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an english autumn afternoon annie miller aspecta medusa beata beatrix burne-jones carlisle wall christina georgina rossetti christina rossetti dante gabriel rossetti eleanor fortescue-brickdale eugene onegin fanny co feet fetish frank cadogan cowper gabriel charls dante rossetti gg augustus leopold girls goblin market hannibal lecter john everett millais kelmscort manor la girlandata la pia de' tolomei lady lawrence lempica madox brown mariana mary magdalene at the door of simon the pharisee may morris naked nude regent street rossetti sancta lilias simeon solomon sing song a nursery rhyme book stacy marks the damsel of the sanct grael the music master vampyre william holman hunt william michael rossetti willian allinham working men's college àðòóð õüþç áàëåò áåñïëàòíî áëàæåííàÿ áåàòðè÷å áîéñ ãàëåðåÿ òåéò ãàìëåò è îôåëèÿ ãåíðè òðåôôðè äóí ãîëóáü ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí æèâîïèñü æèâîòíûå èñêàòåëü èñêóññòâî êëàðê êðèñòèíà ðîññåòòè ëåìïèöêàÿ ìàðèèíñêèé ìàðèÿ ìàãäàëèíà ó äâåðåé ñèìîíà-ôàðèñåÿ ìåíàäû íàãîòà íîâûé ðîìàí íîæêè ïîýçèÿ. christina rossetti poems ïðåðàôàýëèòû ïðîçåðïèíà ðèñóþùèé àíãåëà ðîìàí ðîññåòòè ñèääàë ñèìâîëèçì ñêà÷àòü ñîìîâà ñîöðåàëèçì òî́ìàñ êàðëǻéëü óîòåðõàóç ôàííè êîðíôîðò õàíò õüþç ÷ààäàåâ ýïèãðàô
ÏÐÅÄÒÅ×È. PRECURSORS. |
Äíåâíèê |
ÏÐÅÄÒÅ×È. PRECURSORS.
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Áîëüøîå âëèÿíèå íà áóäóùèõ áðàòüåâ îêàçàë óìåðøèé â 1844 ãîäó óðîæåíåö Ëîíäîíà Òåîäîð ôîí Õîëüñò (Theodor von Holst), ñòàâøèé ñâÿçóþùèì çâåíîì ìåæäó õóäîæíèêàìè ðàííåãî ðåàëèçìà (åãî ó÷èòåëü Ãåíðè Ôîñëè) è ïðåðàôàýëèòàìè, êîòîðûå ïîçíàêîìèëèñü ñ åãî òâîð÷åñòâîì óæå ïîñëå åãî áåçâðåìåííîé êîí÷èíû.
Óèëüÿì Áåëë Ñêîòò, Ðîññåòòè, Àëåêñàíäð Ìàíðî è Ìèëåñ áûëè âîñõèùåíû ìðà÷íûìè, òðàãè÷åñêèìè è ãîòè÷åñêèìè îáðàçàìè åãî ïðîèçâåäåíèé.
Theodor von Holst: The Bride, 1842.
Õàëüñò ñòàë âàæíûì ñâÿçóþùèì çâåíîì ìåæäó õóäîæíèêàìè ðàííåãî ðîìàíòèçìà, òàêèìè êàê åãî ó÷èòåëü Ãåíðè Ôîêñëè, è ïðåðàôàýëèòàìè. Âëèÿíèå Õàëüñòà íà ïðåðàôàýëèòîâ îòíîñèòñÿ ê ïåðèîäó, êîãäà åãî óæå íå áûëî â æèâûõ. Óèëüÿì Áåëë Ñêîòò, Ðîññåòòè, Ìîíðî è Ìèëëåñ è÷åñêèìè îáðàçàìè åãî ïðîèçâåäåíèé. Ðîññåòòè ðàçäåëÿë óâëå÷åíèå Õîëüñòà òâîð÷åñòâîì øòå è Äàíòå.
Òàêæå îäèí âàðèàíò Íåâåñòû Ìèëëåñ ìîã âèäåòü â äîìå ëîðäà Ëýíäñäàóíà íà Áåðêëè - ñêâåð. Ëàíêàñòåð Õàóñ è â êîëëåêöèè ñâîåãî ïåðâîãî ïîêðîâèòåëÿ Ðàëüôà Òîìàñà Âîçìîæíî, èìåííî Íåâåñòà âäîõíîâèëà åãî íà ñîçäàíèå "Ïîäðóæêè íåâåñòû" è ñåðèè çàãàäî÷íûõ æåíñêèõ ïîðòðåòîâ 1850-õ.
Àëåêñàíäð Ìàíðî âëàäåë áëîêíîòîì "ò¸ìíûõ" ðèñóíêîâ Õîëüñòà.
Dante Gabriel Rossetti, greatly admired Von Holst's work and according to Browne "considered him a significant link between the older generation of English Romantic painters, such as Fuseli and William Blake, and the Pre-Raphaelite circle".
