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Dante Gabriel Rossetti
Lady Lilith
1868
37 1/2 x 32 in
Delaware Art Museum, Wilmington
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Dante Gabriel Rossetti
A Christmas Carol
1857-58
Watercolor and gouache on panel
13 1/8 x 11 1/4 in
Fogg Art Museum, Cambridge, Massachusetts
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Dante Gabriel Rossetti
The Blessed Damozel
1875-78 68 1/2 x 37 in (174 x 94 cm)
Fogg Art Museum, Cambridge, Massachusetts
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Dante Gabriel Rossetti
Fazio's Mistress
1863
17 x 15 in
Tate Gallery, London
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Dante Gabriel Rossetti
St. George and the Princess Sabra
1862
Watercolor on paper
20 5/8 x 12 1/8 in (52.4 x 30.8 cm)
Tate Gallery, London
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Dante Gabriel Rossetti
Waterfall in a Mountainous
Northern Landscape
1665Oil on canvas
Fogg Art Museum
Cambridge
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Dante Gabriel Rossetti
The Bride (mk09)
1865
Oil on canvas,80 x 76 cm
London,Tate Gallery
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Dante Gabriel Rossetti
Astarte Syriaca (mk19)
1877
Oil on canvas,183 x 107 cm
City Art Gallery,Manchester
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Dante Gabriel Rossetti
The Day-dream (nn03)
1880
Oil on canvas 159 x 93 cm 62 1/2 x 36 1/2 in Victoria and Albert Museum London
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Dante Gabriel Rossetti
Ecce Ancilla Domini (mk28)
THe Annunciation
1849/50
Oil on canvas 73 x 42 cm
London Tate Gallery
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Dante Gabriel Rossetti
The Bride (mk28)
1865
Oil on canvas 80 x 76 cm
London Tate Gallery
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Dante Gabriel Rossetti
Proserpine (mk28)
1874
Oil on canvas 127 x 61 cm
London Tate Gallery
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Dante Gabriel Rossetti
Self-Portrait (mk28)
1847 Pencil heightened with white on paper 19 x 19.6 cm National Portrait Gallery London
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Dante Gabriel Rossetti
The Girlhood of Mary Virgin (mk28)
1849 Oil on canvas 83 x 65 cm Tate Gallery London
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Dante Gabriel Rossetti
Ecce Ancilla Domini (The Annunciation) (mk28)
1850 Oil on cnavas 73 x 42 cm Tate Gallery London
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Dante Gabriel Rossetti
Portrait of Elizabeth Siddal (mk28)
1850-65 Watercolour on paper 33 x 24 cm Fitzwilliam Museum University of Cambridge
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Dante Gabriel Rossetti
The First Anniversary of the Death of Beatrice: Dante Drawing the Angel (mk28)
1853 Watercolour on paper 42 x 61 cm Ashmolean Museum,Oxford
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Dante Gabriel Rossetti
Found (mk28)
Begun 1854 Oil on canvas 91.5 x 80 cm Samuel and Mary R Bancroft Memorial Delaware Art Museum Wilmington DE
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Dante Gabriel Rossetti
Arthur's Tomb: The Last Meeting of Launcelort and Guinevere (mk28)
1854 Watercolour on paper 23.5 x 36.8 cm British Museum London
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Dante Gabriel Rossetti
Beatrice Meeting Dante at a Marriage Feast,Denies him her Salutation (mk28)
1855 Watercolour on paper 34 x 42 cm Ashmolean Museum Oxford
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| Dante Gabriel Rossetti
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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.
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