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Later developments and influence

Artists influenced by the brotherhood include John Brett, Philip Calderon, Arthur Hughes, Gustave Moreau, Evelyn De Morgan, Frederic Sandys (who entered the Pre-Raphaelite circle in 1857) and John William Waterhouse. Ford Madox Brown, who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles. One follower who developed his own distinct style was Aubrey Beardsley, who was pre-eminently influenced by Burne-Jones.

After 1856, Dante Gabriel Rossetti became an inspiration for the medievalising strand of the movement. He was the link between the two types of Pre-Raphaelite painting (nature and Romance) after the PRB became lost in the later decades of the century. Rossetti, although the least committed to the brotherhood, continued the name and changed its style. He began painting versions of femme fatales using models including Jane Morris, in paintings such as Proserpine, The Day Dream, and La Pia de' Tolomei. His work influenced his friend William Morris, in whose firm Morris, Marshall, Faulkner & Co. he became a partner, and with whose wife Jane he may have had an affair. Ford Madox Brown and Edward Burne-Jones also became partners in the firm. Through Morris's company, the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in medieval designs and other crafts leading to the Arts and Crafts movement headed by William Morris. Holman Hunt was involved with the movement to reform design through the Della Robbia Pottery company.

After 1850, Hunt and Millais moved away from direct imitation of medieval art. They stressed the realist and scientific aspects of the movement, though Hunt continued to emphasise the spiritual significance of art, seeking to reconcile religion and science by making accurate observations and studies of locations in Egypt and Palestine for his paintings on biblical subjects. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned his reversal of principles.

Pre-Raphaelitism had a significant impact in Scotland and on Scottish artists. The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–1864). Dyce befriended the young Pre-Raphaelites in London and introduced their work to Ruskin. His later work was Pre-Raphaelite in its spirituality, as can be seen in his The Man of Sorrows and David in the Wilderness (both 1860), which contain a Pre-Raphaelite attention to detail. Joseph Noel Paton (1821–1901) studied at the Royal Academy schools in London, where he became a friend of Millais and he subsequently followed him into Pre-Raphaelitism, producing pictures that stressed detail and melodrama such as The Bludie Tryst (1855). His later paintings, like those of Millais, have been criticised for descending into popular sentimentality. Also influenced by Millais was James Archer (1823–1904), whose work includes Summertime, Gloucestershire (1860) and who from 1861 began a series of Arthurian -based paintings including La Morte d'Arthur and Sir Lancelot and Queen Guinevere.

Pre-Raphaelism also inspired painters like Lawrence Alma-Tadema. The movement influenced many later British artists into the 20th century.

Rossetti came to be seen as a precursor of the wider European Symbolist movement. There is evidence to suggest that a number of paintings by the German artist Paula Modersohn-Becker were influenced by Rossetti.

Birmingham Museum & Art Gallery has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites that, some claim, strongly influenced the young J. R. R. Tolkien, who wrote The Hobbit and The Lord of the Rings, with influences taken from the same mythological scenes portrayed by the Pre-Raphaelites. Tolkien considered his own group of school friends and artistic associates, the so-called TCBS, as a group in the vein of the Pre-Raphaelites.

In the 20th century artistic ideals changed, and art moved away from representing reality. After the First World War, Pre-Raphaelite art was devalued for its literary qualities and was scorned by critics as sentimental and concocted "artistic bric-a-brac". In the 1960s there was a major revival of Pre-Raphaelitism. Exhibitions and catalogues of works, culminating in a 1984 exhibition in London's Tate Gallery, re-established a canon of Pre-Raphaelite work. Among many other exhibitions, there was another large show at Tate Britain in 2012–13.

In the late 20th century the Brotherhood of Ruralists based its aims on Pre-Raphaelitism, while the Stuckists and the Birmingham Group have also derived inspiration from it.