-Ìåòêè

a revery annie miller arthur hughes aspecta medusa baron von gloeden beata beatrix bluebird burne-jones carlisle wall christina georgina rossetti christina rossetti clark cristina rossetti dante gabriel rossetti dr john polidori dudley gallery edward poynter eleanor fortescue-brickdale elizabeth eleanor siddal elizabeth siddal english version eugene onegin fanny co feet fetish fiammetta first anniversary ford madox brown found francois-joseph navez frederic william burton gabriel charles dante gabriel charls dante rossetti george price boyce girls goblin market hans suren he story of st. george and the dragon holy grail jacques-louis david john byam shaw john everett millais john roddam spencer stanhope karl truppe kelmscort manor kent la pia de' tolomei lady lawrence lempica liberty list of pre-raphaelite paintings louis de taeye magdalene maria francesca mariana mary magdalene at the door of simon the pharisee mary nazarene moore morris naked nude orient goods oxfordshire painting pallas pansy patricia peasant venus pre-raphaelite raphaelite brotherhood rayskin reich rossett rossetti self portrait sevenoaks sir john everett millais soviet study the third reich the blessed damozel the raven vampyre vanitas vision of fiammetta w b scott william holman hunt women working men's college àä äàíòå / dante's inferno 1967 àðòóð õüþç áàëåðèíû áàëåò áåëûå ðîçû áåñïëàòíî áëàæåííàÿ áåàòðè÷å âîðîí ãåòåðà ãîëóáü ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äâåíàäöàòàÿ íî÷ü äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí äæîí óèëüÿì ïîëèäîðè åâãåíèé îíåãèí æèâîïèñü æèâîòíûå èíòåðíåò èñêàòåëü èñêóññòâî êåííåò êèíî êëàðê êîëåãîâà êîðîëåâà êðèñòèíà ðîññåòòè ëàðåö êîðîëÿ ðåíå? ëåìïèöêà ëåìïèöêàÿ ëåðìîíòîâ ìàðèèíñêèé ìàðèÿ ôðàí÷åñêà ìåíàäû ìåíäåëååâ ìîððèñ ìóçåè ìýäîêñ áðàóí íàãîòà íàéäåíà íàéäåííàÿ íàñèëèå íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ îíëàéí ïèÿ äå òîëîìåè ïîýçèÿ ðîññåòòè ïîýçèÿ ðîññåòòè ïðåðàôàýëèòû ïðîçåðïèíà ðîìàí ðîññåòòè ñàìîõâàëîâ ñåêñ ñèääàë ñêîòò ôèòöæåðàëüä ñìîòðåòü ñîìîâà ñîöðåàëèçì ñòàñîâ ñòèõè òàìàðà ëåìïèöêà òðåòèé ðåéõ óèëüÿì ìîððèñ óîòåðõàóç ôàííè êîðíôîðò ôåòèø ôèàìåòòà ôîòî ôðèäåðèê ëåéòîí õàíò õüþç ÷ààäàåâ øàðëîò ñòðèò ý ë á å ð ò ã ð ý ì ýâåëèí äå ìîðãàí ýêçèñòåíöèÿ ýëèçàáåò ñèääàë ýïèãðàô ýññå

 -Ðóáðèêè

 -Ïîèñê ïî äíåâíèêó

Ïîèñê ñîîáùåíèé â ëþäàí_êóïîë

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 -Ñîîáùåñòâà

Ó÷àñòíèê ñîîáùåñòâ (Âñåãî â ñïèñêå: 1) Live_Memory

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Çàïèñè ñ ìåòêîé william michael

(è åùå 2 çàïèñÿì íà ñàéòå ñîïîñòàâëåíà òàêàÿ ìåòêà)

