ÐÎÑÑÅÒÒÈ 1856 - 1857. |
1856 - 1857.
1856
Dante's dream at the Time of the Death of Beatrice. Walker Art gallery - Liverpool, UK
1857
1.A Christmas Carol Watercolour and gouache on paper. Fogg Museum of Art, Harvard University, Cambridge, MA, USA.
2.Before the Battle (1857-58)
3.The Blue Closet Watercolour on paper. Tate Gallery, London, UK.
4.The Damsel of the Sanct Grael
5.The Lady of Shalott (from the Moxon Tennyson)
6.St. Catherine 1857 Oil on canvas. Tate Gallery, London, UK
8.The Tune of Seven Towers Watercolour on paper. Tate Gallery, London, UK
9.The Wedding of St. George and the Princess Sabra Watercolour on paper. Tate Gallery, London, UK.
10. Ìàðèÿ Ìàãäàëèíà.
11.Ðîæäåñòâåíñêèé ãèìí. 1857
Christmas Carol
12.Ñýð Ãàëàõàðä â ðàçðóøåííîé ÷àñîâíå. Sir Galahad at the ruined Chapel
13. Ýñêèç Ãèíåâðû äëÿ "Ñýð Ëàíñåëîò â êîðîëåâñêîé êîìíàòå"
Study of Guinevere for "Sir Lancelot in the Queen's Chamber"
14. Ñýð Òðèñòàì è Ïðåêðàñíàÿ Èçîëüäà ïüþùèå ëþáîâíîå çåëüå.
Sir Tristram and La Bella Yseult Drinking the Love Portion.
Ïÿòü åãî èëëþñòðàöèé âêëþ÷åíû â 1857 Moxon Tennyson.  èþëå âûñòàâèë âîñåìü ðàáîò íà âûñòàâêå ïðåðàôàýëèòîâ íà Russell Place. Äî íîÿáðÿ ðàáîòàë íàä ôðåñêàìè Oxford Union
 1857 ãîäó â Îêñôîðäå îí âëþáèëñÿ â ñåìíàäöàòèëåòíþþ Äæåéí Á¸ðäåí, íî â 1859 ãîäó îíà âûõîäèò çàìóæ çà Ìîððèñà. Õîòÿ ëþáîâü ê Ëèççè îõëàäåëà, íî åãî îòíîøåíèÿ ê Ñèääàë è Á¸ðäåí îòâå÷àþò ñàìûì ñòðîãèì ñòàíäàðòàì òîãî âðåìåíè.
Àíòîíèî Ôðåäåðèê Îãàñòàñ Ñýíäñ (àíãë. Antonio Frederic Augustus Sands) ïîëó÷èë èçâåñòíîñòü áëàãîäàðÿ êàðèêàòóðå íà êàðòèíó Äæîíà Ýâåðåòòà Ìèëëå «Ñýð Èçþìáðàñ» â 1857 ãîäó. Õóäîæíèê âìåñòî ëîøàäè ïîìåñòèë îñëà, ïîìå÷åííîãî áóêâàìè «J. R., Oxon» (J. R. — Äæîí иñêèí, Oxon — Îêñôîðä), ñâåðõó ñèäåë Ìèëëå â ðûöàðñêèõ äîñïåõàõ, à äâîå ìàëåíüêèõ äåòåé ñïåðåäè è ñçàäè èçîáðàæàëè òîâàðèùåé Ìèëëå ïî Áðàòñòâó ïðåðàôàýëèòîâ Äàíòå Ãàáðèýëÿ Ðîññåòòè è Óèëüÿìà Õîëìàíà Õàíòà. Ïàðîäèÿ íàçûâàëàñü «Íî÷íîé êîøìàð», «A Nightmare».
Êàê íè ñòðàííî, Ñýíäèñ è Ðîññåòòè ñòàëè áëèçêèìè äðóçüÿìè, Ñýíäèñ îäíî âðåìÿ äàæå æèë â äîìå Ðîññåòòè â ×åéíè-Âîê (×åëñè). Ìíîãèå êàðòèíû Ñýíäèñà íàïèñàíû ïîä ñèëüíûì âëèÿíèåì Ðîññåòòè, âïîñëåäñòâèè îáâèíÿâøåãî åãî â ïëàãèàòå.
