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Òåîäîð ôîí Õîëüñò (Theodor von Holst
Áîëüøîå âëèÿíèå íà áóäóùèõ áðàòüåâ îêàçàë óìåðøèé â 1844 ãîäó óðîæåíåö Ëîíäîíà Òåîäîð ôîí Õîëüñò (Theodor von Holst), ñòàâøèé ñâÿçóþùèì çâåíîì ìåæäó õóäîæíèêàìè ðàííåãî ðåàëèçìà (åãî ó÷èòåëü Ãåíðè Ôîñëè) è ïðåðàôàýëèòàìè, êîòîðûå ïîçíàêîìèëèñü ñ åãî òâîð÷åñòâîì óæå ïîñëå åãî áåçâðåìåííîé êîí÷èíû.
Óèëüÿì Áåëë Ñêîòò, Ðîññåòòè, Àëåêñàíäð Ìàíðî è Ìèëåñ áûëè âîñõèùåíû ìðà÷íûìè, òðàãè÷åñêèìè è ãîòè÷åñêèìè îáðàçàìè åãî ïðîèçâåäåíèé.
Theodor von Holst: The Bride, 1842.
Ìèëëåñ âèäåë åãî ðàáîòû â êîëåêöèè ñâîåãî ïåðâîãî ïîêðîâèòåëÿ Ðàëüôà Òîìàñà.
Òàêæå îäèí âàðèàíò Íåâåñòû Ìèëëåñ ìîã âèäåòü â äîìå ëîðäà Ëýíäñäàóíà íà Áåðêëè - ñêâåð. Ëàíêàñòåð Õàóñ. Âîçìîæíî, èìåííî Íåâåñòà âäîõíîâèëà åãî íà ñîçäàíèå "Ïîäðóæêè íåâåñòû" è ñåðèè çàãàäî÷íûõ æåíñêèõ ïîðòðåòîâ 1850-õ.
Àëåêñàíäð Ìàíðî âëàäåë áëîêíîòîì ðèñóíêîâ Õîëüñòà.
Dante Gabriel Rossetti, greatly admired Von Holst's work and according to Browne "considered him a significant link between the older generation of English Romantic painters, such as Fuseli and William Blake, and the Pre-Raphaelite circle".

Ðàííèå ðèñóíêè òóøüþ Ðîññåòòè íàïîìèíàþò òåìàòèêîé è âûðàçèòåëüíîñòüþ ëèíèé ðàáîòû Õîëüñòà. À "Íåâåñòà" ÿâíî îêàçàëà âëèÿíèå íà ñåðèþ ïîÿñíûõ ïîðòðåòîâ ÷óâñòâåííûõ æåíùèí â äåêîðàòèâíûõ èíòåðüåðàõ, íà÷èíàÿ ñ "Bocca Bociata". Ðîññåòòè óâèäåë "Íåâåñòó" â Ëîíäîíå â Ñòàôôîðä Õàóñ è óïîìÿíóë å¸ â ãëàâå ê êíèãå Àëåêñàíäðà Ãèëêðèñòà "Æèçíü Óèëüÿìà Áëåéêà" 1863ã. êàê "ñàìîå ïðåêðàñíîå ïðîèçâåäåíèå"

Èëëþñòðàöèÿ ê Ôðàíêåíøòåéíó.
William Mulready
 òåõíèêå ïðåäøåñòâåííèêîì ïðåðàôàýëèòîâ áûë Ìóëðåäè.  1820-õ æàíðîâûé æèâîïèñåö William Mulready äîáèâàëñÿ ÿðêîñòè öâåòîâ, íàíîñÿ î÷åíü òîíêèé ñëîé êðàñêè íà áåëûé ãðóíò.

William Etty
 êà÷åñòâå íàñòàâíèêà Õàíò ðàññìàòðèâàë êàíäèäàòóðó William Etty, ïîñëå äâàäöàòè ëåò óñèëèé ýòîò ïåâåö îáíàæ¸ííîé íàòóðû âñ¸ òàêè äîáèëñÿ óñïåõà è ñòàë ñâåðõìîäíûì. Íî óæå âî âðåìÿ þíîñòè Õàíòà åãî òðàêòîâêè êëàññè÷åñêèõ êîìïîçèöèé ïðèíåñëè åìó ïðîçâèùå "îáîéùèê". Åãî ìîäåëè îòëè÷àëèñü ñëàùàâîñòüþ, à ïðè¸ìû óõèùðåíèÿìè âêóñà ìîäèñòêè.



