Where to See Edward Robert Hughes

Edward Robert Hughes, who died in 1915, was associated with the Pre-Raphaelites. He posed for Millais’s *The Proscribed Royalist* and contributed illustrations to Allingham’s *The Music Master* in 1855^[1]. Hughes is known for illustrations accompanying George MacDonald’s fairy stories, including *At the Back of the North Wind* (1871). Prints of Hughes's work include: * *In Disgrace*, A. C. Alais, mezzotint, published by Colnaghi, 1881. The British^[1] Museum holds a proof of this schoolroom scene. * *Benedicite*, after the picture exhibited at the New Gallery, 1899, photogravure, around 1900. * *En penitas*, A. C. Alais, mezzotint, published by Colnaghi, date unknown. It is thought that *Ophelia* and *Silver and Gold* were also engraved, although these prints have not been located.

Edward Robert Hughes, though not a formal member of the Pre-Raphaelite Brotherhood, became associated with their ethos around 1850. He was part of the 'second generation' of the Pre-Raphaelite circle, which included Holman Hunt, Millais, and Rossetti. Hughes combined a Pre-Raphaelite attention to detail with a personal fantasy aesthetic. He is noted for his illustrations of George MacDonald’s fairy stories, such as *At the Back of the North Wind* (1871^[1]). From 1864 to 1871, he made 231 designs for *Good Words*. His painting *April Love* was exhibited at the Royal Academy in 1856; John Ruskin praised it, and William Morris purchased it. In 1857, Rossetti invited Hughes to contribute to murals at the Oxford Union Society building, along with Burne-Jones, Morris, and John Roddam Spencer Stanhope. Throughout his career, Hughes relied on a small circle of Pre-Raphaelite patrons. John and Harriet Trist, for example, acquired 22 of Hughes's works over two decades. Hughes also acted as a mentor to the Trists, guiding their interest in Pre-Raphaelite art and connecting them with other artists.

Technical knowledge is essential to understanding art history. Artists make choices that exist outside the limitations of their materials. While specific details regarding Edward Robert Hughes's techniques are scarce, a general understanding of the period's practices can offer insight. Artists' quality paints were preferred, as lesser quality paints lacked colour saturation. For oil painting, hog hair brushes were favoured for their springy resistance against the canvas. Common ground surfaces included gessoed MDF, primed canvas stuck to MDF, and primed canvas. Some artists prepared their own canvases, seeing it as a preparation before painting. The blending process is also reflected in the presence of a number of paint layers in subtly different shades of cream in different parts of the dress. Only in the lightest highlights is lead white used almost pure, ground in walnut oil; even here, the presence of a trace of cobalt blue gives it coldness. Passages of paint containing a pigment used more or less unmixed are very rare indeed.

Arthur Hughes, a friend and early follower of the Pre-Raphaelites, began exhibiting at the Royal Academy in 1849. Although his paintings sometimes suffered from forced sentiment, Hughes achieved success as a book illustrator. He contributed illustrations to works by Christina Rossetti and George MacDonald. His style took definite form in the 1860s, especially in collaboration with MacDonald. Hughes received commissions for a large number of illustrations; these included twenty-five for the Moxon edition of Tennyson’s *Enoch Arden* (1866^[1]) and 120 for Christina Rossetti’s *Sing Song* (1872). Hughes’s work influenced a new generation of illustrators, including Laurence Housman and Charles Ricketts. Housman found particular inspiration in Hughes's illustrations for MacDonald's *At the Back of the North Wind* (1871). Later in the nineteenth century, a renewed interest in wood-engraved illustration led to the rise of artists like Housman and Ricketts, who took Pre-Raphaelite illustration in new directions. Today, they remain leading figures in the Private Press movement, which produces limited editions of poetry and literature based upon the Pre-Raphaelite Brotherhood models of tasteful design and restrained decoration.

Edward Robert Hughes was influenced by Pre-Raphaelite ideals, and he became closely associated with members of the Brotherhood. He met Rossetti, Brown, and Hunt and adopted their principles. Hughes was particularly interested in remaining true to nature and in the Pre-Raphaelite love of literature. Like them, he enjoyed the poems of Keats and Tennyson, whose verses he later illustrated. Hughes was never part of the Pre-Raphaelite Brotherhood; however, he was close to all its members and embraced their principles early in his career. Although timid and reserved, he was much appreciated by the Brothers and was one of their most faithful followers. Hughes's work also influenced a new generation of illustrators such as Laurence Housman and Charles Ricketts.

It is difficult to name one single work as Edward Robert Hughes's most famous. He was not a member of the original Pre-Raphaelite Brotherhood; however, he became associated with the group in 1850. Hughes exhibited at the Royal Academy from 1851^[1]. In 1856^[1], his painting *April Love* was exhibited there, and John Ruskin reviewed it favourably. William Morris, the artist and designer, bought the picture. Hughes's status within Pre-Raphaelite circles was confirmed when Rossetti invited him to assist with painting murals at the Oxford Union Society building in 1857. Hughes also had a successful career as a book illustrator. He illustrated books for Christina Rossetti and George MacDonald. He provided 76 illustrations for MacDonald's *At the Back of the North Wind* (1871) and 120 illustrations for Rossetti's *Sing Song* (1872). In addition, he produced over 200 works for *Good Words for the Young* in 1869 and contributed to *The Cornhill*, *London Society*, and *The Graphic*.

Edward Robert Hughes is associated with the Pre-Raphaelite movement. This artistic style valued detailed naturalism. It also incorporated symbolic objects that connected to biblical themes, Victorian literature, or Romantic poetry. Hughes combined a Pre-Raphaelite attention to detail with a fantastical element. He became known for illustrating George MacDonald’s fairy stories, including *At the Back of the North Wind* (1871^[1]). Arthur Hughes was an early friend of the Pre-Raphaelites. He assisted Rossetti with the Oxford Union murals. Hughes exhibited at the Royal Academy from 1851^[1]. His early subjects showed Pre-Raphaelite influence. Later, he turned to sentimentality, while maintaining a career as a book illustrator. He illustrated Christina Rossetti's *Sing Song: A Nursery Rhyme Book* in 1872. His illustrations influenced a new generation.

Edward Robert Hughes was an artist associated with the Pre-Raphaelites; he exhibited at the Royal Academy from 1849 to 1902^[1]. Early works, such as *Ophelia* (1852) and *The Eve of St Agnes* (1856), show Pre-Raphaelite influence. Hughes also assisted Rossetti with the Oxford Union murals. He became known as an accomplished book illustrator, particularly of children's fantasy and fairy tales. His illustrations for George MacDonald's *Dealing with the Fairies* (1867) and *At the Back of the North Wind* (1871) gained attention; the latter contained seventy-six illustrations. Hughes provided twenty-five illustrations for Moxon’s edition of Tennyson’s *Enoch Arden* (1866), and 120 for Christina Rossetti’s *Sing Song* (1872). Hughes was a frequent contributor to illustrated magazines, producing over 200 works for *Good Words for the Young* in 1869 alone. He also worked for *The Cornhill*, *London Society*, and *The Graphic*. Hughes continued to illustrate until his death in 1915, influencing illustrators such as Laurence Housman and Charles Ricketts.