|
|
|
|
|
|
́ (. Proserpina)
, , ( -), , - . ! , " ", . , . . , , . , , . , , . ( - rape ). . .. , . - - , - , .
. ( , ) .
"" . «», - , . , - , , , , . , . « » (. 1875), « » (1877), «» (1880), , : «color d'amore e di pieta sembiante» (« »).
.
, , .
.
.
.
: , . " ". . , , - (), ( ). .
DGR seems to have begun work on the subject in 1871 since the date of the pastel at the Ashmolean bears that date. He started serious work on the picture late in 1872 when he came to an agreement with Howell and Parsons (the painter and photographer who also worked as an art dealer) to buy the picture for 550 guineas (see DGR's letter to Howell of 1 November 1872, Fredeman, Correspondence, 72. 105 ). In this letter he comments: “I enclose extract from Lemprière copied by Dunn. You see the passage about the pomegranate. I may possibly write a sonnet and introduce it in one corner of the picture if suiting composition.” Two days later he wrote to his brother that “The Proserpine I am selling him is a second one I have begun. The first did not quite please me, but will sell as a separate thing by cutting out the head which is done. The second is very well started, and I fully expect to finish it soon and beg the tin” ( Fredeman , Correspondence, 72. 106 ). It seems this second picture was also deemed unsatisfactory by the artist, as was the third, which became the The Blanziore oil. The letter hints toward the multipying and sometimes catastrophic fortunes of what DGR called “this doomed picture” in a letter to Madox Brown of 6 January 1874, when he reported that the version he had done for Leyland (the now so-called seventh version) was smashed in railway transit. He went on to tell Brown about “the vicissitudes of this blessed picture”: “I have begun it on seven different canvases— to say nothing of drawings. Three were rejected after being brought very forward. The fourth cost me a quarrel with Parsons, & will be returned on my hands. The fifth has twice had its glass smashed & renewed, & has twice been lined to remedy accidents. The sixth has had its frame smashed twice & its glass once, was nearly rendered useless by an accident which happened while transferring it to a fresh strainer, & now has narrowly escaped total destruction” ( Fredeman , Correspondence, 74.4 ) An eighth version would come later, begun in 1881 and finished shortly before DGR's death.
.
1871 , , Ashmolean . 1872, Howell and Parsons ( , ) 550 . ( 1 1871 ). : . . , , . : ", , . , , . ( Fredeman , Correspondence, 72. 106 ). , , . The Blanziore. , " " 6 1874 , , ( ) . " ". " . , . Parsons . . , , . ( Fredeman , Correspondence, 74.4 ). 1881 .
Dimensions: 38 1/4 x 18 1/4 in.
Signature: monogram
Date on Image: 1871
Note: Monogram and date are located in the upper right corner of the image.
It is likely that this, the second version of Proserpine , was one of the three early versions that "were rejected after being brought very forward," as DGR described them in a letter to Ford Madox Brown (Fredeman, Correspondence, 74.4). None have survived intact, although the third version was cut down and transformed into Blanzifiore .
«» — - , 1873 . . Current Location: Collection of Lord Lloyd-Webber
«» . «». «» 1871 , ; , , «». Surtees notes that this picture was cut down from one of the unfinished canvases of Proserpine and altered. — , .
, , .
, — . , , , ,
This painting was begun late in 1872, a fifth version of the picture sent to Charles Howell and Robert Parsons, with Frederick Leyland as the intended patron. In the first of a series of unfortunate mishaps, the face of Proserpine was rucked during the lining process; that is, the cloth was compressed, resulting in a number of unsightly folds. At first it was set aside and a new painting begun, but, according to Marillier, Rossetti soon returned to the work and restored it. However, the painting was misplaced while being transported to Kelmscott.
Dimensions: 49 3/4 x 24 in.
Signature: Dante Gabriel Rossetti
Date on Image: 1874
Note: The signature and the date are written in Italian on a scroll at the lower left: “Dante Gabriel Rossetti ritrasse nel capo d'anno del 1874”.
Proserpine (oil replica, eighth version) 1882 eighth version
Medium: oil Dimensions: 30 3/4 x 14 3/4 in. Signature: Dante Gabriele Rossetti Date on Image: 1882
Note: Signature and date are inscribed on a scroll at the lower left.
Current Location: Birmingham City Museum and Art Gallery
: Proserpine (oil replica seventh version) 1874 |
́ (. Proserpina) |
|
- !
1877 , .
, femme fatale . , . . , .
, . , , , , - . [ 1 ]
- 5.
. . , "" . !
400.
,
!
́ (. Proserpina) (Proserpina) — , , () (), (). , , . , , (proserpere) , , .
, . , , . - , , , . , , - . . , , , , , , . , . , . , , . (). . . . , , . , . . . . , , . , . , . . , , . - . , , . , , . . . - . . , , . . , . . , .
, , , , . , "" .
, . . , , . ( , , ). , , , - . . . , , . , .
. Walter Crane - .
.
1. . .
|
|
|
|
, (" "), " ", . , . , , – , , , , , . – , , , . .
, – . .
. , , , . . " ", , .
"" () , -. , . . , -.
, , . * . , , . , , - . , , , – , .
* – . , – . , .
? , .