Äðóãèå ìåòêè ïîëüçîâàòåëÿ ↓

7249 all saints church annie miller art and poetry baron von gloeden beata beatrix beatrice meeting dante at a marriage feast bluebird carlisle wall christina georgina rossetti clark dante gabriel rossetti dudley gallery edward poynter eleanor fortescue-brickdale elizabeth siddal feet ferdinand preiss fetish gabriel charls dante rossetti girls goblin market grave of dante gabriel rossetti john byam shaw karl truppe kelmscort manor la pia de' tolomei lady louis de taeye mariana mary magdalene at the door of simon the pharisee morris naked nude oxfordshire painting raphaelite brotherhood regent street rossetti study the blessed damozel the glacier of roselaui ulalume vampyre william holman hunt william michael women working men's college à.ñ. ïóøêèí àíþòèíû ãëàçêè áàëåò äàíòå äàíòå ãàáðèýëü ðîññåòòè äæåéí ìîððèñ åâãåíèé îíåãèí æèâîïèñü èñêàòåëü èñêóññòâî êåííåò êëàðê êîëåãîâà êðèñòèíà ðîññåòòè ëåìïèöêà ëåìïèöêàÿ ìàðèèíñêèé ìåíàäû ìîððèñ íàñèëèå íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ ïèÿ äå òîëîìåè ïðåðàôàýëèòû ðîìàí ðîññåòòè ñåêñ ñèääàë òàìàðà ëåìïèöêà óèëüÿì ìîððèñ óîë ôåòèø ôðèäåðèê ëåéòîí õàíò õðèñòîôîð õüþç ÷ààäàåâ ýëèçàáåò ñèääàë
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ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ È ÒÂÎÐ×ÅÑÒÂÎ. THE LIFE AND OEUVRE. 1867-69

Äíåâíèê

×åòâåðã, 02 Äåêàáðÿ 2021 ã. 21:41 + â öèòàòíèê

ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ È ÒÂÎÐ×ÅÑÒÂÎ. THE LIFE AND OEUVRE. 1867-69

Îñåíüþ 1868 ãîäà ñî ñâîèì äðóãîì Áåëëîì Ñêîòòîì îòïðàâèëñÿ â Ýéðøèð, îñòàíîâèëèñü â Ïåíêõèëë-Êàñë ó ìèññ Áîéä, ïîäðóãè Ñêîòòà. Çäåñü Ðîññåòòè ïîçíàêîìèëñÿ ñ ñîëîäîâûì âèñêè è ïðèñòðàñòèëñÿ ê íåìó.  Ïåíêõèëë-Êàñë Ðîññåòòè ïðèåçæàë è â 1869 ãîäó, êîãäà óåçæàë èç Ëîíäîíà, ÷òîáû íå ïðèñóòñòâîâàòü ïðè âñêðûòèè ìîãèëû Ëèççè.  Ïîñëå ñìåðòè Ñèääàë Ðîññåòòè ïîìåñòèë â å¸ ãðîá ðóêîïèñü ñòèõîâ, êîòîðûå îí ïëàíèðîâàë îïóáëèêîâàòü ïîñëå ïåðåâîäà Early Italian Poets (1861).  1869 ãîäó ðóêîïèñü èçâëå÷åíà èç ãðîáà è îïóáëèêîâàíà â 1870 ãîäó.  

     Åãî Poems 1870 âêëþ÷àëè ýêñãóìèðîâàííûå èç ìîãèëû Ëèççè è íîâûå, âäîõíîâë¸ííûå Äæåéí ñ êîòîðîé îí ïðîæèë ñëåäóþùåå ëåòî â Kelmscort Manor.



 

Áåç íàçâàíèÿ (206x245, 5Kb)

 

 

Ìå÷òàòåëüíîñòü 1868 ã.

