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a revery annie miller arthur hughes aspecta medusa baron von gloeden beata beatrix bluebird burne-jones carlisle wall christina georgina rossetti christina rossetti clark cristina rossetti dante gabriel rossetti dr john polidori dudley gallery edward poynter eleanor fortescue-brickdale elizabeth eleanor siddal elizabeth siddal english version eugene onegin fanny co feet fetish fiammetta first anniversary ford madox brown found francois-joseph navez frederic william burton gabriel charles dante gabriel charls dante rossetti george price boyce girls goblin market hans suren he story of st. george and the dragon holy grail jacques-louis david john byam shaw john everett millais john roddam spencer stanhope karl truppe kelmscort manor kent la pia de' tolomei lady lawrence lempica liberty list of pre-raphaelite paintings louis de taeye magdalene maria francesca mariana mary magdalene at the door of simon the pharisee mary nazarene moore morris naked nude orient goods oxfordshire painting pallas pansy patricia peasant venus pre-raphaelite raphaelite brotherhood rayskin reich rossett rossetti self portrait sevenoaks sir john everett millais soviet study the third reich the blessed damozel the raven vampyre vanitas vision of fiammetta w b scott william holman hunt women working men's college àä äàíòå / dante's inferno 1967 àðòóð õüþç áàëåðèíû áàëåò áåëûå ðîçû áåñïëàòíî áëàæåííàÿ áåàòðè÷å âîðîí ãåòåðà ãîëóáü ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äâåíàäöàòàÿ íî÷ü äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí äæîí óèëüÿì ïîëèäîðè åâãåíèé îíåãèí æèâîïèñü æèâîòíûå èíòåðíåò èñêàòåëü èñêóññòâî êåííåò êèíî êëàðê êîëåãîâà êîðîëåâà êðèñòèíà ðîññåòòè ëàðåö êîðîëÿ ðåíå? ëåìïèöêà ëåìïèöêàÿ ëåðìîíòîâ ìàðèèíñêèé ìàðèÿ ôðàí÷åñêà ìåíàäû ìåíäåëååâ ìîððèñ ìóçåè ìýäîêñ áðàóí íàãîòà íàéäåíà íàéäåííàÿ íàñèëèå íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ îíëàéí ïèÿ äå òîëîìåè ïîýçèÿ ðîññåòòè ïîýçèÿ ðîññåòòè ïðåðàôàýëèòû ïðîçåðïèíà ðîìàí ðîññåòòè ñàìîõâàëîâ ñåêñ ñèääàë ñêîòò ôèòöæåðàëüä ñìîòðåòü ñîìîâà ñîöðåàëèçì ñòàñîâ ñòèõè òàìàðà ëåìïèöêà òðåòèé ðåéõ óèëüÿì ìîððèñ óîòåðõàóç ôàííè êîðíôîðò ôåòèø ôèàìåòòà ôîòî ôðèäåðèê ëåéòîí õàíò õüþç ÷ààäàåâ øàðëîò ñòðèò ý ë á å ð ò ã ð ý ì ýâåëèí äå ìîðãàí ýêçèñòåíöèÿ ýëèçàáåò ñèääàë ýïèãðàô ýññå

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ÐÎÑÑÅÒÒÈ 75

Âîñêðåñåíüå, 14 Ôåâðàëÿ 2021 ã. 18:27 + â öèòàòíèê

 

 

ÐÎÑÑÅÒÒÈ 75

 

 

 

11.La Bella Mano (Ïðåêðàñíûå ðóêè) 1875. 

12.Íàáðîñîê ôèãóðû è ðóêè ê .La Bella Mano (Ïðåêðàñíûå ðóêè) 1874.

13 Ýñêèç  ðóê è áðàñëåòà ê .La Bella Mano (Ïðåêðàñíûå ðóêè) 1874.

14. Ïðèíò .La Bella Mano (Ïðåêðàñíûå ðóêè). 1875-1900.

15.Ôèãóðà èç La Bella Mano (Ïðåêðàñíûå ðóêè) 1877.

  

 

 

 

 

Áëàæåííàÿ.
Fogg Art Museum - Harvard University - Cambridge, MA
The Blessed Damozel (1875-78)

68 l/2 x 37 inches

    THE BLESSED DAMOSEL Áëàãîñëîâåííàÿ  

              

 The Death of Lady Macbeth 1875 (circa)  Ñìåðòü ëåäè Ìàêáåò 1875

  • The Death of Lady Macbeth.Medium: pencil Dimensions: 18 3/8 x 24 1/4 in.

          Ìîæíî îòìåòèòü âëèÿíèå Fuseli è  Theodore von Holst êîòîðûå òàêæå ðàçðàáàòûâàëè äàííûé ñþæåò, îáîèìè æèâîïèñöàìè Ðîññåòòè âîñõèùàëñÿ âñþ æèçíü. Ñþæåò âçÿò èç Ìàêáåòà Act v Scene i Çà íàõîäÿùåéñÿ â áðåäó è óìèðàþùåé ëåäè Ìàêáåò ïðèñìàòðèâàþò ñëóãè è âðà÷. Îíà ïûòàåòñÿ óíè÷òîæèòü êðîâü íà ðóêå è êðè÷èò, ÷òî íèêàêèå àðîìàòû âîñòîêà íå ñìîãóò óñòðàíèòü çàïàõ êðîâè. Ýòî íàèáîëåå çàêîí÷åííûé íàáðîñîê êàðòèíû, êîòîðóþ Ðîññåòòè íàäåÿëñÿ íàïèñàòü.

