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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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Ñîçäàí: 27.08.2009
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ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ È ÒÂÎÐ×ÅÑÒÂÎ 1863-65

Ñóááîòà, 25 Èþíÿ 2022 ã. 23:14 + â öèòàòíèê

 The first of his wombats, named Top, was a frequent guest at his dinner table, where it habitually fell asleep in the centerpiece. Top is believed to have been the inspiration for the character of the dormouse in Lewis Carroll's book Alice's Adventures in Wonderland.

 

Woman in Yellow 1863

This intimate watercolour of Annie Miller is different in style from William Holman Hunt’s painting of her, The Awakening Conscience, made ten years before (which is on display in the 1840 Gallery). It reads less like a story and more like a poem or music. Miller is swathed in yellow in the manner of a Renaissance portrait to emphasise her ‘bodily beauty’, as Rossetti termed it, and the beauty of colour. A later oil version was named after the woman most famous for the enchanting power of her appearance, Helen of TroyN05233_10 (336x428, 19Kb)

 

 


 
«Ðîìà́í î Ðî́çå» («Ðîìàí Ðîçû», ôð. Roman de la Rose) — ôðàíöóçñêàÿ àëëåãîðè÷åñêàÿ ïîýìà (íà ñòàðîôðàíöóçñêîì ÿçûêå) XIII âåêà, îäíî èç ñàìûõ çíàìåíèòûõ è íàèáîëåå ïîïóëÿðíûõ â ñâî¸ âðåìÿ ñî÷èíåíèé ñðåäíåâåêîâîé ëèòåðàòóðû.

Áåç íàçâàíèÿ (2) (219x230, 11Kb)

 

Helen of Troy  1863

Dante_Gabriel_Rossetti_-_Helen_of_Troy (250x294, 35Kb)

 1863 ãîäó êðàòêîâðåìåííî åçäèë â Áåëüãèþ.

 Â êîíöå 1864 ãîäà âûåçæàë â Ïàðèæ, ãäå ïîñåòèë ñòóäèþ Ìàíå è âèäåë Îëèìïèþ, Âîçëþáëåííàÿ âîçìîæíî áûëà îòêëèêîì íà Îëèìïèþ. Íåãðèò¸íîê ïðèñóòñòâîâàë.

 

Monna Pomona  1864

 

Model: Ada Vernon

s171 (300x359, 24Kb)

«Â÷åðàøíÿÿ ðîçà» — àêâàðåëü  ñîçäàííàÿ â 1865 ãîäó. Íà äàííûé ìîìåíò ïðîèçâåäåíèå íàõîäèòñÿ â ñîáðàíèè Õóäîæåñòâåííîãî ìóçåÿ Äåëàâýðà.

Ñþæåò àêâàðåëè âçÿò èç òðàãåäèè «Ôèëèïï âàí Àðòåâåëäå» Ãåíðè Òåéëîðà. Ôèëèïï âàí Àðòåâåëäå — ðåàëüíî ñóùåñòâîâàâøèé âîåííîñëóæàùèé è ïîëèòèê. Èçîáðàæ¸ííîå äåéñòâèå ïðîèñõîäèò â XIV âåêå âî Ôëàíäðèè. Ìîëîäîé äâîðÿíèí âñòóïàåò â, êàçàëîñü áû, áåçðàññóäíûå îòíîøåíèÿ ñ æåíùèíîé áîëåå íèçêîãî ñîöèàëüíîãî ñòàòóñà. Ðîññåòòè èçîáðàçèë íà àêâàðåëè òîò ìîìåíò, êîãäà Åëåíà, ãåðîèíÿ, î êîòîðîé èäåò ðå÷ü, Åëåíà, çàäóìûâàåòñÿ î ñâî¸ì æèçíåííîì ïóòè è ïðàâèëüíîñòè ñäåëàííîãî âûáîðà. Äâîå ìóæ÷èí èãðàþò â êîñòè, èõ ëþáîâíèöû íàõîäÿòñÿ ðÿäîì ñ íèìè. Îäíà èç íèõ, Åëåíà, çàêðûâàåò ëèöî îò ñòûäà, èìåííî îíà — òàì ñàìàÿ «â÷åðàøíÿÿ ðîçà». Äîïîëíÿþò èõ ôèãóðû íåâèííîãî ðåá¸íêà, èãðàþùåãî íà ìóçûêàëüíîì èíñòðóìåíòå è «äþðåðîâñêîé» ÷åøóùåéñÿ îáåçüÿíû. Îáðàçû ïàäøèõ æåíùèí çàíèìàþò âèäíîå ìåñòî â òâîð÷åñòâå Ðîññåòòè, íî íà ýòîé àêâàðåëè îí èçîáðàæàåò ýòè îáðàçû èç äàëüíåãî ïðîøëîãî[1].

Ñóùåñòâóåò íåñêîëüêî âåðñèé ýòîé ðàáîòû, ñîçäàííûõ Ðîññåòòè. Ñàìûé ïåðâûé ðèñóíîê áûë ñîçäàí â 1853 ãîäó è ïîäàðåí åãî äðóãó è ñîáðàòó-ïðåðàôàýëèòó Ô. Ñòèâåíñó; íà äàííûé ìîìåíò ðèñóíîê íàõîäèòñÿ â ñîáðàíèè Ãàëåðåè Òåéò. Åù¸ îäíà àêâàðåëü áûëà ñîçäàíà â 1871 ãîäó. Îíà áûëà âûïîëíåíà â áîëüøåì ðàçìåðå è ïîëó÷èëà íàçâàíèå «Ïåñíü Åëåíû».

Áåç íàçâàíèÿ (2) (266x189, 8Kb)

Ðóáðèêè:  ÐÎÑÑÅÒÒÈ. ROSSETTI./ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ ROSSETTI LIFE
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