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a christmas carol alexa annie miller aspecta medusa baron von gloeden beata beatrix birchington bocca baciata burden burn-jones burne-jones camille bonard carlisle wall christina georgina rossetti christina rossetti christina rossetti. clark dante gabriel rossetti dudley gallery edward poynter edward robert hughes eleanor fortescue-brickdale elizabeth siddal eugene onegin feet fetish fiammetta francois-joseph navez frank cadogan cowper gabriel charls dante rossetti gg augustus leopold girls goblin market hannibal lecter henry david thoreau honesuckle j.r.herbert jan marsh jane morris jodie john everett millais john inchbold john melhuish strudwick kelmscort manor la pia de' tolomei lady later rossetti lawrence leda mit dem lempica louis de taeye madox brown maria rossetti mariana mary magdalene at the door of simon the pharisee morris naked nude orient goods painting palazzo del padesta pansy pre-raphaelite preiss robert browning rossetti russian simeon solomon st. reparata stacy marks study tasso and leonora the germ the third reich's nu the annunciation the beloved the blessed damozel the music master the rossetti family vampyre venus verticordia walter deverell water willow william holman hunt william michael rossetti willian allinham woman in yellow women working men's college à.ñ. ïóøêèí àâòîïîðòðåò àðòóð õüþç á¸ðäåí á¸ðí-äæîíñ áàëåò áåàòðè÷å áîéñ âèëüãåëüì õåìïôèíã âèëüÿì ðîññåòòè âîçëþáëåííàÿ ãàííèáàë ëåêòåð ãåíèàëüíàÿ ãåíðè äæîðäæ õîëèäåé ãåíðè òðåôôðè äóí ãîìèêè ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äæ. êîòìåí äæåéí äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí äæîí ìåëõèø ñòðàäâèê äæîí ý́âåðåòò ìèëëǻ äýíèåë ìàêëàéç æèâîïèñü èñêàòåëü èñêóññòâî êàðë òðóïï êåííåò êëàðê êîëåãîâà êîðîëåâà ãâèíåâðà êðèñòèíà ðîññåòòè êýððîëë ëåìïèêà ëåìïèöêà ëåìïèöêàÿ ìàíå ìàðèèíñêèé ìàðèÿ ìàãäàëèíà ìåíàäû ìîððèñ ìóçåè íàãîòà íàñèëèå íîâûé äåòåêòèâ íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ ïåéçàæ ïèÿ äå òîëîìåè ïîçäíèé ðîññåòòè ïîýçèÿ ðîññåòòè ïîýçèÿ. christina rossetti poems ïðåêðàñíûå ðó÷êè ïðåðàôàýëèòû ïðåðàôàýëèòû ðîññåòòè ìóçåé äåëàâàðàñêèé ïðîçåðïèíà ðåòåëü. íåìåçèäà ðèñóþùèé àíãåëà ðîìàí ðîìåî ðîññåòòè ñåêñ ñèääàë ñìîòðåòü ñîìîâà ñîöðåàëèçì òåðåøêîâà òî́ìàñ êàðëǻéëü óîòåðõàóç ôàííè êîðíôîðò ôåòèø ôèàìåòòà ôî́ðä ìý́äîêñ áðà́óí ôîòîèñêóññòâî ôðèäåðèê ëåéòîí õàíò õüþç ÷ààäàåâ ýäâàðä ðîáåðò õüþç ýëèçàáåò ñèääàë ýïèãðàô

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ÏÎËÍÛÉ ÑÏÈÑÎÊ ÐÀÁÎÒ ÐÎÑÑÅÒÒÈ. THE FULL LIST OF ROSSETTI'S CREATIONS.

×åòâåðã, 24 Ñåíòÿáðÿ 2009 ã. 19:54 + â öèòàòíèê

 

                                Ïîçäíèå ðàáîòû.

 

 **'La Donna Della Finestra', Äàìà â îêíå. ïàñòåëü, 1870 ? Áðýäôîðä õóäîæåñòâåííàÿ ãàëåðåÿ è ìóçåé. 'La Donna della Finestra', coloured chalks, 1870, Bradford Art Galleries and Museums. 

