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Dante Gabriel Rossetti
The Day Dream
1880
62 1/2 x 36 1/2 in (157.5 x 92.7 cm) The Victoria and Albert Museum, London
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Dante Gabriel Rossetti
La Donna Della Finestra
1879
39 3/4 x 29 1/4 in
Fogg Art Museum, Cambridge, Massachusetts
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Dante Gabriel Rossetti
A Vision of Fiammetta
1878
57 1/2 x 35 in (146 x 89 cm)
Private collection
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Dante Gabriel Rossetti
A Sea Spell
1877
Fogg Art Museum, Harvard University
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Dante Gabriel Rossetti
La Bella Mano
1875
Delaware Art Museum
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Dante Gabriel Rossetti
Sancta Lilias
1874
Tate Gallery, London
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Dante Gabriel Rossetti
Proserpine
1874
46 x 22 in
Tate Gallery, London
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Dante Gabriel Rossetti
La Ghirlandata
1873
Guildhall Art Gallery, London
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Dante Gabriel Rossetti
Beata Beatrix
1872
34 x 26 in
Tate Gallery, London
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Dante Gabriel Rossetti
Veronica Veronese
1872
43 x 35 in
Delaware Art Museum, Wilmington
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Dante Gabriel Rossetti
Dante's Dream at the Time of the Death of Beatrice
1871
Walker Art Gallery,Liverpool
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Dante Gabriel Rossetti
La Pia de' Tolomei
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Dante Gabriel Rossetti
Joli Coeur
1867
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Dante Gabriel Rossetti
How Sir Galahad, Sir Boys and Sir Percival were fed with the Sanc Grael ; But Sir Percival's Sister
1864
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Dante Gabriel Rossetti
Saint Catherine
1857
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Dante Gabriel Rossetti
Saint Catherine
1857
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Dante Gabriel Rossetti
King Rene's Honeymoon
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Dante Gabriel Rossetti
The Bower Meadow
1872
33 1/2 x 26 1/2 in
Manchester City Art Galleries, England
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Dante Gabriel Rossetti
Pandora
1869
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Dante Gabriel Rossetti
Monna Vanna
1866
35 x 34 in
Tate Gallery, London
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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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