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algernon swinburn annie miller baron von gloeden beata beatrix burn-jones camille bonard carlisle wall christina georgina rossetti clark dante gabriel rossetti dudley gallery edward poynter edward robert hughes eleanor fortescue-brickdale elizabeth siddal eugene onegin feet fetish gabriel charls dante rossetti gg augustus leopold girls goblin market henry david thoreau honesuckle jane morris kelmscort manor la pia de' tolomei lady leda mit dem louis de taeye maria rossetti mary magdalene at the door of simon the pharisee morris naked nude painting rossetti simeon solomon sing song a nursery rhyme book stacy marks study tasso and leonora the blessed damozel vampyre water willow william holman hunt women working men's college ́ ́
1855 |
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1.Dantes Vision of Rachel and Leah Watercolour on paper. Tate Gallery, London, UK
- . . Tate Gallery, London, UK
2.Paolo and Francesca da Rimini - Watercolor. Tate Gallery, London, UK.
. . Tate Gallery, London, UK.
3.Beatrice, meeting Dante at a Wedding Feast, denies him her Salutation Watercolour on paper. Ashmolean Museum, Oxford, UK.
, , . . Ashmolean Museum, Oxford, UK.
4.Paolo and Francesca - Graphite sketch. 22.6 cm by 16.7 cm. British Museum.
5.Portrait of Elizabeth Siddal
6. Elizabeth Siddal 1855.
6.Self portrait.
7.Tennyson reading 'Maud'
8. King Arthur's Tomb. 1855-60.
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Fitzwilliam Museum - Cambridge, UK.
1855 "An English Autumn Afternoon" " "
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This watercolour represents the scene Dante sees in a dream (the poet appears at top left). Rachel and Leah, from the story of Jacob in the Biblical book of 'Genesis', can be interpreted as allegories of the contemplative and active lives. Rachel, on the left, contemplates her own reflection in the pool of water, while Leah is actively engaged in gathering flowers to adorn herself
Dante, guided through Purgatory by Virgil, dreams of a meadow where Rachel sits on a stone basin above a stream looking at her reflection in the water, while her sister Leah collects branches of honeysuckle with which to make a garland. The figure in the background is Dante.
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1855 , 1853- Alex. Munro Paolo and Francesca.
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Paolo and Francesca da Rimini, 1855
Watercolor 17,5"*9,75" (44,5cm*24,8 cm) Tate Gallery, London.
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и, , , , . , . “quanti dolci pensier, quanto disio”; :"O lasso!” , “menò costoro al doloroso passo!”;
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Quando rispuosi, cominciai: “Oh lasso,
quanti dolci pensier, quanto disio
menò costoro al doloroso passo!”
Dante, InfernoV.114-116
This Rossetti watercolor depicts the scene from Dante's Inferno V. 127-138 where Francesca & Paolo are reading the Arthurian romances of Lancelot and Guinevere which inspired their fateful kiss:
One day, to pass the time away, we read
of Lancelot— how love had overcome him.
We were alone, and we suspected nothing.
And time and time again that reading led
our eyes to meet, and made our faces pale,
and yet one point alone defeated us.
When we had read how the desired smile
was kissed by one who was so true a lover,
this one, who never shall be parted from me,
while all his body trembled, kissed my mouth.
A Gallehault indeed, that book and he
who wrote it, too; that day we read no more.”
The poets Dante and Virgil (centre) encounter the tragic lovers, Paolo and Francesca, swept in the flaming winds of the Second Circle of Hell (right) in punishment for their adulterous love. The left compartment shows a flashback: the lovers are moved to embrace as they read the story of Lancelot and Guenevere.
The flames are Rossetti's invention. They suggest simultaneously the ardours of love and the torments of hell. Although Dante does not mention fires, Rossetti makes the flames blow diagonally in the wind that characterises Dante's Second Circle.
Dante Gabriel Rossetti had drawn the lovers reading, possibly by Leigh Hunt's poem The Story of Rimini rather than Dante, as early as 1846. William Michael Rossetti records that a triptych was planned in November 1849 with the same scenes as in the watercolor but differently ordered: “In the middle, Paolo and Francesca kissing; on the left, Dante and Virgil in the second circle; on the right, the spirits blowing to and fro.” Drawings of the lovers kissing survive which probably date from this time. But it was only in the autumn of 1855 that Rossetti took the subject up again and completed it as this watercolor in one week. He got 35 guineas for it from Ruskin. A finished pencil drawing showing the lovers kissing in front of a halo-shaped window must have been made slightly earlier.