 íîÿáðå 1856 ãîäà Ðîññåòòè ïðèãëàñèë Òîìàñà Ïëèíòà â ñòóäèþ Ôîðäà Ìýäîêñà Áðàóíà ïîñìîòðåòü "Òðóä" êàðòèíó îí õîòåë êóïèòü, íî óìåð.
Ïàðà íà ýòîì íàáðîñêå ðàññëàáëåíà è ôèãóðû íåñêîëüêî áåñôîðìåííû, â òî âðåìÿ êàê â îêîí÷àòåëüíîì âàðèàíòå ôèãóðà Ãåîðãèÿ óãëîâàòà è îïðåäåë¸ííà.
Ðîññåòòè ðàáîòàë íàä àêâàðåëüþ â Îêñôîðäå, ãäå æèë âìåñòå ñ Ìîððèñîì è Á¸ðí-Äæîíñîì.
Water color painted in 1857, and exhibited in 1858 at Liverpool Academy. Owned by George Rae. St. George appeared in Syria just in time to rescue Princess Sabra, daughter of the King of Syria, from being sacrificed to the dragon. St. George is restling from having slain the dragon, while the Princess, now wholly his, leans on his breast, cutting off a long dark lock of hair to bind upon his helmet. One of Rossetti's early water colors beautifully executed. The dragon's head in the box, the wealth of detail and pattern of the design, and the rich, golden coloring are striking.
Íà ïëå÷å ó Ãåîðãèÿ ailette.
The ailette (French language for little wing) was a component of thirteenth century knightly armour. Usually made of plate or parchment, ailettes were thick, quadrangular pieces of leather or wood that attached to the shoulders by means of silk or leather cord. Ailettes were usually flat and nearly rectangular in shape, and usually decorated with heraldic designs.
Ailettes made brief appearances between 1290 and 1325 before giving way to more protective joint plates that covered the joint gap in the shoulders.
The purpose of ailettes is a matter of disagreement amongst scholars. Some claim that they enhanced protection to the neck, while othersargue that they were used primarily for decorative and heraldic reasons.
Èñòî÷íèê ñþæåòà, âîçìîæíî, áàëëàäà èç T. Percy, Reliques of Ancient English Poetry.
Äðàêîí óáèò, ïðèíöåññà Ñàáðà ïðè÷¸ñûâàåòñÿ è ïîâÿçûâàåò ëîêîí íà øåþ Ãåîðãèþ, íà çàäíåì ïëàíå áðà÷íàÿ ïîñòåëü.  ýòî âðåìÿ è Ðîññåòòè è åãî äðóçüÿ ïîäóìûâàëè î æåíèòüáå.
St. George and the Princess Sabra was painted by Dante Gabriel Rossetti in 1862. This was the last work that his wife, Lizzie Siddal, posed for before her death. Äëÿ ýòîé àêâàðåëè ïîçèðîâàëà Ñèääàë, ïîçæå, îáðàòèâøèñü ê ýòîé òåìå Ðîññåòòè âûáðàë ìîäåëüþ Äæåéí Á¸ðäåí.
The Wedding of St. George and the Princess Sabra
Æåíèòüáà Ñâÿòîãî Ãåîðãèÿ íà ïðèíöåññå Ñàáðà.
The Tune of Seven Towers
Íà÷àòà âåñíîé 1857. Êîìïîçèöèÿ ðàçâèòà èç ðèñóíêà 1853 ã "Michael Scott's Wooing". Òåìà çàãàäî÷íà è, âîçìîæíî, àâòîáèîãðàôè÷íà, â ýòî âðåìÿ Ðîññåòòè áûë îáåñïîêîåí òÿæåëîé áîëåçíüþ Ñèääàë. (ïîçèðîâàëà äëÿ æåíùèíû â êðàñíîì, èãðàþùåé íà ìóçûêàëüíîì èíñòðóìåíòå). Ñëåâà íà âûìïåëå âûøèòû òå ñàìûå ñåìü áàøåí. Òåìà, âîçìîæíî, çàèìñòâîâàíà èç ñáîðíèêà ñðåäíåâåêîâûõ ïåñåí, èçäàííûõ â òî âðåìÿ èëè èç ëþáèìîãî Ìîððèñîì ñðåäíåâåêîâîãî ðàññêàçà Aucassin and Nicolete. Ãîëóáü â êëåòêå ó Ðîññåòòè ñëóæèë ýìáëåìîé Ñèääàë.
