The Invisible Art; Scent Brings Pre-Raphaelite Art to Life

Have you ever had such an experience? A certain familiar aroma suddenly hits your nose, and it instantly pulls you back to a moment in the past, evoking memories and emotions that seem vague, yet powerful at the same time. Scent is a powerful key to memory, and it is with this key that Pre-Raphaelitism implanted their paintings deep within the viewer. Read more in The Invisible Art; Scent Brings Pre-Raphaelite Art to Life.

Image on left-hand side Lilium Auratum

The connection between smell and memory is one of the brain’s most amazing mysteries. The sense of smell is directly connected to the emotional and memory centres of the brain through a fast channel so that when we smell something, it often instantly evokes long-hidden memories and emotions.

“Nothing brings to life again a forgotten memory like fragrance.” –

Christopher Poindexter.

You may not know it but long before we had weather forecasters ancient farmers predicted upcoming weather conditions by smelling changes in different smells in the air. For example, the upcoming rainy season was often accompanied by wet, earthy scents, while the breeze before a sunny day would have been laced with a dry odour.

This combination of olfactory and environmental memory makes scent not only a trigger for personal emotions but also an intellectual tool for people to cope with the natural world, or even process strong emotions

It’s like a time warp that takes us back to a moment in time. This unique sensory experience is a gift given to us by the structure and evolution of the brain, making every scent a possible bridge to our memory.

Did you ever wonder when you looked at paintings what the fruit or flowers in the paintings may have smelt like? For example the painting Simeon Soloman, A Saint of the Eastern Church (formerly called A Greek Acolyte), 1867/8, contains white flowers and a thurible containing incense.

‘Proserpine’ by Dante Gabriel Rossetti, Birmingham Museums Trust

So an early time period in art that often depicted flowers of fruit was the Pre-Raphaelite period. And what, you ask, is the Pre-Raphaelitism movement in art? Well, they were a group of artistic rebels in mid-19th century England who were dissatisfied with the rigid artistic standards of the academy at the time, especially the Renaissance style.

Raphael from the Italian High Renaissance and his followers were considered to be the pinnacle of classical art, and the Academics revered this style, which emphasised idealised figures, strict composition and the representation of classical subjects.

However, this style became mechanical and lifeless to the Pre-Raphaelites, where emotion and creativity were suppressed by excessive rules and the art became programmed and cold.

On the contrary, Pre-Raphaelitism advocated a return to the purity and authenticity of early Renaissance art, expressing emotion and storytelling through colourful and detailed depictions of nature. This artistic revolution was led by Dante Gabriel Rossetti, John Everett Millet and William Holman Hunt.

‘Ophelia’ by Sir John Everett Millais, Bt, Tate Britain

Known for its vibrant colours, intricate details, and sincere depiction of nature and human emotions, Millais’ masterpiece ‘Ophelia’ stands as a prime example. The painting, inspired by Shakespeare’s Hamlet, portrays the tragic figure of Ophelia, floating down a river just before her death, surrounded by lush flowers.

This piece is both beautiful and full of tragic tension, often leaving viewers immersed in visual shock while triggering deep thoughts and empathy as they contemplate the sorrowful fate of the character.

These artists often depicted beautiful natural scenes, flowers and plants in their paintings, and these elements hinted at the scents that filled the air as if the viewer could actually smell through the canvas.

AirParfum technology

With the help of modern technology, the new exhibition “Scent and the Art of Pre-Raphaelitism“ at the Barber Institute of Fine Arts brings previously intangible scents to life, offering visitors an unprecedented sensory experience.

As the first public exhibition in the UK to feature the innovative AirParfum technology from renowned Spanish perfume house Puig, this immersive experience allows visitors to not only visually appreciate classic artworks but also smell the scenes depicted, all without compromising the integrity of the artwork.

Artphilia, a London-based collective dedicated to expanding the way we experience art, has collaborated on this exhibition by integrating scent into the art-viewing process, allowing audiences to form deeper emotional connections with the works.

Curated by Dr. Christina Bradstreet, this exhibition beautifully marries Artphilia’s curatorial vision with Puig’s AirParfum technology, creating three bespoke fragrances that perfectly capture the essence of 19th-century Pre-Raphaelite masterpieces. It offers visitors a truly immersive experience where art, scent, and emotion intertwine in a captivating multi-sensory journey.

John Everett Millais, The Blind Girl, 1856. Lent by Birmingham Museums Trust on behalf of Birmigham City Council

The first work of art is Millais’s “Blind Girl” depicts a pair of sisters resting on the grass after the rain, and the double rainbows above their heads symbolise hope. Although her sister is blind, she still “perceives” the world around her through smell, conveying tranquillity and faith.

Puig has carefully developed two exclusive fragrances. The first is filled with the freshness of freshly cut grass, the brightness of spring flowers and the scent of wet earth as if you were in a meadow rejuvenated by the rain.

Think here of the word Petrichor, a term coined to describe the unique, earthy smell associated with rain. It is caused by the water from the rain, along with certain compounds like ozone, geosmin, and plant oils. and in soil.

The second fragrance is more emotional, capturing the peace and security a little girl feels in her sister’s arms. The scent of a rain-soaked, slightly musty but still warm shawl symbolises the silent caring and snuggling between sisters, making the peace and warmth of the image even more real.

Simeon Soloman, A Saint of the Eastern Church (formerly called A Greek Acolyte), 1867/8. Lent by Birmingham Museums Trust on behalf of Birmingham City Council

Inspired by Simeon Solomon’s watercolour Orthodox Saints, Puig has crafted a fragrance that harmonizes notes of Incense, Myrtle, white Flowers, and dark Amber wood. This scent not only evokes the pervasive aroma within the painting but also embodies the sacred essence of the saint’s glittering vestments, reminiscent of Catholic Mass attire. 

The fragrance transports the viewer into the solemn scene, surrounded by golden walls and dark, towering columns. Through the interplay of these rich scents, the viewer can experience the painting’s deep sense of mystery and reverence more profoundly.

Lastly at the entrance of the exhibition, visitors are greeted by Evelyn De Morgan’s ‘Medea’ (1889), in which the figure holds a vial releasing purple smoke, an allusion to the Victorian fear of odour and decay. This subtle reference to the ‘Miasma theory’, which linked foul smells to disease and moral corruption, reflects the anxieties of the time.

The Miasma theory was an abandoned medical theory that held that diseases such as cholera, chlamydia, or even the Black Death, were caused by a Miasma, a noxious form of “bad air”.

By reprising these scents, the audience is invited to fully immerse in the artworks, experiencing not only their visual impact but also the emotional depth evoked by smell. This blend of scent and art not only transports us to the past but also breathes new life into these masterpieces in the modern age.

Poster of event

This is an immersive experience you won’t want to miss—where scent awakens your senses and opens a new ‘dialogue’ with timeless masterpieces. Come visit and experience art in a whole new way!

If you’re looking for a truly unique art exhibition where you can not only see art but also smell it, don’t miss the upcoming Scent and Pre–Raphaelite Art exhibition at the Barber Institute of Fine Arts, University of Birmingham. Running from 11 October 2024 to 26 January 2025.

‘The power of scent unlocks a whole new perspective on art.’

Curator Dr Christina Bradstreet

Find out more details on this exhibition at The Barber Institute of Fine Arts

If you enjoy reading The Invisible Art; Scent Brings Pre-Raphaelite Art to Life, why not try Goddess In Art; Femininity From Ancient Until Now

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