Paolo is in red and it can be seen that the picture in the book he is reading, which closes the circle and leads to the fateful kiss, shows Lancelot also dressed in red. A plucked red rose lies at the lovers' feet. Ruskin, who offered the watercolor to his protégé Ellen Heaton, who had herself commissioned an unspecified subject from the artist, was worried that the boldness of the scene might make it not quite a young lady's drawing: The common-pretty-timid-mistletoe bough kind of kiss was not what Dante meant. Rossetti has thoroughly understood the passage throughout.
Inscribed at the foot of the left frame: “quanti dolci pensier, quanto disio”; at the foot of the right frame: “menò costoro al doloroso passo!”; at the top of central frame: “O lasso!” (Dante, InfernoV.114-116 with Mandelbaum's translation below)
Quando rispuosi, cominciai: “Oh lasso,
quanti dolci pensier, quanto disio
menò costoro al doloroso passo!”
When I replied, my words began: “Alas,
how many gentle thoughts, how deep a longing,
had led them to the agonizing pass!”
The Passover in the Holy Family: Gathering Bitter Herbs 1855-56
Watercolor 16 x 17inches Tate Gallery London.
Beatrice, meeting Dante at a Wedding Feast, denies him her Salutation 1855
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'Vita Nuova'. , , , . , , .
The subject comes from the 'Vita Nuova'. Beatrice, disapproving of Dante's attentions to another woman, refuses to greet him when they meet at a marriage feast. Beatrice does not know that he has only pretended to favour the other woman in order to conceal his purer love for her.
In 1855, Rossetti completed "Beatrice Meeting Dante at a Wedding Feast, Denies Him Her Salutation." Again, this is a very crowded painting, full of wedding guests and well-wishers. Dante is dressed in red, symbolic of passion, while Beatrice, with the face of Elizabeth Siddal, is dressed in green, symbolic of life, an ironic color, given Beatrice's status as the dead beloved of Dante. It is a grainy watercolor, which results in bright, almost translucent colors.
Beatrice, meeting Dante at a Wedding Feast, denies him her Salutation
1855
1855 " , ". , . , , , , , , , . "" , .
'Vita Nuova'. , , , . , , .
The subject comes from the 'Vita Nuova'. Beatrice, disapproving of Dante's attentions to another woman, refuses to greet him when they meet at a marriage feast. Beatrice does not know that he has only pretended to favour the other woman in order to conceal his purer love for her.
In 1855, Rossetti completed "Beatrice Meeting Dante at a Wedding Feast, Denies Him Her Salutation." Again, this is a very crowded painting, full of wedding guests and well-wishers. Dante is dressed in red, symbolic of passion, while Beatrice, with the face of Elizabeth Siddal, is dressed in green, symbolic of life, an ironic color, given Beatrice's status as the dead beloved of Dante. It is a grainy watercolor, which results in bright, almost translucent colors.
this is Rossetti's “first treatment of an Arthurian subject, though this particular episode does not occur in Malory's Morte d'Arthur...This water–colour may have suggested William Morris's poem King Arthur's Tomb in Defence of Guinevere.”
1855 King Athur's Tomb, . .
Elizabeth Eleanor Siddal
Pencil drawing by D. G. Rossetti (November 1855) [Mark Samuels Lasner collection.
1855 . .
Width: 155 mm
Height: 207 mm
: The Annunciation Robert Browning - An English Autumn Afternoon |
BEATA BEATRIX. |
|
BEATA BEATRIX.
Beata Beatrix
, 1864 , . , , 1862 .
He began the first version of the work, now in the Tate Gallery, London, in 1864,a year after Siddal's death after finding an unfinished oil sketch that he had made of Siddal.
, . , 1864 1870 . 1864 , 1866 Hon. William Comper, 1870- , 1889 .
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Rossetti again represented Lizzie as Dante's Beatrice in one of his most famous works, Beata Beatrix, (1864-1870) which he painted as a memorial to Lizzie after her death. This piece also mimicked the death of Dante's love in his autobiographical work, Vita Nuova. In the work, amidst a yellow haze of relatively indistinct shapes, including Florence's Ponte Vecchio and the figures of Dante and Love, Lizzie sits, representing Dante's Beatrice. With an upturned chin and closed eyes, Lizzie appears keenly aware of her impending fate, death. A bird, which serves as the messenger of death, places a poppy in her hands. Critics have praised the piece for its emotional resonance, which can be felt simply through the work's moving coloring and composition. The true history of Rossetti and his beloved wife further deepens its meaning; although their love had waned at that point, Lizzie still exerted a powerful influence on the artist.