    s242.wood (550x434, 145Kb)

    sa414.mansell (550x491, 83Kb)

    s242a.surtees.repro (300x215, 30Kb)

    THE SLEEPWALKING LADY MACBETH

    HENRY FUSELI – 1784

    06macbet (330x448, 12Kb)

       Dante Gabriel Rossetti, greatly admired von Holst's work and according to Browne "considered him a significant link between the older generation of English Romantic painters, such as Fuseli and William Blake, and the Pre-Raphaelite circle"

     

 

 

La Bella Mano (Ïðåêðàñíûå ðóêè) 1875    
Äëÿ àíãåëà, âîçìîæíî, ïîçèðîâàëà Ìýé Ìîððèñ

 

       Oil on canvas, 62 x 46 inches Delaware Art Museum, Samuel and Mary R. Bancroft Memorial, 1935

    Ðîññåòòè çàâåðøèë ñîíåò ïîä íàçâàíèå "Ïðåêðàñíûå ðó÷êè" ÷åðåç ãîä ïîñëå îêîí÷àíèÿ êàðòèíû, ïðåäïîëàãàåòñÿ, ÷òî èçîáðàæåíèå ïîñëóæèëî èñòî÷íèêîì âäîõíîâåíèÿ äëÿ ñòèõîòâîðåíèÿ. Êàðòèíà ïðåäñòàâëÿåò ñîáîé ïåðñîíèôèêàöèþ ëþáâè - Âåíåðà è å¸ êðûëàòûå ïîìîøíèêè. Êàðòèíà áîãàòà äåòàëÿìè, äîïîëíÿþùèìè òåìó ëþáâè, êàê äóõîâíîé, òàê è çåìíîé, ÷òî âîïëîùåíà â öåíòðàëüíîé ôèãóðå. Ýôôåêò ãàëî ñîçäàí êðèâûì çåðêàëîì, â êîòîðîì îòðàæàåòñÿ êðîâàòü, ÷òî íàìåêàåò íà áóùåãî ëþáîâíèêà.

 

     Rossetti completed the sonnet entitled “La Bella Mano” a year after the painting, suggesting the visual representation may have been the inspiration for the poem. The painting represents a personification of love—Venus assisted by her winged attendants. The canvas is rich in details all contributing to the theme of love—both spiritual and earthly—as represented in the central figure. The effect of a halo is created by the convex mirror showing the bed, which entices a present or future lover.

 

LA  BELLA  MANO

 (For a Picture)

O lovely hand, that thy sweet self dost lave

In that thy pure and proper element,

When erst the Lady of Love's high advent

Was born, and endless fires sprang from the wave: -

Even as her Lovers to her their offerings gave,

For thee the jewelled gifts they bear; while each

Looks to those lips, of music-measured speech

The fount, and of more bliss than man may crave.

 

In royal wise ring-girt and bracelet-spann'd

A flower of Venus' own virginity,

Go shine among thy sisterly sweet band;

In maiden-minded converse delicately

Evermore white and soft; until thou be,

O hand! heart-handsel'd in lover's hand.

1875.

ËÈÒÅÐÀÒÓÐÀ.  1.Â.Ï.Øåñòàêîâ "Ïðåðàôàýëèòû: ìå÷òû î ïðåêðàñíîì." Ì 2004.

 

 

 

f18.s240 (569x700, 176Kb)

 
Medium: pencil
Dimensions: 22.7 x 18.2 cm
Note: WMR (verso): “G. for Bella Mano.” A verso draft P.S. to a letter to William Bell Scott, dated 3 May 1875, tends to support the date.
Production Date: 1874 (circa)
 

f19.s240 (450x295, 81Kb)

La Bella Mano, study of hands and bracelet

1874 (circa)

Medium: pencil on handmade paper with half watermark: “18”
Dimensions: 11.2 x 17.5 cm
Note: WMR (verso): “G. for Bella Mano.”
Current Location: Private Collection
 
 
 äåëàâàðñêîì õóäîæåñòâåííîì ìóçåå åñòü åù¸ çàãàäî÷íûé ïðèíò:
 

s240a (406x550, 116Kb)

La Bella Mano [print

1875-1900 (circa)

Physical Description

Medium: photoprint (red/sepia?) mounted on board
Dimensions: Print: 24 3/4 x 18 9/16 in.
Note: from a photograph by the Autotype Co.

Provenance

Current Location: Delaware Art Museum

 

Îò ýòîé êàðòèíû Ðîññåòòè çà÷åì-òî êóñîê íàïèñàë ïîçæå îòäåëüíî.

s240c (220x550, 35Kb)

 

Medium: pencil, red chalk, and pastel
Dimensions: 54 x 19 1/2 in.
Signature: monogram
Date on Image: 1877
Note: Surtees suggests that the date was added later.
Exhibition History: Indianapolis and Huntington Hartfor, 1964, (no. 91)

Provenance

Current Location: Lyman Allyn Museum, New London, Connecticut

 (374x600, 46Kb)
 

Äàìà Ñâÿòîãî Ãðàëÿ.
The Damsel of the Sanct Grael
92*57,7 ñì 1874ã.

Ðóáðèêè:  ÐÎÑÑÅÒÒÈ. ROSSETTI./ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ ROSSETTI LIFE

 

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