We begin by telling the youth of fifteen or sixteen that Nature is full of faults, and that he is to improve her; but that Raphael is perfection, and that the more he copies Raphael the better; that after much copying of Raphael, he is to try what he can do himself in a Raphaelesque, but yet original manner: that is to say, he is to try to do something very clever, all out of his own head, but yet this clever something is to be properly subjected to Raphaelesque rules, is to have a principal light occupying one seventh of its space, and a principal shadow occupying one third of the same; that no two people's heads in the picture are to be turned the same way, and that all the personages represented are to have ideal beauty of the highest order...
Art is not a study of positive reality, it is the seeking for ideal truth.
…women are important in the Pre-Raphaelite movement. But while their faces are seen everywhere- in oil paintings, watercolours, drawings, – their voices are never heard.
A recurring image in the work of the Rossetti circle was that of a woman absorbed in self-contemplation, gazing into a mirror or combing her hair.
When love and skill work together, expect a masterpiece.
Paint the leaves as they grow! If you can paint one leaf, you can paint the world
Pre-Raphaelitism was a misunderstanding they all misunderstood. It was a reform and a dream. It was real and unreal. It was modern, it was in the Middle Ages. …It was an escape from the age and a means of converting it. It was a circle in which the future and the past chased each other round.