Frame: This smooth gold leaf frame is typical of many DGR pictures from about 1868 forward. It has a simple, rather severe mouldings on either side of very broad, shallow bevelled boards. Large roundels are set into the boards . . . usually placed singly at the mid-point of each side of the painting. In this particular case the roundels and frame inscriptions are closely integrated to the painting. The roundels were possibly inspired by the margin decorations in Plate 14 of Blake's Jobâ The Days of Creation. The texts had been used before by Rossetti as early as 1856 on the original frame of the water-color Dante's Dream . At the bottom is inscribed the line from Jeremiah, Lamentations I, i, quoted by Dante in the Vita Nuova on the death of Beatrice Quomodo sedet sola Civitas!; at the top is the date of Beatrice's death, now partly erased, Jun: Die 9: Anno 1290 (Grieve 23). The roundels placed midway on each side of the frame are contain relief representations of (at the top) the rising sun, (on the right) the stars, (on the left) a crescent moon embracing a single star, and (at the bottom) a land and seascape with the inscription 9 Giugno 1290.They symbolize, in a much more naturalistic way, the same forces that were symbolized by the schematic roundels on the frame of the 1854 Salutation of Beatrice and again probably relate to the closing lines of the Commedia ( Paradiso XXXIII. 143-145) (Grieve23).
Current Location: Birmingham City Museum and Art Gallery
https://rossettiarchive.iath.virginia.edu/docs/s168.rap.html
This version of the work differs sharply from the other oils. The background detail clearly develops the cityscape as Florence (rather than leaving the matter ambiguously Florence or London); and the accessories are quite different as well. The messenger-dove is white in this version, not red, and the poppies are red, not white. The details framing the figure of Love (at the left) are distinctive to this work as well (the arbor vitae is replaced by a wall-niche with a crucifix above. The light is also represented very differently in this work from the others. Here light suffuses the area behind Beatrice from a source that is represented as natural (as the lines of light at the left emphasize). In general, the treatment verges on a kind of realism, even though the general iconic/symbolic composition is retained.
Oil on canvas
34 7/16 x 27 1/4 in. (87.5 x 69.3 cm)
Predella: 26.5 x 69.2 cm
Inscribed top left on frame: JUN: DIE 9 ANNO 1290; top right on frame: QUOMODO SEDET SOLA CIVITAS!; and bottom of frame:
MART: DIE 31 ANNO 1300
VENI, SPONSA, DE LIBANO
He began the first version of the work, now in the Tate Gallery, London, in 1864, after finding an unfinished oil sketch that he had made of Siddal. The Art Institute’s painting is one of two replicas of the Tate composition, but it is the only one with a predella, the small panel at bottom showing the final meeting of Dante and Beatrice in paradise.
. . , . . . , " "
:" Vita Nuova , , ".
One of several versions of this subject, this painting was unfinished at the time of Rossetti's death and the background was completed by Ford Madox Brown. In this version, the poppies are red, perhaps an explicit reference to opium-derived laudanum. Another version of the painting is in the Tate collection. There are also numerous related pencil studies in the Birmingham collection, as well as a large ornamental maijolica dish painted with a scene of Rossetti's 'Dante's Dream'.
.
, . , - . , , .
The dove symbolise a messenger of death. Usually the dove represents Peace or the Holy Spirit. Here, it is the messenger of death. In other versions of the painting the dove is red, symbolising passion and death.
- . , , - , - . , .
The poppy symbolise Death. This is an opium poppy sometimes used to make the drug laudanum. Rossetti's wife died from a drug overdose.
- . 9 . " , , 9 9 1290 .
The sundial represent the passing of time. The shadow on the sundial falls on 9 o'clock. This is time of Beatrice's death in the poem.
, ? - , , , - .
Why is Beatrice's tunic green and the dress purple? Green for life, purple for sorrow. Green means spring life and hope. Purple means sorrow and death.According to Rossetti's friend F.G. Stephens, the grey and green of her dress signify 'the colours of hope and sorrow as well as of love and life' ('Beata Beatrix by Dante Gabriel Rossetti', Portfolio, vol.22, 1891, p.46).
