dramatic. Victorian art The Pre-Raphaelite Brotherhood (PRB) achieved considerable influence after its foundation in 1848 with paintings that concentrated on religious, literary, and genre subjects executed in a colourful and minutely detailed style, rejecting the loose painterly brushwork of the tradition represented by "Sir Sloshua" Reynolds. PRB artists included John Everett Millais, William Holman Hunt, Dante Gabriel Rossetti, and Ford Madox Brown (never officially a member), and figures such as Edward Burne-Jones and John William Waterhouse were later much influenced by aspects of their ideas, as was the designer William Morris. Morris advocated a return to hand-craftsmanship in the decorative arts over the industrial manufacture that was rapidly being applied to all crafts. His efforts to make beautiful objects affordable (or even free) for everyone led to his wallpaper and tile designs defining the Victorian aesthetic and instigating the Arts and Crafts movement. The Pre-Raphaelites, like Turner, were supported by the authoritative art critic John Ruskin, himself a fine amateur artist. For all their technical innovation, they were both traditional and Victorian in their adherence to the history painting as the highest form of art, and their subject matter was thoroughly in tune with Victorian taste, and indeed "everything that the publishers of steel engravings welcomed", enabling them to merge easily into the mainstream in their later careers. While the Pre-Raphaelites had a turbulent and divided reception, the most popular and expensive painters of the period included Edwin Landseer, who specialized in sentimental animal subjects, which were favourites of Queen Victoria and Prince Albert. In the later part of the century artists could earn large sums from selling the reproduction rights of their paintings to print publishers, and works of Landseer, especially his Monarch of the Glen (1851), a portrait of a Highland stag, were among the most popular. Like Millais' Bubbles (1886) it was used on packaging and advertisements for decades, for brands of whisky and soap respectively. During the late Victorian era in Britain the academic paintings, some enormously large, of Lord Leighton and the Dutch-born Lawrence Alma-Tadema were enormously popular, both often featuring lightly clad beauties in exotic or classical settings, while the allegorical works of G. F. Watts matched the Victorian sense of high purpose. The classical ladies of Edward Poynter and Albert Moore wore more clothes and met with rather less success. William Powell Frith painted highly detailed scenes of social life, typically including all