Pre-Raphaelite
This art deck, rich in symbolism drawn from mythical, historical, and sacred themes, takes inspiration from the works of the Pre-Raphaelite painters.
Artistic Brotherhood
In 1849, three 20-year-old students at the Royal Academy of Arts in London exhibited their works for the first time, signing them with the initials PRB (letters that appear on the Pre-Raphaelite deck's Nine of Cups). It was later revealed that the acronym stood for 'Pre-Raphaelite Brotherhood'. The three young artists were Dante Gabriel Rossetti (1828-1882), William Holman Hunt (1827-1910), and John Everett Millais (1829-1896).
They were soon joined by other London intellectuals but disbanded after a few years, only for the Pre-Raphaelite movement to experience a revival through the efforts of artists like Edward Burne-Jones (1833-1898) and William Morris (1834-1896). John William Waterhouse (1849-1917) emerged onto the scene decades later, achieving significant success.
Numerous women were associated with these young artists, including muses who inspired their works and are depicted in this deck of cards.
Female Influence
Among the most renowned muses of the Pre-Raphaelites was Elizabeth Siddal, known as Lizzie, prominently featured in the Three of Swords card. Born into poverty, she married Rossetti and blossomed into a poet and painter in her own right. Despite her talents, life with the often unfaithful artist was challenging. Lizzie endured a miscarriage and fell into despair, tragically passing away at just 32 from a laudanum overdose.
Jane Burden, discovered by Rossetti, became a member of the Pre-Raphaelite circle and a frequent model. She married William Morris but engaged in affairs, including with Rossetti himself. Jane's charisma and spirit inspired the depiction of the Queen of Wands in this deck.
Fanny Cornforth, known for her golden hair, full lips, and voluptuous figure, embodied the quintessential Pre-Raphaelite beauty. Initially Rossetti's maid, she became his lover and muse. Fanny's allure is captured in the figure portrayed on the Ace of Swords card.
Bold Ideals
What set the Pre-Raphaelites apart from their contemporaries and continues to captivate us today is their unique approach to art and life. They openly criticised the isolating impact of Victorian industrial society and the moralistic attitudes prevalent at the time. Moreover, they rebelled against the strict traditions of painting techniques and the doctrinaire approach to art that had dominated since the era of Raphael, the Renaissance painter and architect.
Central to their ideals was a desire to reunite humanity, especially artists, with nature. They advocated for a revival of mystical, ancient, and pantheistic spirituality, yearning for a return to a pure, unrestricted artistic style akin to that of painters before Raphael and the artists of the Middle Ages.
The Pre-Raphaelites embraced an esoteric worldview, believing that sacred truths lay concealed beneath the surface of appearances. Their artworks were rich with potent symbols cleverly interwoven among natural elements.
Art and Arcana
Nature takes centre stage in Pre-Raphaelite paintings, embodying the Divine. Exploring the Arcana of the Pre-Raphaelite deck, we immerse ourselves in eternal springs adorned with lush foliage. Stones, flowers, and stars are imbued with esoteric significance, symbolising mystical teachings.
Human figures, predominantly women, seamlessly integrate with their surroundings, serving as metaphors for Mother Nature's dual aspects. These settings can be nurturing and abundant, or harsh and perilous. This duality is evident when comparing cards like the Empress, surrounded by verdant landscapes, to Death, depicted as a submerged young woman.
Each card in this deck draws inspiration from beloved Pre-Raphaelite themes, often derived from sacred literature, myths, and idealised historical events. For instance, the Two of Swords features Rossetti's 'Beata Beatrix,' while the Three of Wands depicts Miranda from Shakespeare's 'The Tempest' as immortalised by Waterhouse. Similarly, the Three of Swords draws from Rossetti's 'Ecce Ancilla Domini' and biblical narratives.
Greek mythology influences the Strength card, inspired by Waterhouse's 'Circe Invidiosa,' while Arthurian legend is evident in his 'Lady of Shalott,' featured on the Six of Wands. Fairy tales and popular literature also play a role, such as Waterhouse's 'The Mermaid,' who graces the Moon card.
Art and Magic
For the Pre-Raphaelites, artistic creation was a profound magical ritual. Often venturing into fields, woods, or along riverbanks, these painters immersed themselves in nature to commune with the Divine. Their paintings sought to capture messages from a mystical past, perceived as an idealised golden age.
Light dominated Pre-Raphaelite art, with dark colours notably absent. Instead, vibrant, luminous hues prevailed, illuminating meticulously detailed natural elements. Each stroke was an expression of the hidden Divine within all things, portrayed with truthful fidelity.
The Cups
The Pentacles
The Wands
The Swords