. - ( ) -, , .
- , , .
Rossetti intended to represent her, not at the moment of death, but transformed by a 'sudden spiritual transfiguration' (Rossetti, in a letter of 1873, quoted in Wilson, p.86). She is posed in an attitude of ecstasy, with her hands before her and her lips parted, as if she is about to receive Communion. The picture frame, which was designed by Rossetti, has further references to death and mourning, including the date of Beatrice's death and a phrase from Lamentations 1:1, quoted by Dante in the Vita Nuova: 'Quomodo sedet sola civitas' ('how doth the city sit solitary'), referring to the mourning of Beatrice's death throughout the city of Florence.
: Beata Beatrix Rossetti Vita Nuova |
BEATA BEATRIX. |
|
BEATA BEATRIX.
Beata Beatrix
, 1864 , . , , 1862 .
He began the first version of the work, now in the Tate Gallery, London, in 1864,a year after Siddal's death after finding an unfinished oil sketch that he had made of Siddal.
, . , 1864 1870 . 1864 , 1866 Hon. William Comper, 1870- , 1889 .
. " " , . , , , , . , . . - , .
- , , . . ,
, , " ". - ( - ). ( , ) . , , , , ( ?) . - , , , .
, . , .
Rossetti again represented Lizzie as Dante's Beatrice in one of his most famous works, Beata Beatrix, (1864-1870) which he painted as a memorial to Lizzie after her death. This piece also mimicked the death of Dante's love in his autobiographical work, Vita Nuova. In the work, amidst a yellow haze of relatively indistinct shapes, including Florence's Ponte Vecchio and the figures of Dante and Love, Lizzie sits, representing Dante's Beatrice. With an upturned chin and closed eyes, Lizzie appears keenly aware of her impending fate, death. A bird, which serves as the messenger of death, places a poppy in her hands. Critics have praised the piece for its emotional resonance, which can be felt simply through the work's moving coloring and composition. The true history of Rossetti and his beloved wife further deepens its meaning; although their love had waned at that point, Lizzie still exerted a powerful influence on the artist.
Frame: This smooth gold leaf frame is typical of many DGR pictures from about 1868 forward. It has a simple, rather severe mouldings on either side of very broad, shallow bevelled boards. Large roundels are set into the boards . . . usually placed singly at the mid-point of each side of the painting. In this particular case the roundels and frame inscriptions are closely integrated to the painting. The roundels were possibly inspired by the margin decorations in Plate 14 of Blake's Jobâ The Days of Creation. The texts had been used before by Rossetti as early as 1856 on the original frame of the water-color Dante's Dream . At the bottom is inscribed the line from Jeremiah, Lamentations I, i, quoted by Dante in the Vita Nuova on the death of Beatrice Quomodo sedet sola Civitas!; at the top is the date of Beatrice's death, now partly erased, Jun: Die 9: Anno 1290 (Grieve 23). The roundels placed midway on each side of the frame are contain relief representations of (at the top) the rising sun, (on the right) the stars, (on the left) a crescent moon embracing a single star, and (at the bottom) a land and seascape with the inscription 9 Giugno 1290.They symbolize, in a much more naturalistic way, the same forces that were symbolized by the schematic roundels on the frame of the 1854 Salutation of Beatrice and again probably relate to the closing lines of the Commedia ( Paradiso XXXIII. 143-145) (Grieve23).
Current Location: Birmingham City Museum and Art Gallery
https://rossettiarchive.iath.virginia.edu/docs/s168.rap.html
This version of the work differs sharply from the other oils. The background detail clearly develops the cityscape as Florence (rather than leaving the matter ambiguously Florence or London); and the accessories are quite different as well. The messenger-dove is white in this version, not red, and the poppies are red, not white. The details framing the figure of Love (at the left) are distinctive to this work as well (the arbor vitae is replaced by a wall-niche with a crucifix above. The light is also represented very differently in this work from the others. Here light suffuses the area behind Beatrice from a source that is represented as natural (as the lines of light at the left emphasize). In general, the treatment verges on a kind of realism, even though the general iconic/symbolic composition is retained.