 

     Ïîñëå ñìåðòè Ñèääàë Ðîññåòòè ïîìåñòèë â å¸ ãðîá ðóêîïèñü ñòèõîâ, êîòîðûå îí ïëàíèðîâàë îïóáëèêîâàòü ïîñëå ïåðåâîäà Early Italian Poets (1861).  1869 ãîäó ðóêîïèñü èçâëå÷åíà èç ãðîáà è îïóáëèêîâàíà â 1870 ãîäó. Åãî Poems 1870 âêëþ÷àëè ýêñãóìèðîâàííûå èç ìîãèëû Ëèççè è íîâûå, âäîõíîâë¸ííûå Äæåéí ñ êîòîðîé îí ïðîæèë ñëåäóþùåå ëåòî â Kelmscort Manor. 

s224a (300x414, 21Kb)

Pandora (first finished study) 1869

 

 

       Ñóùåñòâóåò íåñêîëüêî âàðèàíòîâ ìèôà î Ïàíäîðå, îäèí èç êîòîðûõ èçëîæåí â êíèãå The generall history of Women Author: Heywood, Thomas. ýêçåìïëÿðîì êîòîðîé âëàäåë Ðîññåòòè. Ïî ýòîé âåðñèè Ïàíäîðà ñàìà îòêðûëà ÿùèê, ñîäåðæàâøèé âñå áåäñòâèÿ è íåñ÷àñòüÿ, è âûïóñòèëà èõ â ìèð, íà äíå îñòàëàñü òîëüêî Íàäåæäà.

   Ñ 1869 ãîäà Ðîññåòòè âñ¸ ÷àùå îáðàùàëñÿ ê ðèñóíêó ìåëîì, îáû÷íî íà òîíèðîâàííîé çåë¸íîé èëè ãîëóáîé áóìàãå. Íà òåìó ìèôà î Ïàíäîðå îí ñîçäàë íåñêîëüêî ðàáîò ìåëîì è êàðòèíó ìàñëîì. Ïîçà íà äàííîì ðèñóíêå, âîçìîæíî, âçÿòà ñ îäíîé èç ôîòîãðàôèé, ñäåëàííûõ Ðîññåòòè â 1865 ãîäó ñ Ìîððèñ.

25438587_sa140p (350x490, 35Kb) 25437774_sa140i (350x486, 23Kb)

íà ìíîãèõ ôîòî ïîä÷¸ðêíóòà äëèíà è âûðàçèòåëüíîñòü ðóê, âî âñåõ êàðòèíàõ, íàïèñàííûõ Ðîññåòòè ñ Ìîððèñ ðóêè èãðàþò âàæíóþ ðîëü.

michelangelo-dawn-dusk-lorenzo-medici-duke-urbino-tomb-new-sacristy-florence-09 (307x448, 25Kb)Ïðàâàÿ ðóêà Ìîððèñ íàïîìèíàåò ëåâóþ ó Michelangelo's "Dawn" in Medici Chapel.

 

       EPIMETHEUS was the Titan god of afterthought and excuses. He and his brother Prometheus were given the task of populating the earth with animals and men. However, Epimetheus quickly exhausted the supply of gifts allotted for the task in the equipment of animals, leaving Prometheus' masterpiece, mankind, completely helpless. As a result the Titan brother was forced to steal fire from heaven to arm them. Zeus was angered by this theft and ordered the creation of Pandora, the first woman, as a means to deliver evil into the house of man. Despite the warnings of his brother, Epimetheus happily received her as his bride, but as soon as she arrived she lifted the lid of a jar entrusted her by the gods, releasing a plague of harmful daimones (spirits) to trouble mankind. Only Hope (Elpis) remained behind to succor the unfortunate race. Epimetheus' name was derived from the Greek words epi-, epeita, and mêtis, and means "afterthought" or "late counselling." Pindar calls Afterthought (Epimetheus) the father of Excuse (Prophasis). He was the proverbial fool. 

Pandora's_gift_to_Epimetheus (220x332, 23Kb)

 

   Epimetheus received Pandora as a gift from the gods; a human created by the gods specifically to punish the humans.

Pandora was given a jar which contained all evils of humanity; curious to see what was inside, she opened it and all evils were released into the world. Shocked, she closed it as soon as she could, but only Hope remained trapped inside.
 
