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This article is to examine the visualization and objectification of women in Nathaniel Hawthorne's The Marble Faun, Henry James' The Portrait of a Lady and Edith Wharton's The House of Mirth in relation with the Pre-Raphaelites's representation of women. The Pre-Raphaelites revolted against the dictatorial policies of the Royal Academy in painting and the taste for ‘genteel' in literature. The revolutionary and innovative spirit of the Pre-Raphaelite art initiated new approaches to perceptual and psychological realism. It also triggered new ways of seeing, feeling, and expressing emotions. The three novelists aimed to re-figure the characters of women into narrative texts by taking some of the innovative techniques and the themes found in Pre- Raphaelite paintings as intertextualization between visual arts and literature was a trend in Victorian culture. In the beginning the Pre-Raphaelite painters insisted on moralistic and earnest themes in their art. They were, however, gradually attracted to the sensual and visual pleasures which were revealed in the images of women represented as passive and submissive objects of men's desire. The three American novelists in the article, each published at intervals, demonstrate the changes in the representation of women that are analogous to those of Pre-Raphaelite visual art. Although three writers succeed in expanding their voices by intertextualizing the two realms, they intend to go beyond the limits of visual art. Hawthorne shows the two opposite women, a pure angelic virgin and a woman of experience corresponding to the ones in the Pre-Raphaelite paintings. He lets us recognize the danger of categorizing women in two opposite kinds. James demonstrates a ‘new woman' who defies the men who try to trap her into their frames and enjoy watching her as a kind of ‘tableaux vivant.' Wharton criticizes the objectification of women more aggressively by overlapping the tragic life of Lily with that of Elizabeth Sidall, the wife as well as model of Dante Gabrielle Rossetti, a leading Pre-Raphaelite. The expansion of such verbal and visual boundaries, achieved through the coalescence of the two arts in these novels, may extend the messages of the novelists to the social sphere, rather than being confined to the aesthetic realm. At the site of the intertextualization, where the fiction merges with the reality more readily, readers will be drawn to confront more than just fictional issues: they will face the very questions in their lives. Eventually the readers will be encouraged to consider the alternatives and solutions of the problems the novelists propose more sincerely and genuinely.