Россетти картины 1850-51.

 

 

1. Портрет Томаса Вулнера 1850.

 

    Portrait of Thomas Woolner 1850

2. Как они повстречали сами себя. 1851

   How They Met Themselves (1851-60)

3. Россо Вестита (Одетая в красное) 1850.

     Rosso Vestita (Dressed in Red) 1850.

4. Двое влюблённых  1850.

 Портрет Томаса Вулнера 1850.

         Thomas Woolner was a sculptor and poet and a member of the Pre-Raphaelite Brotherhood. This is an interesting drawing of the revolving table that he used in his studio.

Как они повстречали сами себя.1851

How They Met Themselves (1851-60)

    Таинственная картина Россетти - пара влюблённых в заколдованной роще всстречает самих себя. Подробнее происхождение ещё не выяснил.

 

 

Rosso Vestita (Dressed in Red) 1850

Watercolour, over pencil and ink, on paper laid down on card.

Width: 156 mm

Height 260

 

        Это вторая акварель художника. Первоначально она составляла часть эскиза к "Королеве Кэйт" , который был уничтожен художником, но четыре фрагмента сохранились. Сюжет взят из поэмы Брагнинга 'Pippa Passes'. Композиция в целом должна была представлять королеву, восседающую среди множества девушек в "расписанной галерее".

           This is the artist's second watercolour, and originally formed part of a large design for Kate the Queen, which was destroyed by Rossetti but of which four fragments remain. The subject was taken from Browning's poem 'Pippa Passes'. The entire composition was to represent a queen sitting among many maidens in a 'painted gallery'.

 

  

 

Half-length sketch of a young Woman / Benedick and Beatrice - Figure Sketch of a Woman (verso) 1850 – 1851

Pen and ink on Whatman writing paper (quarto size with 1849 watermark).

Width: 223 mm

Height: 182 mm

 

Двое влюблённых  1850.

    Two Lovers  1850

 

Зеркало любви или                         1850-1852

 

        The simple message of the 'parable' is that while the young man assists his beloved with her self-portrait, the mirror ('Love's Mirror') improves on art by reflecting an image of the two lovers together. Whether the features of the woman are meant to be those of Elizabeth Siddal is unclear, but the subject can be read as a romanticised image of her in the dual role of Rossetti's model and pupil in the earliest days of their relationship. These is no contemporary reference to this drawing, although it is known to have belonged to the poet Coventry Patmore (possibly as a gift from the artist), who was an intimate associate of the Pre-Raphalites. The model for the young man in the drawing may have been Thomas Woolner.