Converted British Family Sheltering a Monk from Druids


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These top-quality Fine Art Prints are printed on 100 percent acid free cotton archival Fine Art Paper: fine art velvet or ultrasmooth, depending on paper size. Ultrachrome inks enhance the archival properties of the media ensuring a print life of many generations.

The prints are reproduced as accurately as possible based on the original paintings. The images are not distorted in any way to make them fit standard print sizes. The images are enlarged or reduced proportionally to fit as close to the standard size as possible. This means the images are not cropped and each print will have every detail of the original painting. Consequently most prints will have a white border which can be covered with matte board prior to framing.

All orders are custom printed and shipped flat in boxes for domestic orders. Our largest prints and International orders are shipped on rolls due to shipping size restrictions. 

A very important note: Each print is custom made to order and is therefore non-returnable. In the unlikely event that the print has a production defect, it will be replaced with the same size reproduction of the same exact piece of artwork. There are no exceptions to this policy.

About this beautiful image –

Complete title:  A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids

This painting superbly demonstrates the beilliance of colors obtained by the Pre-Raphaelite method of painting on a "wet-white ground"; the luminosity of the priest's face in particular.  A Converted British Family… was first picture to be exhibited after the public discovery of the meaning "PRB."  The journalist who broke the news was tipped off by Alexander Munro.  The sculptor had been told – but sworn to secrecy – by Dante Rossetti.  The public backlash caused a revelation, and complaints of too much nudity in the pictur, led to it being heavily criticized; as a result, Hunt's potential buyer retracted his offer.  It was later bought by Thomas Combe, one of the Pre-Raphaelite's most important patrons.  He paid £160 for it.

Lizzie Siddal modeled again for the central, red-haired woman.  The thorns being removed from the priest's gown and the sponge prepared to bathe him are reflective of Christ on the cross.  The vine growing above the wattle hut is also symbolic of the wine used in the Christian mass ceremony.  The priest holds his side in pain as though pierced, as Christ was by a soldier's spear.  The fishing net is a symbol of Christianity, but is also representative of Druidism – the Druids banned fishing as they believed fish were sacred.

Hawksley, Lucinda. Essential Pre-Raphaelites, Paragon Publishing, 2002, pg. 33

Ashmolean Museum, Oxford