**'La Donna Della Finestra', ìàñëî (íå îêîí÷åí), 1881, Áèðìèíãåì ìóçåé è õóäîæåñòâåííàÿ ãàëåðåÿ  'La Donna della Finestra', oil (unfinished), 1881, Birmingham Museums and Art Gallery

**'La Donna Della Finestra' ìàñëî 1880. 'La Donna della Finestra', oil  1880

  • 'Reverie', öâåòíûå ìåëêè, 1868. ×àñòíàÿ êîëëåêöèÿ
  • "Ëà Ïèà äå Tolomei ', öâåòíûå ìåëêè, 1868. ×àñòíàÿ êîëëåêöèÿ
  • 'Ìàðèàíà', ìàñëî, 1870, Àáåðäèí õóäîæåñòâåííîé ãàëåðåè è ìóçåè êîëëåêöèè
  • 'Silence', ìåë, 1870, Áðóêëèíñêèé ìóçåé èñêóññòâ, Íüþ-Éîðê, äàð ã-í Âèíñåíò Ëóêè Ëîêâóä 46,188
  • 'Pandora', ìàñëî, 1871 ãîä. ×àñòíûå êîëëåêöèè ëþáåçíî Ïåòðà Íàóìà
  • 'Pandora', öâåòíûå ìåëêè, 1874-5, Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Art Gallery, Port Sunlight
  • Äàíòå's Dream ', ìàñëî 1871, Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, Walker Art Gallery
  • 'Áàóýð ëóã', ìàñëî, 1872, "Ìàí÷åñòåð Ñèòè Ãàëåðåÿ
  • "Ðèìñêàÿ âäîâà '(' Äèñ Manibus '), ìàñëî, 1874, Ìóçåé-äå-äå Àðòå Ïîíñå, Ïóýðòî-Ðèêî
  • **"Ñìåðòü" Ëåäè Ìàêáåò ', òóøü, c1875 Ashmolean Museum, Oxford
  • '& Ýâðèäèêà Îðôåé', êàðàíäàø, 1875, Áðèòàíñêèé ìóçåé, Ëîíäîí
  • 'Áëàæåííàÿ Damozel', íåôòü 1875-8, Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Õóäîæåñòâåííàÿ ãàëåðåÿ
  • 'Àñòàðòà Syriaca', ìàñëî, 1877, "Ìàí÷åñòåð Ñèòè Ãàëåðåè, (Walker Art Gallery òîëüêî)
  • 'Daydream', ìàñëî, 1880, Victoria & Albert Museum, London, (Walker Art Gallery òîëüêî)
  • 'Ïðîçåðïèíà', ìàñëî, 1881-2, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Çàêóïëåíî îáùåñòâåííîé êàðòèííîé ãàëåðåå.

                        Äåêîðàòèâíîå èñêóññòâî

Ïåðåïëåòû

  • Äàíòå è åãî îêðóæåíèÿ ', 1874, êíèãè, Stephen Calloway
  • (2 êíèãè) 'Ãîáëèíà áóìàã ", 1862 êíèã, Áðèòàíñêèé ìóçåé, Ëîíäîí, Ãîáëèí ðûíîê, 1865 êíèã, Ñòèâåí Êýëëîóýé
  • 'Êîìåäèè Äàíòå Allighieri, ÷àñòü 1, Hell', êíèãà, 1865, Áðèòàíñêàÿ áèáëèîòåêà, Ëîíäîí
  • 'Àòàëàíòà â Êàëèäîí', àâòîð AC Ñóèíáåðíà, êíèãè, Stephen Calloway
  • 'Ïðèíö Ïðîãðåññ "Êðèñòèíà Ðîññåòòè, 1866, Áðèòàíñêèé ìóçåé, Ëîíäîí
  • (3 êíèãàõ) âñå Ïîñòà Ñòèâåí Êýëëîóýé: "Ñòèõè Ä. Ðîññåòòè ', 1870, 1-å èçäàíèå, (îáëîæêà);' Ñòèõè '1870 Ä. Ã. Ðîññåòòè, 4-å èçäàíèå, (çàäíÿÿ ïàíåëü);' Ñòèõè '1881 Ä. Ã. Ðîññåòòè, íîâîå èçäàíèå 1881, (îòêðûòà â Endpapers)
  • 'Ïåñíè äî ðàññâåòà', àâòîð AC Ñóèíáåðíà, 1871, Stephen Calloway

