of light, don't you think?"
"The photographer would be thrilled to hear you say so. Light was of principal concern to them: they took their name from Goethe's color wheel theories, the interplay of light and dark, the idea that there was a hidden color in the spectrum, between red and violet, that closed the circle. You have to remember, it was right in the middle of a period when science and art were exploding in all directions. Photographers were able to use technology in ways they hadn't before, to manipulate light and experiment with exposure times to create completely new effects.”
― Kate Morton, The Clockmaker's Daughter

“Their fear of the open and of the naked. Hide reality, shut out nature. The revolutionary art movement of Charles's day was of course the Pre-Raphaelite. They, at least, were making an attempt to admit nature and sexuality.”
― John Fowles, The French Lieutenant’s Woman

“How many children could say their home hosted the humblest and highest at the same time, on any given evening invaded by expatriates their father never hesitated to invite in? Through the back door he welcomed a bookseller, organ grinder, biscuit maker, vagrant macaroni man, and one called Galli who thought he was Christ. Through the front, disgraced Italian counts and generals made as officious entrances as a small house on Charlotte Street afforded.”
― D.M. Denton, The Dove Upon Her Branch: A Novel Portrait of Christina Rossetti

“One day in the country was worth a month in town and better than Christmas, her birthday, or even Papa saying she was like the moon risen at the full.”
― D.M. Denton, The Dove Upon Her Branch: A Novel Portrait of Christina Rossetti