The Sirens and Ulysses by William Etty, 1837
Herbert's work influenced the newly formed Pre-Raphaelite Brotherhood – who asked him to sponsor their publication The Germ, and whose artistic goal was to 'out-Herbert Herbert'. Herbert's paintings The First Introduction of Christianity into Great Britain (1842) and Our Saviour Subject to his Parents in Nazareth (1847) were the inspiration for the two most important early works of William Holman Hunt and John Everett Millais, founders of Pre-Raphaelitism. The two paintings, Hunt's A Converted British Family Sheltering a Christian Missionary and Millais' Christ in the House of His Parents were exhibited at the RA in 1850 to great controversy. Herbert used his position within the RA to help the young artists.
Õóäîæíèê ïðèíàäëåæàë ê òâîð÷åñêîìó ïîêîëåíèþ, ïðåäøåñòâóþùåìó íàïðàâëåíèþ ïðåðàôàýëèòîâ, íî âåñüìà îäîáðÿë è ðàçäåëÿë ñ íèìè íåêîòîðûå èäåè. Òàêèå åãî ïîëîòíà, êàê «Ðîæäåñòâî â çàìêå áàðîíà» (1838), «Ñöåíà èç "Äâåíàäöàòîé íî÷è"» (1840), «Ñöåíà èç „Óíäèíû“» (1843), «Äóõ ðûöàðñòâà» (1847), «Êîðîëü Êîôåòóà è íèùåíêà», à òàêæå «Ìàãäàëèíà ïîñëå ìîëèòâû» êàê ñòèëèñòè÷åñêè, òàê è òåìàòè÷åñêè ïåðåêëèêàåòñÿ ñ òâîð÷åñòâîì ÷ëåíîâ Áðàòñòâà ïðåðàôàýëèòîâ.  1857 ãîäó ïðèíÿë çàêàç, íàðÿäó ñ Ìèëëåñîì, Õàíòîì è Ðîññåòòè íà ñîâìåñòíîå ó÷àñòèå â èëëþñòðèðîâàíèè ïîýì Òåííèñîíà (èçä. Ìîêñîíà)




Äæîí Ôëà́êñìàí, Äæîí Ôëà́êñìåí John Flaxman 1755 - 1826
Íàèáîëüøóþ èçâåñòíîñòü ïîëó÷èëè ñäåëàííûå èì â Ðèìå èëëþñòðàöèè ê ïðîèçâåäåíèÿì Ýñõèëà, Ãîìåðà è Äàíòå Àëèãüåðè, íàãðàâèðîâàííûå Òîììàçî Ïèðîëè â ëèíåàðíîé ìàíåðå «î÷åðêîì». Òàêóþ ìàíåðó — îòêðûòèå Ôëàêñìàíà — îòíîñèëè â òî âðåìÿ ê ìîäíîìó ñòèëþ «íåîãðåê». Íà ñòèëü ïðåðàôàýëèòîâ ïîâëèÿëè åãî ëèíåàðíûå ðèñóíêè.

Ïóáëèöèñò Òîìàñ Êàðëåéëü, êîòîðîãî âûñîêî öåíèëè ïðåðàôàýëèòû â êíèãå «Òåïåðü è ïðåæäå» (1843) ïðîòèâîïîñòàâèë óïîðÿäî÷åííîñòü ñðåäíåâåêîâîãî îáùåñòâà õàîòè÷íîñòè ñîâðåìåííîãî åìó. Õàíò îäíî âðåìÿ æèë ðÿäîì ñ Êàðëåéëåì è òîò ïðèõîäèë ñìîòðåòü åãî êàðòèíû.
Òî́ìàñ Êàðëǻéëü (òàêæå Êà́ðëàéë, Thomas Carlyle, 1795—1881) — áðèòàíñêèé ïèñàòåëü, ïóáëèöèñò, èñòîðèê è ôèëîñîô øîòëàíäñêîãî ïðîèñõîæäåíèÿ, àâòîð ìíîãîòîìíûõ ñî÷èíåíèé «Ôðàíöóçñêàÿ ðåâîëþöèÿ» (1837), «Ãåðîè, ïî÷èòàíèå ãåðîåâ è ãåðîè÷åñêîå â èñòîðèè» (1841), «Èñòîðèÿ æèçíè Ôðèäðèõà II Ïðóññêîãî» (1858-65). Èñïîâåäîâàë ðîìàíòè÷åñêèé «êóëüò ãåðîåâ» — èñêëþ÷èòåëüíûõ ëè÷íîñòåé âðîäå Íàïîëåîíà, êîòîðûå ñâîèìè äåëàìè èñïîëíÿþò áîæåñòâåííîå ïðåäíà÷åðòàíèå è äâèãàþò ÷åëîâå÷åñòâî âïåð¸ä, âîçâûøàÿñü íàä òîëïîé îãðàíè÷åííûõ îáûâàòåëåé.
Ìîðèö Ðåò÷,
Ôðèäðèõ Àâãóñò Ìîðèö Ðåò÷ Friedrich August Moritz Retzsch, 1779, Ãåðìàíèÿ — 1857
Ìîëîäûå õóäîæíèêè â Àêàäåìèè íàõîäèëèñü ïîä âëèÿíèåì Ìîðèöà иòøà, ÷üè èëëþñòðàöèè øòå è Øåêñïèðà çàñòàâëÿëè âñïîìíèòü èñêóññòâî íåìåöêîãî Âîçðîæäåíèÿ.
Âàãíåð è ãîìóíêóë ê Ôàóñòó øòå. Èëëþñòðàöèÿ ê Áóðå Øåêñïèðà.

Ñåðèÿ ñîîáùåíèé "ÏÐÅÄÒÅ×È":
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