|
|
|
|
|
|
Dante Gabriel Rossetti
Fair Rosamund
1861
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
The Tune of Seven Towers
1857
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Paolo and Francesca da Rimini
1855
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Portrait of Elizabeth Siddal
1854
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
The Meeting of Dante and Beatrice in Paradise
1853-54
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Regina Cordium
1866
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Astarte Syriaca
1877
Oil on canvas
72 x 42 in
Manchester City Art Gallery
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
The Salutation of Beatrice
1859
Oil on two panels
Each 29 1/2 x 31 1/2 in (74.9 x 80 cm)
National Gallery of Canada, Ottawa
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Aurea Catena
c. 1868
Graphite and colored chalks on blue wove paper
30 3/8 x 24 5/8 in
Fogg Art Museum, Cambridge, Massachusetts
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
The Beloved
1865-66
32 1/2 x 30 in
Tate Gallery, London
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Portrait of Algernon Swinburne
1861
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
The Seed of David
1858-64
Llandaff Cathedral, Wales
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
The Wedding of Saint George and Princess Sabra
1857
Watercolor on paper
14 3/8 x 14 3/8 in
Tate Gallery, London
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Found
1854
36 x 31 1/2 in
Delaware Art Museum, Wilmington
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
The First Anniversary of the Death of Beatrice
1853-54
Ashmolean Museum, Oxford
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Ecce Ancilla Domini
1849-50
28 1/8 x 16 1/2 in
Tate Gallery, London
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
The Girlhood of Mary Virgin
1848-49
Tate Gallery, London
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Il Ramoscello
1865
Fogg Art Museum, Harvard University
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Venus Verticordia
1864-68
38 5/8 x 27 1/2 in
Russell Cotes Art Gallery, Bournemouth
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dante Gabriel Rossetti
Mariana
1868-70
Aberdeen Art Gallery and Museum
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| Dante Gabriel Rossetti
|
English Pre-Raphaelite Painter, 1828-1882
Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci.
Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately.
In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices.
Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix.
These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.
|