 1869 ãîäó Ðîññåòòè ïèøåò ñîíåò íà òåìó ìèôà î Ïàíäîðå. 
What of the end, Pandora? Was it thine,
The deed that set these fiery pinions free?
Ah! wherefore did the olympian consistory
In its own likeness make thee half divine?
Was it that Juno's brow might stand a sign
For ever? and the mien of Pallas be
A deadle thing? and that all men might see
In Venus' eyes the gaze of Proserpine?
 
What of the end? These beat their wings at will,
The ill-born things, the good things turned to ill, -
Powers of the impassioned hours prohibited,
Aye, hug the casket now! Whithere they go
Thou mayst not dare to think: nor canst thou know
If hope still pent there be alive or dead.
 
 
 
 

f13.s224 (308x448, 34Kb)Pandora, sketch

1869 (circa) Medium: pencil on lined note paper Dimensions: 19.7 x 13.2 cm

 

 

 

s224c (300x298, 30Kb)

 
Medium: chalk
Dimensions: Oval, 18 x 16 in.
Signature: monogram
Date on Image: 1869
 
 
 
 
 
 
 
sa110.s224 (300x446, 31Kb)
 
 
 

Pandora

1870 (circa)Medium: watercolour Dimensions: 39 3/4 x 24 1/2 in. Note: Monogram located at lower right.

 

 

 

 

 

 

 

 

 

 

 

1874-8

3-17 (457x700, 226Kb)

       Äàííàÿ âåðñèÿ îòëè÷àåòñÿ îò ðèñóíêà 1869 ãîäà, ïëå÷è äàæå áîëåå ìàññèâíûå ÷åì â Astarte Syriaca  è íàïîìèíàþò Cumaen Sibil of the Sistine ceillng.  Íà êîðîáêå òåïåðü íàäïèñü VLTIMA MANET SPES è êðûëàòàÿ ãîëîâà Íàäåæäû ñ ïîäñîëíóõàìè. Óãðîæàþùåå è ìàíèàêàëüíîå äâèæåíèå çàìåíèëè ëåòàðãè÷åñêóþ ìðà÷íîñòü ðàííèõ âåðñèé. ultima manet spes    the last hope remains îñòà¸òñÿ ïîñëåäíÿÿ íàäåæäà. Ó÷èòûâàÿ, ÷òî Íàäåæäó çàáûëè âûïóñòèòü è îíà îñòàëàñü íà äíå çâó÷èò äâóñìûñëåííî. Ïî÷åìó "V" à íå "U", íåïîíÿòíî. Ëàòûíü õðåíîâî çíàë?

 

Cumaen Sibil of the Sistine

r_Cumaea1 (336x407, 28Kb)

 

 

«Ïðèâåòñòâèå Áåàòðè÷å» —, ñîçäàííàÿ â 1869 ãîäó. Êàðòèíà íå ñâÿçàíà ñ îäíîèì¸ííûìè ðàáîòàìè Ðîññåòòè, ñîçäàííûìè â 1859 è 1880 ãîäó. 

Íàòóðùèöåé äëÿ îáðàçà Áåàòðè÷å ñòàëà Äæåéí Ìîððèñ. Ñþæåò êàðòèíû âçÿò èç ñòèõîòâîðåíèÿ Äàíòå Àëèãüåðè «Íîâàÿ æèçíü», ãäå Äàíòå âïåðâûå âñòðå÷àåò Áåàòðè÷å. Ïîñëå ñìåðòè ñâîåé ñóïðóãè Ýëèçàáåò Ñèääàë, òàêæå èçîáðàæàâøåéñÿ Ðîññåòòè â îáðàçå Áåàòðè÷å, õóäîæíèê àññîöèèðîâàë ñâîè ÷óâñòâà ê Äæåéí Ìîððèñ, íàõîäèâøåéñÿ çàìóæåì, ñ èñòîðèåé Äàíòå è Áåàòðè÷å. Òåêñò íà êàðòèíå ââåðõó ñëåâà — âçÿòû èç ñîíåòà Àëèãüåðè (èç XXVI ÷àñòè, íà÷èíàÿ ñëîâàìè Tanto gentile e tanto onesta pare [Ñòîëü áëàãîðîäíà, ñòîëü ñêðîìíà áûâàåò…]