“Young woman holding an open book, having her hair dressed by an attendant, is seated by a man; both are facing to the left looking towards the figure of Love standing beneath a tree, playing on an instrument. A child sits on the floor to the right of the chair; another figure in the background with head bowed”
depicts the medieval Scottish magician and astronomer Michael Scott placing a ring on the finger of a young girl.
Michael Scott's Wooing ñòèõîòâîðåíèå Ðîññåòòè.
ROSE-SHEATHED beside the rosebud tongue
Lurks the young adder's tooth;
Milk-mild from new-born hemlock-bluth The earliest drops are wrung: And sweet the flower of his first youth When Michael Scott was young.
Ñâÿòàÿ Êàòåðèíà. St. Catherine 1857 åäèíñòâåííàÿ çàêîí÷åííàÿ êàðòèíà ìàñëîì ìåæäó 1850 è 1859 ãîäàìè.
Íà êàðòèíå Ðîññåòòè èçîáðàçèë áîãàòóþ äàìó, êîòîðàÿ ïðåäíàçíà÷àÿ êàðòèíó â äàð öåðêâè, õî÷åò, ÷òîáû ñâÿòàÿ áûëà ñðèñîâàíà ñ íå¸. Êàðòèíà áûëà çàêàçàíà иñêèíûì, êîòîðûé ïîçæå îòêàçàëñÿ îò íå¸, íàçâàâ íåñóðàçèöåé. Ìîäåëü - Ýëèçàáåò Ñèääàë.
Ñýð Ãàëàõàðä â ðàçðóøåííîé ÷àñîâíå.
Sir Galahad at the ruined Chapel
Watercolour and bodycolour with areas of gum arabic on paper.
Width: 345 mm
Height: 290 mm
 1855-56 ãîäàõ Ðîññåòòè èñïîëíèë ïÿòü èëëþñòðàöèé äëÿ èçäàíèÿ Òåííèñîíà ó Ìîõîíà â 1857 ãîäó. Òðè èç íèõ îí ïîòîì ïîâòîðèë êàê àêâàðåëè, ýòî îäíà èç íèõ. Òåìà çàèìñòâîâàíà èç "Ñýðà Ãàëàõàðäà" Òåííèñîíà, â ñâîþ î÷åðåäü âäîõíîâë¸ííîãî Ìýëîðè. Äàííàÿ êîìïîçèöèÿ íîñèò ñèëüíîå âëèÿíèå Áåðí-Äæîíñà.
In 1855-56 Rossetti made five designs for illustrations to Moxon's edition of Tennyson, published in 1857. Three of these designs of which this is one, he later carried out in watercolour. The subject is dervied from Tennyson's 'Sir Galahad', inspired by Malory. The four other subjects were 'The Lady of Shalott', 'Mariana in the South' and two from 'The Palace of Art'. This composition shows the strong influence of Burne-Jones.
Ýòà àêâàðåëü èëëþñòðèðóåò "Ñýðà Ãàëàõàðäà" Òåííèñîíà: Ìåæ âëàæíûõ ñòâîëîâ ìåðöàíèå, ñëûøó çâóêè ãèìíà, çàòåì ïîäúåçæàþ ê òàéíîìó ñâÿòèëèùó, ñëûøó ãîëîñ, íî íèêîãî íåò, ñêàìüè ïóñòû, äâåðè ðàñïàõíóòû, òîíêèå ñâå÷è ÿðêî ãîðÿò. Ñíåæíûì áëåñêîì ñâåðêàåò àëòàðíûé ïîêðîâ, èñêðÿòñÿ ñåðåáðÿíûå ñîñóäû... Ïåðåâåäó ïîòîì.
This watercolour illustrates Tennyson's Sir Galahad -'Between dank stems the forest glows,
I hear a noise of hymns:
Then by some secret shrine I ride;
I hear a voice, but none are there;
The stalls are void, the doors are wide,
The tapers burning fair.
Fair gleams the snowy altar-cloth,
The silver vessels sparkle clean,
The shrill bell rings, the censer swings,
And solemn chants resound between.'
Ñýð Òðèñòàì è Ïðåêðàñíàÿ Èçîëüäà ïüþùèå ëþáîâíîå çåëüå.
Sir Tristram and La Bella Yseult Drinking the Love Portion.
The Lady of Shallott, 1857
Wood engraving, 35/16 x 31/16 in.