Öâåòíîå ñòåêëî è âèòðàæè

  • 'Íàãîðíîé ïðîïîâåäè', òóøü, c1861, Óèëüÿì Ìîððèñ ãàëåðåÿ (Ëîíäîí ìåñòå÷êî Waltham Forest)
  • "Êîðîëü Ðåíå ìåäîâûé ìåñÿö", ìóçûêà, òóøü, 1862, Óèëüÿìñîí Art Gallery, Áèðêåíõåä
  • 'Áîé ìåæäó ñýð Òðèñòðàì è ñýð Ìàðõàóç', òîíèðîâàííûé ñòåêëÿííîé ïàíåëè, 1862-3, Áðýäôîðä õóäîæåñòâåííûõ ãàëåðåé è ìóçååâ
  • "Ñýð Òðèñòðàì è La Belle Yseult ïèòüåâîé Ëþáîâíûé íàïèòîê ', òîíèðîâàííûé ñòåêëÿííîé ïàíåëè, 1862-3, Áðýäôîðä õóäîæåñòâåííûõ ãàëåðåé è ìóçååâ

Ìåáåëü è äèçàéí ìåáåëè

  • Èîñèô îáâèíÿåìîãî äî Ïîòèôàð ', òóøü, 1860, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • Äâóõ èñïîëíåíèÿõ äëÿ äèâàíà, òóøü, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • Jewel Ëàðåö, îêðàøåííîãî äåðåâà ñ æåëåçíîé ðàìû, ïåòëè, çàñòåæêè, 1862, Îáùåñòâà àíòèêâàðîâ (Kelmscott óñàäüáû), (Walker Art Gallery òîëüêî)
  • (Äâà ñòóëà) Ðîññåòòè êðåñëî, ÷àñòíàÿ êîëëåêöèÿ
  • ) ×àñòíàÿ êîëëåêöèÿ (ñ êðàñíîé ðîñïèñüþ ëèíèé)
  • á) Ðîáåðò Óèëñîí (áåç êðàñíîé ñòðîêè)
  • 'Ñàäîâîäñòâà', àêâàðåëü, 1864, ÷àñòíîå ñîáðàíèå

Ðîññåòòè Studio

  • Ãåíðè Òðåôðè Äàíí, 'Ä. Ã. Ðîññåòòè è Òåîäîð Âàòò-Dunton â ãîñòèíîé íà ×åéí õîäèòü', 1882, àêâàðåëü, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí
  • Ãåíðè Òðåôðè Äàíí, 'Ðîññåòòè ñòîëîâîé ×åéí õîäèòü', àêâàðåëü, 1882, ÷àñòíîå ñîáðàíèå
  • Ãåíðè Òðåôðè Äàíí, ñïàëüíè Ðîññåòòè íà ×åéí õîäèòü ', àêâàðåëü, c1882, Wightwick Manor (National Trust)

Þâåëèðíûå èçäåëèÿ

  • Ñâàäüáà Äæåéí Ìîððèñ êîëüöà íà çîëîòîé öåïî÷êå, Victoria & Albert Museum, Ëîíäîí
  • Áðàñëåò, Victoria & Albert Museum, Ëîíäîí
  • Â ôîðìå ñåðäöà áðîøü, Victoria & Albert Museum, Ëîíäîí
  • Ïîÿñà è âåøàëêà, Victoria & Albert Museum, Ëîíäîí

Êèòàéñêîå è ÿïîíñêîå èñêóññòâî

  • Ïàðû ñòàêàí ôîðìó âàçû, óêðàøåííûå äàì, öâåòû è äåòåé (äâà ïóíêòà), Victoria & Albert Museum, Ëîíäîí
  • Ïàðû êðûøêîé âàç áàëÿñèíû ñ ñîáàêîé ôîðìå ðó÷êè (äâà ïóíêòà), Wightwick Manor, Ìàíäåð Collection, (National Trust)
  • Óçêèé ñêëÿíêè, Wightwick Manor, Ìàíäåð Collection (National Trust)
  • Ïàðû Ýâåðñ (äâà ïóíêòà), Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Õóäîæåñòâåííàÿ ãàëåðåÿ
  • Áàíêó è êðûøêó (äâà ïóíêòà), Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Õóäîæåñòâåííàÿ ãàëåðåÿ
  • Ïàðà áàíîê (äâà ïóíêòà), ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
  • Öâåòóùàÿ âèøíÿ â òóìàíå, ÿïîíñêàÿ æèâîïèñü, Áðèòàíñêèé ìóçåé, Ëîíäîí 

 