Ðàííèå ðèñóíêè òóøüþ Ðîññåòòè íàïîìèíàþò òåìàòèêîé (ñâåðõúåñòåñòâåííîå) è âûðàçèòåëüíîñòüþ ëèíèé ðàáîòû Õîëüñòà. À "Íåâåñòà" ÿâíî îêàçàëà âëèÿíèå íà ñåðèþ ïîÿñíûõ ïîðòðåòîâ ÷óâñòâåííûõ æåíùèí â äåêîðàòèâíûõ èíòåðüåðàõ, íà÷èíàÿ ñ "Bocca Bociata". Ðîññåòòè óâèäåë "Íåâåñòó" â Ëîíäîíå â Ñòàôôîðä Õàóñ è óïîìÿíóë å¸ â ãëàâå ê êíèãå Àëåêñàíäðà Ãèëêðèñòà "Æèçíü Óèëüÿìà Áëåéêà" 1863 ã. êàê "ñàìîå ïðåêðàñíîå ïðîèçâåäåíèå"
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Ìåòêè: ïðåðàôàýëèòû ðîññåòòè õàíò ýãã Kelmscott Mano Óèëüÿì Ìîððèñ Êàíóí ñâ. Àãíåññû The Maids of Elfen-Mere Dante Gabriel Rossetti The Music Master Willian Allinham |
ÏÐÅÄÒÅ×È. PRECURSORS. |
Äíåâíèê |
ÏÐÅÄÒÅ×È. PRECURSORS.
3
Áîëüøîå âëèÿíèå íà áóäóùèõ áðàòüåâ îêàçàë óìåðøèé â 1844 ãîäó óðîæåíåö Ëîíäîíà Òåîäîð ôîí Õîëüñò (Theodor von Holst), ñòàâøèé ñâÿçóþùèì çâåíîì ìåæäó õóäîæíèêàìè ðàííåãî ðåàëèçìà (åãî ó÷èòåëü Ãåíðè Ôîñëè) è ïðåðàôàýëèòàìè, êîòîðûå ïîçíàêîìèëèñü ñ åãî òâîð÷åñòâîì óæå ïîñëå åãî áåçâðåìåííîé êîí÷èíû.
Óèëüÿì Áåëë Ñêîòò, Ðîññåòòè, Àëåêñàíäð Ìàíðî è Ìèëåñ áûëè âîñõèùåíû ìðà÷íûìè, òðàãè÷åñêèìè è ãîòè÷åñêèìè îáðàçàìè åãî ïðîèçâåäåíèé.
Theodor von Holst: The Bride, 1842.
Õàëüñò ñòàë âàæíûì ñâÿçóþùèì çâåíîì ìåæäó õóäîæíèêàìè ðàííåãî ðîìàíòèçìà, òàêèìè êàê åãî ó÷èòåëü Ãåíðè Ôîêñëè, è ïðåðàôàýëèòàìè. Âëèÿíèå Õàëüñòà íà ïðåðàôàýëèòîâ îòíîñèòñÿ ê ïåðèîäó, êîãäà åãî óæå íå áûëî â æèâûõ. Óèëüÿì Áåëë Ñêîòò, Ðîññåòòè, Ìîíðî è Ìèëëåñ è÷åñêèìè îáðàçàìè åãî ïðîèçâåäåíèé. Ðîññåòòè ðàçäåëÿë óâëå÷åíèå Õîëüñòà òâîð÷åñòâîì øòå è Äàíòå.
Òàêæå îäèí âàðèàíò Íåâåñòû Ìèëëåñ ìîã âèäåòü â äîìå ëîðäà Ëýíäñäàóíà íà Áåðêëè - ñêâåð. Ëàíêàñòåð Õàóñ è â êîëëåêöèè ñâîåãî ïåðâîãî ïîêðîâèòåëÿ Ðàëüôà Òîìàñà Âîçìîæíî, èìåííî Íåâåñòà âäîõíîâèëà åãî íà ñîçäàíèå "Ïîäðóæêè íåâåñòû" è ñåðèè çàãàäî÷íûõ æåíñêèõ ïîðòðåòîâ 1850-õ.
Àëåêñàíäð Ìàíðî âëàäåë áëîêíîòîì "ò¸ìíûõ" ðèñóíêîâ Õîëüñòà.
Dante Gabriel Rossetti, greatly admired Von Holst's work and according to Browne "considered him a significant link between the older generation of English Romantic painters, such as Fuseli and William Blake, and the Pre-Raphaelite circle".
Ðàííèå ðèñóíêè òóøüþ Ðîññåòòè íàïîìèíàþò òåìàòèêîé (ñâåðõúåñòåñòâåííîå) è âûðàçèòåëüíîñòüþ ëèíèé ðàáîòû Õîëüñòà. À "Íåâåñòà" ÿâíî îêàçàëà âëèÿíèå íà ñåðèþ ïîÿñíûõ ïîðòðåòîâ ÷óâñòâåííûõ æåíùèí â äåêîðàòèâíûõ èíòåðüåðàõ, íà÷èíàÿ ñ "Bocca Bociata". Ðîññåòòè óâèäåë "Íåâåñòó" â Ëîíäîíå â Ñòàôôîðä Õàóñ è óïîìÿíóë å¸ â ãëàâå ê êíèãå Àëåêñàíäðà Ãèëêðèñòà "Æèçíü Óèëüÿìà Áëåéêà" 1863 ã. êàê "ñàìîå ïðåêðàñíîå ïðîèçâåäåíèå"
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Ìåòêè: ïðåðàôàýëèòû ðîññåòòè õàíò ýãã Kelmscott Mano Óèëüÿì Ìîððèñ Êàíóí ñâ. Àãíåññû The Maids of Elfen-Mere Dante Gabriel Rossetti The Music Master Willian Allinham |
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