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4102 annie miller beata beatrix beatrice meeting dante at a marriage feast burne-jones carlisle wall christina georgina christina georgina rossetti christina rossetti dante gabriel rossetti dudley gallery edward poynter edward robert hughes eleanor fortescue-brickdale elizabeth siddal eugene onegin feet fetish first anniversary ford madox brown frederic william burton gabriel charles dante gabriel charls dante rossetti girls goblin market hans suren honesuckle john inchbold john roddam spencer stanhope karl truppe kelmscort manor lady lawrence list of pre-raphaelite paintings mariana mary magdalene at the door of simon the pharisee mary nazarene naked nude painting pallas rossetti sevenoaks smeralda bandinelli the third reich the glacier of roselaui the lady of shalott ulalume venus verticordia w b scott walter deverell water willow william holman hunt william michael working men's college àä äàíòå / dante's inferno 1967 àðòóð õüþç áàëåò ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äæåéí ìîððèñ æèâîïèñü èñêàòåëü èñêóññòâî êàíàäñêèé ñóðîê êåííåò êëàðê êðèñòèíà ðîññåòòè ëåìïèöêà ëåìïèöêàÿ ìàðèèíñêèé ìåíàäû ìîððèñ íàãîòà íîâûé ðîìàí íîæêè ïèÿ äå òîëîìåè ïðåðàôàýëèòû ïðîçåðïèíà ðîìàí ðîññåòòè ñèääàë ñîìîâà óèëüÿì ìîððèñ ôåòèø õàíò õüþç ÷ààäàåâ ÷àñîâíÿ ïîäåñòà ý ë á å ð ò ã ð ý ì ýâåëèí äå ìîðãàí ýäâàðä ðîáåðò õüþç ýëèçàáåò ñèääàë
ÏÐÅÄÒÅ×È. PRECURSORS. |
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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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