 

Ïðèâåòñòâèå Áåàòðè÷å. 1869
The Salutation of Beatrice
Õîëñò, ìàñëî. 57,1 × 47 ñì

 

800px-Dante_Gabriel_Rossetti_The_Salutation_of_Beatrice_1869 (336x408, 22Kb)

  

Ïèÿ äå Òîëîìåè. La Pia  Pia de' Tolomei  1868

 

Õîëñò, ìàñëî. 105,4 × 120,6 ñì

Ìóçåé èñêóññòâ Ñïåíñåðà, Ëîóðåíñ

 

Dante_Gabriel_Rossetti_-_Monna_Rosa_(1867) (250x350, 39Kb)«Ìîííà Ðîçà» — êàðòèíà àíãëèéñêîãî õóäîæíèêà-ïðåðàôàýëèòà Äàíòå Ãàáðèýëÿ Ðîññåòòè, ñîçäàííàÿ â 1867 ãîäó, ãäå èçîáðàæåíà Ôðåíñèñ Äîóñîí Ëåéëàíä, ñóïðóãà êîëëåêöèîíåðà Ôðåäåðèêà Ëåéëàíäà.

 

 Âàçó ñòîèò ðàññìàòðèâàòü íå ïðîñòî êàê äåòàëü èíòåðüåðà, â íå¸ õóäîæíèê ïðîïèñàë îòðàæåíèå ïëàòüÿ, öâåòîâ è ôîíà, òàêæå â íåé âèäèòñÿ óâëå÷åíèå Ðîññåòòè âîñòî÷íûìè âåùàìè.

Dante_Gabriel_Rossetti_-_Monna_Rosa_(1862) (313x381, 41Kb)

Ñóùåñòâóåò áîëåå ðàííÿÿ ðàáîòà Ðîññåòòè (1862 ãîä) ñ òàêèì æå íàçâàíèåì, îá å¸ ìåñòîíàõîæäåíèè íà äàííûé ìîìåíò íè÷åãî íå èçâåñòíî

 

 

   

 

 ñâî¸ì ïèñüìå ê Ôðåäåðèêó Ëåéëàíäó, êóïèâøåìó âïîñëåäñòâèè ýòó êàðòèíó, Äàíòå Ãàáðèýëü Ðîññåòòè ïèñàë, ÷òî ïðåóñïåë â ðàáîòå íàä íîâîé êàðòèíîé, óâåëè÷èâ å¸ â ðàçìåðàõ è äîáàâèâ èçîáðàæåíèå ñòðóÿùåéñÿ îäåæäû, à òàêæå, ÷òî åìó íè÷åãî íå îñòà¸òñÿ, êàê âíîâü íàçâàòü ñâî¸ ïðîèçâåäåíèå «Ìîííà Ðîçà», ññûëàÿñü íà ñòðîêè ïîýòà Àíäæåëî Ïîëèöèàíî.  1862 ãîäó õóäîæíèê íàïèñàë ïîðòðåò ñ òàêèì æå íàçâàíèåì, ãäå áûëà èçîáðàæåíà ñóïðóãà Ôðåäåðèêà Ëåéëàíäà, êàê è íà îäíîèì¸ííîé ðàáîòå 1867 ãîäà.  1873 ãîäó Ðîññåòòè íà íåêîòîðîå âðåìÿ çàáðàë êàðòèíó äëÿ òîãî, ÷òîáû ÷àñòè÷íî ïåðåäåëàòü å¸. Âî âðåìÿ ðàáîòû íàä «Ìîííîé Ðîçîé» Ðîññåòòè ïîçíàêîìèë Ëåéëàíäà ñ Äæåéìñîì Ýááîòîì Ìàêíèëîì Óèñòëåðîì; äåòàëè ôîíà êàðòèíû (ïàâëèíüè ïåðüÿ è ôàðôîð) ñõîæè ñ ðàñïèñíîé êîìíàòîé, êîòîðóþ ïîçæå Óèñòëåð ñîçäàñò äëÿ Ëåéëàíäà. «Ìîííà Ðîçà» âìåñòå ñ äðóãèìè ïîðòðåòàìè àâòîðñòâà Ðîññåòòè âèñåëà â êàáèíåòå Ôðåäåðèêà Ëåéëàíäà