Oil on canvas
34 7/16 x 27 1/4 in. (87.5 x 69.3 cm)
Predella: 26.5 x 69.2 cm
Inscribed top left on frame: JUN: DIE 9 ANNO 1290; top right on frame: QUOMODO SEDET SOLA CIVITAS!; and bottom of frame:
MART: DIE 31 ANNO 1300
VENI, SPONSA, DE LIBANO
He began the first version of the work, now in the Tate Gallery, London, in 1864, after finding an unfinished oil sketch that he had made of Siddal. The Art Institute’s painting is one of two replicas of the Tate composition, but it is the only one with a predella, the small panel at bottom showing the final meeting of Dante and Beatrice in paradise.
. . , . . . , " "
:" Vita Nuova , , ".
One of several versions of this subject, this painting was unfinished at the time of Rossetti's death and the background was completed by Ford Madox Brown. In this version, the poppies are red, perhaps an explicit reference to opium-derived laudanum. Another version of the painting is in the Tate collection. There are also numerous related pencil studies in the Birmingham collection, as well as a large ornamental maijolica dish painted with a scene of Rossetti's 'Dante's Dream'.
.
, . , - . , , .
The dove symbolise a messenger of death. Usually the dove represents Peace or the Holy Spirit. Here, it is the messenger of death. In other versions of the painting the dove is red, symbolising passion and death.
- . , , - , - . , .
The poppy symbolise Death. This is an opium poppy sometimes used to make the drug laudanum. Rossetti's wife died from a drug overdose.
- . 9 . " , , 9 9 1290 .
The sundial represent the passing of time. The shadow on the sundial falls on 9 o'clock. This is time of Beatrice's death in the poem.
, ? - , , , - .
Why is Beatrice's tunic green and the dress purple? Green for life, purple for sorrow. Green means spring life and hope. Purple means sorrow and death.According to Rossetti's friend F.G. Stephens, the grey and green of her dress signify 'the colours of hope and sorrow as well as of love and life' ('Beata Beatrix by Dante Gabriel Rossetti', Portfolio, vol.22, 1891, p.46).
. - ( ) -, , .
- , , .
Rossetti intended to represent her, not at the moment of death, but transformed by a 'sudden spiritual transfiguration' (Rossetti, in a letter of 1873, quoted in Wilson, p.86). She is posed in an attitude of ecstasy, with her hands before her and her lips parted, as if she is about to receive Communion. The picture frame, which was designed by Rossetti, has further references to death and mourning, including the date of Beatrice's death and a phrase from Lamentations 1:1, quoted by Dante in the Vita Nuova: 'Quomodo sedet sola civitas' ('how doth the city sit solitary'), referring to the mourning of Beatrice's death throughout the city of Florence.
: Beata Beatrix Rossetti Vita Nuova |
ROSSETTI. . |
|
.
You can study Rossetti's works in rubriks:
1. ROSSETTI LIFE - , , , . About Rossetti, biography, pre-raphaelits, models, the famous paintings.
2. Little Journeys to the Homes of Great Lovers by Elbert Hubbard
The full list of Ross . . The Full List of Rossetti's works. The titles in English and in Russian.
11. , .
http://www.wikiart.org/en/dante-gabriel-rossetti/jane-morris-the-blue-silk-dress-1868
.
THE ROSSETTI'S MODELS.
https://kristina-lenora.livejournal.com/18390.html
: ( , , - ) . , .
The Pre-Raphaelite women generally fall into two categories: artist’s models (who were predominately wives, lovers, or in the case of Christina Rossetti, sisters of the artists) or Pre-Raphaelite women artists (Lizzie Siddal can be included in both categories). Jane Morris falls in the first category.
1. . Alexa Wilding. ALEXA WILDING
2. . Annie Miller. ANNIE MILLER
4. Jane Morris Burden JANE MORRIS BURDEN
8 . . Marie Spartali Stillman.
:http://www.youtube.com/watch?v=KW6A...feature=related
1849* , ( ).
1856* , .
1857* .
1860* .
1862* .
1863* - .
1865* ,
1849• met Elizabeth Siddal and used her as the main model (not to be used by the others)
1858• met Fanny Cornforth and used her as the main model
1857• met Jane Morris
1860• married Siddal
1862• Siddal died
1863• Fanny Cornforth became somebody else's housekeeper.
1865• used J. Morris as the main model
.
SOME of INTERESTING WORKS.
1. PROSERPINA
4. . The Day Dream . The last finished work of Rossetti.
5. THE BLESSED DAMOSEL .
6. REGINA CORDIUM QUEENG of HEARTS .
7. LADY LILITH@SYBILLA .
: JANE MORRIS BURDEN ASPECTA MEDUSA Elbert Hubbard Jan marsh |
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