'The Sleeper', ink, c1848, British Museum, London

Portraits of Elizabeth Siddal

  • 'Rossetti sitting to Elizabeth Siddal', ink, 1853, Birmingham Museums and Art Gallery. Presented by subscribers
  • 'Elizabeth Siddal seated by a window', pencil, 1854, lent by the syndics of the Fitzwilliam Museum, Cambridge
  • 'Head of Elizabeth Siddal full face looking down', ink, 1855, the Ashmolean Museum, Oxford
  • 'Head of Elizabeth Siddal looking down to right', pencil, Victoria & Albert Museum, London
  • 'Study of Elizabeth Siddal as Delia', pencil, Birmingham Museums and Art Gallery. Presented by subscribers.
  • 'Elizabeth Siddal painting at an easel', pencil and ink. Private collection
  • 'Elizabeth Siddal seated in a basket chair', brown wash, Private collection
  • 'Elizabeth Siddal cutting with scissors', pencil, British Museum, London
  • 'Elizabeth Siddal seated, resting her head on one arm', pencil, 1850s. Private collection
  • 'Elizabeth Siddal half length', pencil and ink. Private collection
  • 'Head of Elizabeth Siddal reclining on pillow', 1850s, lent by the syndics of the Fitzwilliam, Museum, Cambridge
  • Study of Elizabeth Siddal for 'Beata Beatrix', pencil, William Morris Gallery, London (Walker Art Gallery only)

Dante 1851-56

  • 'Dante in meditation holding a pomegranate', c1852, ink and pencil, Yale Center for British Art, New Haven, Paul Mellon Fund
  • 'The first anniversary of the death of Beatrice', watercolour, 1853, Ashmolean Museum, Oxford, bequeathed by Mrs Thomas Combe, 1894 (Walker Art Gallery only)
  • 'Paolo and Francesca da Rimini', watercolour, 1862, Trustees of the Cecil Higgins Art Gallery, Bedford
  • 'Dante's vision of Rachel and Leah', watercolour, 1855, Tate. Bequeathed by Beresford Rimington Heaton 1940
  • 'Dantis Amor', ink, 1860, Birmingham Museums and Art Gallery. Presented by Subscribers

Love and Morality 1850-60

  • 'The Duenna', ink, c1850-2, Lent by the syndics of the Fitzwilliam Museum, Cambridge
  • 'Love's Mirror', ink, c1849-50, Birmingham Museums and Art Gallery. Presented by subscribers
  • 'To caper nimbly in a lady's chamber', ink, 1850, Birmingham Museums and Art Gallery. Presented by subscribers
  • 'Borgia', watercolour, 1851, Tullie House Museum & Art Gallery, Carlisle
  • 'Hesterna Rosa', ink, 1853, Tate. Bequeathed by HF Stephens 1932
  • 'Boatmen and Siren', ink, 1853, Manchester City Galleries
  • 'Fra Angelico painting', ink, c1853, Birmingham Museums and Art Gallery. Presented by subscribers
  • 'Giorgione painting', ink c1853, Birmingham Museums and Art Gallery. Presented by subscribers
  • Study for 'Found', ink, 1853 British Museum, London
  • 'Found', oil, 1854, Delaware Art Museum, Samuel and Mary R Bancroft Memorial, 1935
  • 'Writing on the Sand', watercolour, 1859, British Museum, London
  • Study for 'Bonifazio's Mistress', watercolour, c1856, Birmingham Museums and Art Gallery. Presented by subscribers
  • 'Cassandra', ink, 1861, British Museum, London

Religious Subjects 1855-60

  • 'The Passover in the Holy Family', watercolour, 1855-6, Tate. Presented by Charles Ricketts in memory of Henry Michael Field 1916
  • 'The Annunciation', watercolour, 1855. Private collection
  • 'The Seed of David', watercolour, c1856, (3 separate frames: 1.'David'; 2. 'King David'; 3. 'The Adoration') Tate. Purchased 1924.

                               

Ðóáðèêè:  ÐÎÑÑÅÒÒÈ. ROSSETTI./ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ ROSSETTI LIFE
Ìåòêè:  

Ïðîöèòèðîâàíî 8 ðàç

Àëåâòèíà_Êíÿçåâà   îáðàòèòüñÿ ïî èìåíè Ñðåäà, 27 ßíâàðÿ 2010 ã. 22:16 (ññûëêà)
Ëþáëþ æèâîïèñü Ðîññåòòè. Âîñõèùåíà è ñîäåðæàòåëüíîñòüþ ìàòåðèàëà.Áëàãîäàðþ ñåðäå÷íî.
Îòâåòèòü Ñ öèòàòîé Â öèòàòíèê
ÂÅíåÐÈÍ_ÁÀØÌÀ×ÎÊ   îáðàòèòüñÿ ïî èìåíè Âòîðíèê, 11 Ìàÿ 2010 ã. 14:48 (ññûëêà)
Ïðåêðàñíûé, áîãàòåéøèé ìàòåðèàë!Ñïàñèáî Âàì çà îòëè÷íûé ïîñò!
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