 

 1866 áûë çàìåí¸í W. Knestub êàê àññèñòåíò íà H.D. Dunn.

0b38236b2afd402d829bd28eb6d70f9c (289x360, 16Kb)

Portrait painting of a young woman in a blue dress sat at table

Kelmscott Manor, Kelmscott Gloucestershire. 1868.

        1866 ãîäó Óèëüÿì Ìîððèñ ïîïðîñèë ñâîåãî äðóãà Ðîññåòòè íàïèñàòü ïîðòðåò åãî æåíû Äæåéí. Ãîòîâÿñü èñïîëíèòü çàêàç, Ðîññåòòè íàïèñàë áåñ÷èñëåííîå êîëè÷åñòâî íàáðîñêîâ, ñòàðàÿñü òî÷íåå ïåðåäàòü îñîáåííîñòè å¸ îáëèêà: çàâèòûå âîëîñû, çàäóì÷èâûå ãëàçà, ãèáêóþ ëèíèþ ðóê è øåè, âñþ ëåíèâóþ ãðàöèþ æåíùèíû. Íàêîíåö, ïîñëå äâóõ ëåò êîíöåíòðàöèè íà îäíîì ïðåäìåòå, Ðîññåòòè ñîîáùèë Äæåéí, ÷òî ãîòîâ íà÷àòü.

    Íà ïåðâûå ñåàíñû áûë ïðèãëàøåí è Ìîððèñ, íî çàòåì Äæåéí ñòàëà ïðèõîäèòü îäíà.

                                          ÏÎÑËÅÄÍßß ÌÓÇÀ.

                                  JANE  MORRIS

ÄÆÅÉÍ ÌÎÐÐÈÑ Á¨ÐÄÅÍ JANE MORRIS BURDEN

        ×òî áû òàì íè áûëî îíè íàøëè äðóã äðóãà, îäíàêî íà ìîãèëêó Ðîññåòòè, â îòëè÷èå îò Ôàííè, Äæåéí íå íàâåäûâàëàñü.  îáùåì, âûñîêèå îòíîøåíèÿ. Ýòî ÿ î Ìîððèñå, êîòîðûé âñ¸ çíàë, íî êàê-òî íå îñîáåííî ñâåòèëñÿ è ãîëóáêàì íå ìåøàë, ìîæåò ó÷èòåëÿ óâàæàë äîíåëüçÿ? Âîïðîñ îòêðûòûé.

     Marie Spartali Stillman  àêòèâíî ïîçèðîâàëà Ðîññåòòè è áûëà íåïðî÷ü âûéòè çàìóæ çà îâäîâåâøåãî õóäîæíèêà. íî íå ñëîæèëîñü.

sa837.s81 (300x307, 17Kb)

Dante's Dream (Study for Right Hand Attendant, Mrs. Stillman)1870

Ðóáðèêè:  ÐÎÑÑÅÒÒÈ. ROSSETTI./ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ ROSSETTI LIFE

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ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ È ÒÂÎÐ×ÅÑÒÂÎ. THE LIFE AND OEUVRE. 1867-69