:
1 ( , ) . , , . – . . - , , . .
2 17 2001 330 - - «».
. , , . , , — . — , : «, , ...»
IV. . , , , . , . . : , . , . , .
߹3 , "" , - . . , :
, .
() . ", ," -
, ( ), , , , , . , , , , . , .
PROSERPINA
(For a Picture)
Afar away the light that brings cold cheer
Unto this wall, - one instant and no more
Admitted at my distant palace-door.
Afar the flowers of Enna from this drear
Dire fruit, which, tasted once, must thrall me here.
Afar those skies from this Tartarean grey
That chills me: and afar, how far away,
The nights that shall be from the days that were.
Afar from mine own self I seem, and wing
Strange ways in thought, and listen for a sign:
And still some heart unto some soul doth pine,
(Whose sounds mine inner sense is fain to bring,
Continually together murmuring,)
"Woe's me for thee! Unhappy Proserpine!"
1872
"PROSERPINA"
( )
,
,
.
, .
-
; -
.
,
:
-
( ,
- ):
" ! !"
1872
- , .
- , , . , , , . , .
"""(1824) , , — , , — , , , ".
"", : - . , - .
" " 27 "Deguisments de Venus" " ", .
. 1824.
,
,
.
,
,
.
.
:
.
,
-
;
;
,
.
, .
.
,
, ( ?)
,
( -?)
,
...
; ( )
,
,
. ( )
,
;
,
.
.
Proserpina (sometimes spelt Proserpine, Prosperine or Prosperina) is an ancient Roman goddess whose story is the basis of a myth of Springtime. Her Greek goddess' equivalent is Persephone The probable origin of her name comes from the Latin, "proserpere" or "to emerge," in respect to the growing of grain. Proserpina was subsumed by the cult of Libera, an ancient fertility goddess, wife of Liber and is also considered a life–death–rebirth deity.
She was the daughter of Ceres, goddess of agriculture and crops and Jupiter, the god of sky and thunder.
Venus, in order to bring love to Pluto, sent her son Amor also known as Cupid to hit Pluto with one of his arrows. Proserpina was in Sicily (an island outside of Italy), at the Pergusa Lake near Enna, where she was playing with some nymphs and collecting flowers, when Pluto came out from the volcano Etna with four black horses named Orphnaeus, Aethon, Nycteus and Alastor. He abducted her in order to marry her and live with her in Hades, the Greco-Roman Underworld, of which he was the ruler. Notably, Pluto was also her uncle, being Jupiter's (and Ceres's) brother. She is therefore Queen of the Underworld.
Her mother Ceres, the goddess of agriculture or of the Earth, went looking for her in vain to every corner of the earth, but wasn't able to find anything but a small belt that was floating upon a little lake (made with the tears of the nymphs). In her desperation Ceres angrily stopped the growth of fruits and vegetables, bestowing a malediction on Sicily. Ceres refused to go back to Mount Olympus and started walking on the Earth, making a desert at every step.
Worried, Jupiter sent Mercury to order Pluto (Jupiter's brother) to free Proserpina. Pluto obeyed, but before letting her go he made her eat six pomegranate seeds, because those who have eaten the food of the dead could not return to the world of the living. This meant that she would have to live six months of each year with him, and stay the rest with her mother. This story was undoubtedly meant to illustrate the changing of the seasons; When Ceres welcomes her daughter back in the spring the earth blossoms, and when Proserpina must be returned to her husband it withers.
In another version of the story, some people believe that upon her abduction, Proserpina ate only four pomegranate seeds, and she did so of her own accord. When Jupiter ordered her return, Pluto struck a deal with Jupiter, saying that since she had stolen his pomegranate seeds, she must stay with him four months of the year in return. For this reason, in spring when Ceres received her daughter back, the crops blossomed, and in summer they flourished. In the autumn Ceres changed the leaves to shades of brown and orange (her favorite colors) as a gift to Proserpina before she had to return to the underworld. During the time that Proserpina resided with Pluto, the world went through winter, a time when the earth was barren.
The myth of Proserpina, the most extensive Latin version of which is by Claudian (4th century AD, available), is closely connected with that of Orpheus and Eurydice — it is Proserpina, in Virgil's writings, as Queen of Hades, who allows Orpheus to enter and bring back to life his wife Eurydice who is dead by snake poison. Proserpina played her cetra to quiet Cerberus, but Orpheus did not respect her order never to look back, and Eurydice was lost.
Proserpina's figure inspired many artistic compositions, eminently in sculpture Bernini, in painting (D.G.Rossetti , Pomarancio , J.Heintz , P.P.Rubens , A.Durer , Dell'Abbate , M.Parrish ) and in literature (Goethe and Swinburne's Hymn to Proserpine)
Proserpina is a Main belt asteroid 95.1km in diameter, which was discovered by R. Luther in1853.
"The Rape of Proserpina" (1621-1622)
. ..
Dell'Abbate rape of Proserpina
: .. -
. .
, « », 1632 .
Rembrandt Harmensz. van Rijn, «Raub der Proserpina», c. 1632
.
( ) - . - () - .
, , . ... , , , ( ), . - , - 1760 . . , - . , . , , , .
1843.
Marble Bust of Proserpine by Hiram Powers 1843
|
| : | [1] |
