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Dante Gabriel Rossetti
The Blue Bower (mk28)
1865 Oil on canvas 90 x 69 cm Barber Institute of Fine Arts University of Birmingham
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Dante Gabriel Rossetti
Regina Cordium (mk28)
1866 Oil on canvas 59.7 x 49.5 cm Art Gallery and Museum,Kelvingrove,Glasgow
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Dante Gabriel Rossetti
Sibylla Palmifera (mk28)
1866-70 Oil on canvas 94 x 82.5 cm Lady Lever Art Gallery,port Sunlight
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Dante Gabriel Rossetti
Reverie (mk28)
1868 Chalk on paper 84 x 71 cm Ashmolean Museum Oxford
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Dante Gabriel Rossetti
John Parsons Jane Morris (mk28)
1865 Photograph Victoria and Albert Museum,London
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Dante Gabriel Rossetti
La Piia de'Tolomei (mk28)
c 1868-80 Oil on canvas 105.8 x 120.6 cm Spencer Museum of Art,University of Kansas,Lawrence,KS
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Dante Gabriel Rossetti
Mariana (mk28)
1870 Oil on canvas 109 x 89 cm Aberdeen Art Gallery
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Dante Gabriel Rossetti
La Donna della Fiamma (mk28)
1870 Chalk on paper 100.5 x 75 cm City Art Galleries Manchester
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Dante Gabriel Rossetti
Water Willow (mk28)
1871 Oil on canvas 33 x 26.7 cm Samuel and Mary R Bancroft Memorial,Delaware Art Museum,Wilmingron,DE
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Dante Gabriel Rossetti
Dante's Dream at the Time of the Death of Beatrice (mk28)
1871 Oil on canvas 211 x 317.5 cm Walker Art Gallery,Liverpool
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Dante Gabriel Rossetti
The Bower Meadow (mk28)
1872 Oil on canvas 85 x 67 cm City Art Galleries Manchester
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Dante Gabriel Rossetti
La Ghirlandate (mk28)
1873
Oil on canvas 115.5 x 88 cm Guildhall Art Gallery,Corporation of London
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Dante Gabriel Rossetti
The Boat of Love (mk28)
1874-81 Oil on canvas 124.5 x 94 cm Birmingham Museum and Art Gallery
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Dante Gabriel Rossetti
La Bella Mano (mk28)
1875 Oil on canvas 157 x 107 cm Samuel and Mary R Bancroft Memorial,Delaware Art Museum,Wilmington DE
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Dante Gabriel Rossetti
The Blessed Damozel (mk28)
1876-8 Oil on canvas 174 x 94 cm Fogg Museum of Art,Harvard University,Cambridge,MA
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Dante Gabriel Rossetti
Astarte Syriaca (mk28)
1877 Oil on canvas 183 x 107 cm City Art Galleries,Manchester
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Dante Gabriel Rossetti
La Donna della Finestra (mk28)
1878 Oil on canvas 100 x 74 cm Fogg Museum of Art,Harvard University,Cambridge MA
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Dante Gabriel Rossetti
The Day Dream (mk28)
1880 Oil on canvas 159 x 93 cm Victoria and Albert Museum,London
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Dante Gabriel Rossetti
Arthur's Tomb (mk46)
1854
Watercolour
22.9x36.8cm
London,British Museum
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Dante Gabriel Rossetti
Writing on the Sand (mk46)
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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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