Äíåâíèê

×åòâåðã, 02 Äåêàáðÿ 2021 ã. 21:41 + â öèòàòíèê

ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ È ÒÂÎÐ×ÅÑÒÂÎ. THE LIFE AND OEUVRE. 1867-69

Îñåíüþ 1868 ãîäà ñî ñâîèì äðóãîì Áåëëîì Ñêîòòîì îòïðàâèëñÿ â Ýéðøèð, îñòàíîâèëèñü â Ïåíêõèëë-Êàñë ó ìèññ Áîéä, ïîäðóãè Ñêîòòà. Çäåñü Ðîññåòòè ïîçíàêîìèëñÿ ñ ñîëîäîâûì âèñêè è ïðèñòðàñòèëñÿ ê íåìó.  Ïåíêõèëë-Êàñë Ðîññåòòè ïðèåçæàë è â 1869 ãîäó, êîãäà óåçæàë èç Ëîíäîíà, ÷òîáû íå ïðèñóòñòâîâàòü ïðè âñêðûòèè ìîãèëû Ëèççè.  Ïîñëå ñìåðòè Ñèääàë Ðîññåòòè ïîìåñòèë â å¸ ãðîá ðóêîïèñü ñòèõîâ, êîòîðûå îí ïëàíèðîâàë îïóáëèêîâàòü ïîñëå ïåðåâîäà Early Italian Poets (1861).  1869 ãîäó ðóêîïèñü èçâëå÷åíà èç ãðîáà è îïóáëèêîâàíà â 1870 ãîäó.  

     Åãî Poems 1870 âêëþ÷àëè ýêñãóìèðîâàííûå èç ìîãèëû Ëèççè è íîâûå, âäîõíîâë¸ííûå Äæåéí ñ êîòîðîé îí ïðîæèë ñëåäóþùåå ëåòî â Kelmscort Manor.



 

Áåç íàçâàíèÿ (206x245, 5Kb)

 

 

Ìå÷òàòåëüíîñòü 1868 ã.

 

     Ïîñëå ñìåðòè Ñèääàë Ðîññåòòè ïîìåñòèë â å¸ ãðîá ðóêîïèñü ñòèõîâ, êîòîðûå îí ïëàíèðîâàë îïóáëèêîâàòü ïîñëå ïåðåâîäà Early Italian Poets (1861).  1869 ãîäó ðóêîïèñü èçâëå÷åíà èç ãðîáà è îïóáëèêîâàíà â 1870 ãîäó. Åãî Poems 1870 âêëþ÷àëè ýêñãóìèðîâàííûå èç ìîãèëû Ëèççè è íîâûå, âäîõíîâë¸ííûå Äæåéí ñ êîòîðîé îí ïðîæèë ñëåäóþùåå ëåòî â Kelmscort Manor. 

s224a (300x414, 21Kb)

Pandora (first finished study) 1869

 

 

       Ñóùåñòâóåò íåñêîëüêî âàðèàíòîâ ìèôà î Ïàíäîðå, îäèí èç êîòîðûõ èçëîæåí â êíèãå The generall history of Women Author: Heywood, Thomas. ýêçåìïëÿðîì êîòîðîé âëàäåë Ðîññåòòè. Ïî ýòîé âåðñèè Ïàíäîðà ñàìà îòêðûëà ÿùèê, ñîäåðæàâøèé âñå áåäñòâèÿ è íåñ÷àñòüÿ, è âûïóñòèëà èõ â ìèð, íà äíå îñòàëàñü òîëüêî Íàäåæäà.

   Ñ 1869 ãîäà Ðîññåòòè âñ¸ ÷àùå îáðàùàëñÿ ê ðèñóíêó ìåëîì, îáû÷íî íà òîíèðîâàííîé çåë¸íîé èëè ãîëóáîé áóìàãå. Íà òåìó ìèôà î Ïàíäîðå îí ñîçäàë íåñêîëüêî ðàáîò ìåëîì è êàðòèíó ìàñëîì. Ïîçà íà äàííîì ðèñóíêå, âîçìîæíî, âçÿòà ñ îäíîé èç ôîòîãðàôèé, ñäåëàííûõ Ðîññåòòè â 1865 ãîäó ñ Ìîððèñ.

