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Dante Gabriel Rossetti
Beata Beatrix
mk58
C.1864-70
oil on canvas
86.4x66cm
Tate,London
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Dante Gabriel Rossetti
Found
1854-
Oil on canvas 91.4 x 80 cm
(36 x 31 1/2in)
Delaware Art Museum (mk63)
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Dante Gabriel Rossetti
La Ghirlandate
1873
Oil on canvas 115.6 x 87.6 cm (45 1/2 x 34 1/2 in)
Guildhall Art Gallery,London (mk63)
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Dante Gabriel Rossetti
The Gate Memory
1857-64
Coloured chalks on paper
33.6 x 26.6 cm (13 1/4 x 10 1/2 in)
Private collection (mk63)
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Dante Gabriel Rossetti
How They Met Themselves
c 1850-60
Bodycolour 33.9 x 27.3 cm
(13 3/8 x 10 3/4 in)
Fitzwilliam Museum,Cambridge (mk63)
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Dante Gabriel Rossetti
Scenes from Malory's Morte d'Arthur
1857
fresco Library Oxford Union Society
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Dante Gabriel Rossetti
The Girlhood of Mary Virgin
1845-9
Oil on canvas 81.2 x 65.4 cm
(32 3/4 x 25 3/4 in)
Tate Gallery London (mk63)
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Dante Gabriel Rossetti
Ecce Ancilla Domini
1849-50
Oil on canvas 72.6 x 41.9cm (28 5/8 x 16 1/2 in)
Tate Gallery London (mk63)
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Dante Gabriel Rossetti
Regina Cordium
1860
Oil on canvas 25.4 x 20.3 cm
(10 x 8in)
Johannesburg Art Gallery (mk63)
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Dante Gabriel Rossetti
Bocca Baciata
1859
Oil on wood 33.7 x 30.5 cm
(13 1/4 x 12)
Museum of Fine Arts,Boston (mk63)
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Dante Gabriel Rossetti
Helen of Troy
1863
Oil on canvas 32.8 x 27.2 cm
(12 7/8 x 10 3/4 in)
Kunsthalle Hamburg (mk63)
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Dante Gabriel Rossetti
Beata Beatrix
c 1864-70
Oil on canvas 86.4 x 66 cm
(34 x 26in)
Tate Gallery London (mk63)
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Dante Gabriel Rossetti
Venus Vertisordia
1864-8
Oil on canvas 98 x 69.9 cm
(38 5/8 x 27 1/2 in)
Russel Cotes Art Gallery and Museum Bournemouth (mk63)
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Dante Gabriel Rossetti
The Bride
mk87
1865
Oil on canvas
80x76cm
London,Tate Gallery
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Dante Gabriel Rossetti
Rosa Triplex
mk98
1874
Red chalk with touches of black and white on paper
51x73.5
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Dante Gabriel Rossetti
Girlhood of Mary Virgin
mk156
1849
Oil on canvas
86x66cm
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Dante Gabriel Rossetti
Beata Beatrix
mk156
c.1864-70
Oil on canvas
86.4x66cm
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Dante Gabriel Rossetti
The infancy of Maria
mk166
1849
I Wave on cloth Galeria Tate, London
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Dante Gabriel Rossetti
Ecce Ancilla Domini i
mk166
1849-1853
Galeria Tate, London
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Dante Gabriel Rossetti
The Annunciation
nn09
1850
Oil on canvas
mounted on wood
72.6x41.3cm
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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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