Books
- Andres, Sophia. (2005) The Pre-Raphaelite Art of the Victorian Novel: Narrative Challenges to Visual Gendered Boundaries. Ohio State University Press, ISBN 0-8142-5129-3
- Bate, P.H. (1972) The English Pre-Raphaelite painters : their associates and successors, New York : AMS Press, ISBN 0-404-00691-4
- Daly, G. (1989) Pre-Raphaelites in Love, New York : Ticknor & Fields, ISBN 0-89919-450-8
- des Cars, L. (2000) The Pre-Raphaelites : Romance and Realism, New York : Harry N. Abrams, ISBN 0-8109-2891-4
- Mancoff, D.N. (2003) Flora symbolica : flowers in Pre-Raphaelite art, Munich ; London ; New York : Prestel, ISBN 3-7913-2851-4
- Marsh, J. and Nunn, P.G. (1998) Pre-Raphaelite women artists, London : Thames & Hudson, ISBN 0-500-28104-1
- Staley, A. and Newall, C. (2004) Pre-Raphaelite vision : truth to nature, London : Tate, ISBN 1-85437-499-0
- Townsend, J., Ridge, J. and Hackney, S. (2004) Pre-Raphaelite painting techniques : 1848–56, London : Tate, ISBN 1-85437-498-2
- Watson, M.F. (1997) Collecting the Pre-Raphaelites : the Anglo-American enchantment, Aldershot : Ashgate, ISBN 1-85928-399-3
Read more about this topic: Pre-Raphaelite Brotherhood
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“All good books are alike in that they are truer than if they had really happened and after you are finished reading one you will feel that all that happened to you and afterwards it all belongs to you; the good and the bad, the ecstasy, the remorse, and sorrow, the people and the places and how the weather was.”
—Ernest Hemingway (1899–1961)
“PLAYING SHOULD BE FUN! In our great eagerness to teach our children we studiously look for “educational” toys, games with built-in lessons, books with a “message.” Often these “tools” are less interesting and stimulating than the child’s natural curiosity and playfulness. Play is by its very nature educational. And it should be pleasurable. When the fun goes out of play, most often so does the learning.”
—Joanne E. Oppenheim (20th century)
“Postmodernism is, almost by definition, a transitional cusp of social, cultural, economic and ideological history when modernism’s high-minded principles and preoccupations have ceased to function, but before they have been replaced with a totally new system of values. It represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.”
—Gilbert Adair, British author, critic. Sunday Times: Books (London, April 21, 1991)