1849 1849THE LIFE AND OEUVRE. |
1849 « , », -, 1835 .
, « », . , . , . 1849 " " (Free Exhibition or Free Institution, Hide Park Corner).
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The first official shows of painting inscribed P.R.B. – whose meaning had not been revealed to the public – took place in London in 1849. Rossetti exhibited The Girlhood of Mary Virgin at Free Exhibition at Hyde Park Corner, also showing it at the Royal Academy with Millais’ Isabella and Hunt’s Rienzi.
The Girlhood of Mary Virgin was Rossetti’s first large-scale painting. Drawing on medieval religious painting, he deployed a complex iconography.
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Model: Christina Rossetti (Mary Virgin)
. 1848-1849.
The Girlhood of Mary Virgin. 1849.
83,2*65,4
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“On the original frame Rossetti had inscribed his sonnet explaining the symbolism [Sonnet I], while a second sonnet [i.e., Sonnet II] . . . was printed in the catalogue of the Free Exhibition.
The picture was reframed in 1864 when DGR was repainting parts of it. He changed “what had been a frame with curved top corners to a rectangular design of the type he had evolved with Madox Brown earlier that decade. The picture was therefore originally more archaic in appearance” DGR then had the two sonnets inscribed next to each other on the frame below the painting.
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Models were his mother and sister. Its Rossetti’s first large-scale painting. The complex iconography he explained in a sonnet inscribed on the frame and in another one in the catalog;
‘These are symbols. On that close of red
I’ the centre, is the Tri-point – perfect each
Except the second of its points, to teach
That Christ is not yet born.’
Floral symbols: the lily is the symbol of purity, the palm and the thorn prefigure the seven joys and sorrows of the Virgin.
THE GIRLHOOD OF MARY VIRGIN " "
(For a Picture) ( )
This is that blessed Mary, pre-elect
God's Virgin. Gone is a great while since she . ,
Dwelt thus in Nazareth of Galilee. ,
Her kin she cherished with dwvout respect, , , :
Her gifts were simpleness of intellect, - ;
And supreme patience. From her mother's knee , ,
Faithful and hopeful; wise in charity;
Strong in grave peace; in duty circumspect. .
So held she through her girlhood; as it were ,
An angel-watered lily, that near God ,
Grows and is quiet. Till one dawn, at home , ,
She woke in her white bed, and had no fear -
At all, - yet wept till sunshine, and felt awed: , ,
Because the fulness of the time was come. - .
1848.
1849 , 1850 .
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1855 1853- Alex. Munro Paolo and Francesca.
1850 ( 1849 , ) Walter Deverell, Cranborn Street , , . .
"" , . (), . , . . , . - "" . The subject of the drawing is from Browning's poem 'Sordello', set during the wars of the Guelphs and the Ghibellines. Taurello, left, when newly arrived at court, was asked in jest by the King to rule instead of him. The King invested him with the silk glove of his wife, who is seen taking off her glove. The details of medieval costume and townscape show Rossetti's admiration of the Flemish artists Van Eyck and Memling.The angular gestures, unsettling facial expressions and abrupt perspective are characteristics of the early phase of the Pre-Raphaelite style. These qualities emulated the 'primitive' qualities of early Italian and Flemish art.
1850 ( 1849 , ) Walter Deverell, Cranborn Street , , . .
Date on Image: Left: 1849; Right: 1850
Inscription written below left compartment reads: ‘E cui saluta fa tremar lo core.’ Inscription below right compartment reads: ‘Guardami ben; ben son, ben son Beatrice.’ Inscription over the head of Love reads: ‘9 Guigno, 1290.’ Above reads: ‘Ita n'e Beatrice in alto ciel.’ Inscription beneath the feet reads: ‘Ed ha lasciato Amor meco dolente.’ Title beneath reads: ‘ IL SALUTO DI BEATRICE ’.
1849 ? , . , , " ..." Feste Twelfth Night by Deverell.
| : | . ROSSETTI./ ROSSETTI LIFE |
