The biggest exhibition of eminent Pre-Raphaelite William Holman Hunt’s work is being exhibited at Manchester Art Gallery until 11^th January 2009.

Excited by the prospect, I popped along to the preview.

Victorian art may seem as boring as an afternoon spent counting how many raindrops roll down the window, so you may be surprised to find the age of repression sparked a lust for the wildly colourful and aesthetic. In many ways when the Pre-Raphaelites burst onto the scene, with all the nonchalant exuberance and typical arrogance any present day indie band would be proud to possess, they broke the boredom that was strangling the art world of their time. They may have lacked the guitars synonymous with contemporary rebellion but certainly not the knack for creating controversy. With Hunt, son of a warehouse manager and self-taught painter, at the fore the brotherhood managed to break many of art’s established conventions.

I still think there are few artistic movements that can lay claim to combining literature, art, poetry, and religion with the same sheer depth of intelligence and creative talent as the Pre-Raphaelites. However, Carol Jacobi, co-curator of the William Holman-Hunt exhibition, touts Hirst as a comparative, “Hunt has often reminded me of Damian Hirst, in that he deals with the very difficult issue of death, and Damian Hirst has done something that shows us death, it’s not something we often come across in our life. And Hunt deals with those issues; he wonders what happens after you die”

Nowhere is this exploration more prevalent and poignant than in Isabella and the Pot of Basil 1868 (Above). Taken from the Keats poem, it depicts a grief-stricken woman mourning over a spectacularly beautiful pot of basil in which the head of her dead lover is stored. It surely speaks of life resurrected through nature. The model was Hunts first wife Fanny who died during the creation of the piece, adding to its tragedy and realism.

Personally, I’m still reluctant to draw comparisons between Hunt and Hirst. Then again, I’m bias. My mother, an artist, loved the Pre-Raphaelites. I grew up among Rossetti and Waterhouse. Their images are important to me, like the photos of relatives I never met yet still feel connected to through time and common ancestry.

Maybe it’s the Pre-Raphaelites use of symbolism that hooks me in so deep. Much of their work consists of dense, almost subliminal imagery, which seems to communicate straight to the unconscious collective-consciousness. I asked Carol why she thinks the work retains its relevance to this day.

“They tell such fantastic stories. There are two paintings here which tell the story of rape; they draw attention to the idea that women might not be consenting and the irresponsibility of men in not acknowledging that. There are paintings about the war in the Middle East, the paintings tell such complicated stories, such fascinating stories, and they are very well presented in the exhibition” She’s right. The works are presented in a straight forward, accessible, and informative manner without detracting in any way from their beauty. They are even as politically and socially relevant as ever, though it’s debatable whether that’s such a good thing.

I really do urge you to pop in and soak up this exhibition. Don’t be put off by the stereotype; art is not an elitist, intellectual pass time, (thank goodness, otherwise I wouldn’t get anything from it!) Art speaks directly to your heart. It provokes emotion. It should move you in good and bad ways. Go see what these wonderful paintings have to say to you cos believe me, they have a different story for everyone.

Entry to the gallery is free. It’s open from Tuesday to Sunday, 10am until 5pm.

Carol Jacobi’s book ‘William Holman-Hunt: Painter, Painting, Paint is avalible from Amazon

http://www.amazon.com/William-Holman-Hunt-Painter-Painting/