Stephens, Frederick G. (1828-1907) - Mother & Child c.1854

Frederic Stephens persuaded the Pre-Raphaelite model Annie Miller (seen in Holman Hunt's 'Awakening Conscience'), to sit for his modern version of a Biblical Madonna and Child. Stephens introduced tragedy with clues about the Crimean War (1853-56). The child stops playing with his military toys to reach towards his mother as she reacts to a letter bringing bad news from the conflict. Stephens never finished the picture.

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Frederic George Stephens (1827-1907) was a British art critic and a key figure within the Pre-Raphaelite Brotherhood, despite being one of its two non-artistic members. Born in Walworth, London, Stephens faced physical challenges due to an accident in 1837, leading to a private education and eventual enrolment at the Royal Academy Schools in 1844. There, he met future Brotherhood members John Everett Millais and William Holman Hunt, joining the group in 1848 and often serving as a model for their works.

Disappointed by his own artistic capabilities, Stephens shifted his focus to art criticism, claiming to have destroyed most of his paintings, though several, including "The Proposal" and "Morte d'Arthur," are now in the Tate Gallery. His criticism work began at the Athenaeum, where he served as art critic and later editor from 1860 to 1901, and contributed to other art journals, including the Pre-Raphaelite journal, The Crayon.

Stephens published works on Gothic and Netherlandish art and wrote extensively on British collecting, promoting Victorian interest in contemporary art. He also served as Keeper of Prints and Drawings at the British Museum, contributing significantly to its catalogue.

A falling out occurred between Stephens and Holman Hunt over the latter's painting "The Triumph of the Innocents," which damaged their friendship. Despite being a loyal supporter, Stephens criticised the work, prompting Hunt's retaliatory attack years later. Stephens’ conservative views on art and his disapproval of Impressionism contributed to the end of his long association with the Athenaeum.

In 1866, Stephens married artist Rebecca Clara Dalton, and they lived together in Hammersmith, London, raising a family until he died in 1907.