亞瑟•休斯是一位拉斐爾前派的美術(shù)家。
有人曾這樣評(píng)價(jià)他的畫：”the knife-edge between sentiment and sentimentality” 但因?yàn)槊髁恋挠蒙图?xì)致的細(xì)節(jié)，休斯的作品并不顯得感傷。 他也是一個(gè)十分活躍的插畫家。

Ophelia 　　　奧菲利婭
Painting Date: 1851-53
Medium: Oil on canvas
Size: 68.5 x 124 cm
Location: Manchester City Art Galleries, Manchester, England
休斯筆下的奧菲利婭纖弱優(yōu)美,宛若林澤女神.

畫框上有這樣的題詩：
‘There is a willow grows aslant the brook,
That shows his hoar leaves in the glassy stream;
There with fantastic garlands did she come.
Of crow-flowers, nettles, daisies, and long purples.
There on the pendant boughs her coronet weeds
Clambering to hang an envious sliver broke.
When down the weedy trophies and herself
Fell in the weeping brook.’

April Love 　　　四月之戀
Painting Date: 1855-56
Medium: Oil on canvas
Size: 89 x 49.5 cm
Location: Tate Britain, London, England

1856年此畫展出時(shí)附有丁尼生（Tennyson）的磨坊主的女兒（The Miller’s Daughter）中的詩句作為注釋：

‘Love is hurt with jar and fret.
Love is made a vague regret;
Eyes with idle tears are wet,
Idle habit links us yet.
What is love? for we forget:
Ah, no! no!’
“相當(dāng)優(yōu)雅，可愛的色彩。少女顫抖的嘴唇，甜美溫柔的臉，猶豫不決的姿態(tài)，就像在風(fēng)中顫抖的樹葉上的一滴剔透的露珠?！?引自Academy Notes, 1856, 14.68).

Knight of the Sun 　　　　太陽騎士
Painting Date: 1861 (?)
Medium: Watercolour
Size: 22.5 x 32 cm
Location: Ashmolean Museum, Oxford, England

上了年紀(jì)的戰(zhàn)士受了重傷，正被人抬往僧侶的帳篷，黃昏的景象暗示了英雄遲暮的悲涼。

Ophelia and He Will Not Come Again 　奧菲利婭
Painting Date: 1863-64
Medium: Oil on canvas
Size: 94.5 x 59.5 cm
Location: Toledo Museum of Art, Toldeo, Ohio, USA
休斯描述奧菲利婭臨死前，她正接近湖面，回眸張望，唱著她的最后一支歌：
‘Ophelia (sings)
And will he not come again?
And will he not come again?
No, no he is dead
Go to thy death-bed
He never will come again.
His beard was as white as snow,
All flaxen was his poll:
He is gone, he is gone,
And we cast away moan;
Gramercy on his soul!
And of all Christian souls, I pray God –
God be wi’ you.
Exit’.

羅塞蒂(Dante Gabrie Rossetti,1828–1882)或許是拉斐爾前派中最有特色的畫家。他是一位杰出的詩人，抒情詩人的氣質(zhì)使他的作品具有了一種頗為動(dòng)人的夢幻般情調(diào)。不拘成法、單純而又奇特的《圣母領(lǐng)報(bào)》(1850)，于宗教情緒中揉入了對(duì)性愛的迷戀，體現(xiàn)出他藝術(shù)的基本特色。

羅塞蒂作品多取材于圣經(jīng)、希臘神話，但不同于以往描繪神的作品，他既不是讓神處于高高在上的地位，也不像文藝復(fù)興時(shí)期的畫家把神世俗化，羅塞蒂筆下的神仙有人的感情，但比人的感情更纖細(xì)，含著天真的喜悅或淡淡的憂郁。羅塞蒂喜用明亮的色彩，人物造型優(yōu)雅。 

Ecce Ancilla Domini! 圣母領(lǐng)報(bào) 
Painting Date: 1849-50 
Medium: Oil on canvas 
Size: 73 x 42 cm 
Location: Tate Britain, London, England 
是羅塞蒂最著名的作品之一，圣母領(lǐng)報(bào)這個(gè)及其俗氣的宗教題材在其筆下有一種與眾不同的感傷主義的意味：白衣消瘦的圣母，眼神中流露出空虛，寂寥的神情。

Arthur’s Tomb: The Last Meeting of Lancelot and Guinevere 亞瑟王之墓 
Artist: Dante Gabriel Rossetti 
Painting Date: 1854 
Medium: Watercolour 
Size: 23.5 x 36.8 cm 
Location: British Museum, London, England 
以亞瑟王故事為題材的作品，色彩明朗，典型的拉斐爾前派創(chuàng)意 

Mary Magdalen 
Painting Date: 1857 
Medium: watercolour 
Location: Tate Britain, London, England 
色彩明快清新的小品 

How Sir Galahad, Sir Bors, and Sir Percival were fed with the Sanc Grael; but Sir Percival’s Sister died by the Way 
Painting Date: 1864 
Medium: Watercolour 
Size: 29.2 x 41.9 cm 
Location: Tate Britain, London, England 
又是一幅與亞瑟王傳奇有關(guān)的作品。羅塞蒂在這幅作品中使用暗調(diào)，創(chuàng)造出有些沉重悲哀的氣氛