Victoria and Albert Museum, London
Èëëþñòðàöèÿ ê ïîýìå Òåííèñîíà. Ëåäè èç Øàëîòòà - ìàãè÷åñêîå ñóùåñòâî, êîòîðîå æèâ¸ò â çàìêå íà îñòðîâå âûøå ïî òå÷åíèþ îò Àðòóðîâñêîãî Êàìåëîòà. Ÿ çàíÿòèå ñîñòîèò â òîì, ÷òî îíà ñìîòðèò â çåðêàëî èçü îêíà ñâîåãî çàìêà è âûøèâàåò òî, ÷òî âèäèò íà ãîáåëåíå. Åé çàïðåùåíî çàêëÿòüåì ñìîòðåòü íà âíåøíèé ìèð ïðÿìî. Ôåðìåðû, æèâóùèå ðÿäîì ñ îñòðîâîì ñëûøàò å¸ ïåíèå è çíàþò, êòî îíà, íî íèêîãäà íå âèäåëè å¸. Äàìà âèäèò ïðîñòûõ ëþäåé, âëþáë¸ííûå ïàðû, ðûöàðåé, îòðàæ¸ííûìè â å¸ çåðêàëå. Îäíàæäû îíà âèäèò Ñýðà Ëàíñåëîòà â îäèíî÷åñòâå åäóùåãî âåðõîì. È õîòÿ îíà çíàåò, ÷òî ýòî çàïðåùåíî, âûãëÿäûâàåò èç îêíà è ñìîòðèò íà íåãî. Çåðêàëî ðàçëåòàåòñÿ íà êóñêè, âûøèâêó óíîñèò âåòåð è Ëýäè íà÷èíàåò ÷óâñòâîâàòü ñìåðòîíîñíîå äåéñòâèå ïðîêëÿòüÿ. Ðàçðàæàåòñÿ áóðÿ. Ëåäè ïîêèäàåò çàìîê, íàõîäèò ëîäêó, ïèøåò íà íåé ñâî¸ èìÿ, ïëûâ¸ò ïî òå÷åíèþ è ïî¸ò ïðîùàëüíóþ ïåñíþ. Ëîäêó ïðèáèâàåò ê Êàìåëîòó, æèòåëè íàõîäÿò ëîäêó è òåëî, äîãàäûâàþòñÿ êòî ýòî è ãðóñòÿò. Ëàíñåëîò ìîëèòñÿ î ìèëîñåðäèè áîæüåì ê å¸ çàáëóäøåé äóøå.
The Lady of Shalott is a magical being who lives alone on an island upstream from King Arthur's Camelot. Her business is to look at the world outside her castle window in a mirror, and to weave what she sees into a tapestry. She is forbidden by the magic to look at the outside world directly. The farmers who live near her island hear her singing and know who she is, but never see her.
The Lady sees ordinary people, loving couples, and knights in pairs reflected in her mirror. One day, she sees the reflection of Sir Lancelot riding alone. Although she knows that it is forbidden, she looks out the window at him. The mirror shatters, the tapestry flies off on the wind, and the Lady feels the power of her curse.
An autumn storm suddenly arises. The lady leaves her castle, finds a boat, writes her name on it, gets into the boat, sets it adrift, and sings her death song as she drifts down the river to Camelot. The locals find the boat and the body, realize who she is, and are saddened. Lancelot prays that God will have mercy on her soul.
This engraving was just one of the illustrations to tennyson's poems provided by the Pre-Raphaelite cicle for an edition published by Moxon. 1857.Rossetti's illustrations for tennyson astonished his collegues and had a far- reaching impact on a wider audieence. The project as a hole helped to define the Pre-Raphaelite Brotherhood, creating the impression of a coherent movement at the very momentwhen the artists were going their serarate ways.
Illustration from 'Poems by Alfred Tennyson', published by Moxon Wood engraving by Dalziel brothers after Rossetti's design,
published 1857, 9.4 x 8cm, Stephen Calloway
Richly clad, Sir Launcelot leans over the Lady's body as it floats down the river in the barge, lit by flickering candles and a torch held by an unseen figure above. The contrast between the tiny figures of courtiers and the daring close-up of the principal figures adds to the mood of strangeness. The composition may have been suggested by a medieval manuscript illumination from the 14th century 'Lancelot du Lac' in the British Museum.
| Ðóáðèêè: | ÐÎÑÑÅÒÒÈ. ROSSETTI./ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ ROSSETTI LIFE |
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