ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ È ÒÂÎÐ×ÅÑÒÂÎ 1863-65 |
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.
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 Troy


 1863 ãîäó êðàòêîâðåìåííî åçäèë â Áåëüãèþ.
 êîíöå 1864 ãîäà âûåçæàë â Ïàðèæ, ãäå ïîñåòèë ñòóäèþ Ìàíå è âèäåë Îëèìïèþ, Âîçëþáëåííàÿ âîçìîæíî áûëà îòêëèêîì íà Îëèìïèþ. Íåãðèò¸íîê ïðèñóòñòâîâàë.
Model: Ada Vernon

«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».

| Ðóáðèêè: | ÐÎÑÑÅÒÒÈ. ROSSETTI./ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ ROSSETTI LIFE |
| Êîììåíòèðîâàòü | « Ïðåä. çàïèñü — Ê äíåâíèêó — Ñëåä. çàïèñü » | Ñòðàíèöû: [1] [Íîâûå] |