25438587_sa140p (350x490, 35Kb) 25437774_sa140i (350x486, 23Kb)

íà ìíîãèõ ôîòî ïîä÷¸ðêíóòà äëèíà è âûðàçèòåëüíîñòü ðóê, âî âñåõ êàðòèíàõ, íàïèñàííûõ Ðîññåòòè ñ Ìîððèñ ðóêè èãðàþò âàæíóþ ðîëü.

michelangelo-dawn-dusk-lorenzo-medici-duke-urbino-tomb-new-sacristy-florence-09 (307x448, 25Kb)Ïðàâàÿ ðóêà Ìîððèñ íàïîìèíàåò ëåâóþ ó Michelangelo's "Dawn" in Medici Chapel.

 

       EPIMETHEUS was the Titan god of afterthought and excuses. He and his brother Prometheus were given the task of populating the earth with animals and men. However, Epimetheus quickly exhausted the supply of gifts allotted for the task in the equipment of animals, leaving Prometheus' masterpiece, mankind, completely helpless. As a result the Titan brother was forced to steal fire from heaven to arm them. Zeus was angered by this theft and ordered the creation of Pandora, the first woman, as a means to deliver evil into the house of man. Despite the warnings of his brother, Epimetheus happily received her as his bride, but as soon as she arrived she lifted the lid of a jar entrusted her by the gods, releasing a plague of harmful daimones (spirits) to trouble mankind. Only Hope (Elpis) remained behind to succor the unfortunate race. Epimetheus' name was derived from the Greek words epi-, epeita, and mêtis, and means "afterthought" or "late counselling." Pindar calls Afterthought (Epimetheus) the father of Excuse (Prophasis). He was the proverbial fool. 

Pandora's_gift_to_Epimetheus (220x332, 23Kb)

 

   Epimetheus received Pandora as a gift from the gods; a human created by the gods specifically to punish the humans.

Pandora was given a jar which contained all evils of humanity; curious to see what was inside, she opened it and all evils were released into the world. Shocked, she closed it as soon as she could, but only Hope remained trapped inside.
 
 1869 ãîäó Ðîññåòòè ïèøåò ñîíåò íà òåìó ìèôà î Ïàíäîðå. 
What of the end, Pandora? Was it thine,
The deed that set these fiery pinions free?
Ah! wherefore did the olympian consistory
In its own likeness make thee half divine?
Was it that Juno's brow might stand a sign
For ever? and the mien of Pallas be
A deadle thing? and that all men might see
In Venus' eyes the gaze of Proserpine?
 
What of the end? These beat their wings at will,
The ill-born things, the good things turned to ill, -
Powers of the impassioned hours prohibited,
Aye, hug the casket now! Whithere they go
Thou mayst not dare to think: nor canst thou know
If hope still pent there be alive or dead.
 
 
 
 

f13.s224 (308x448, 34Kb)Pandora, sketch

1869 (circa) Medium: pencil on lined note paper Dimensions: 19.7 x 13.2 cm

 

 

 

s224c (300x298, 30Kb)

 
Medium: chalk
Dimensions: Oval, 18 x 16 in.
Signature: monogram
Date on Image: 1869
 
 
 
 
 
 
 
sa110.s224 (300x446, 31Kb)
 
 
 

Pandora

1870 (circa)Medium: watercolour Dimensions: 39 3/4 x 24 1/2 in. Note: Monogram located at lower right.

 

 

 

 

 

 

 

 

 

 

 

1874-8

3-17 (457x700, 226Kb)

       Äàííàÿ âåðñèÿ îòëè÷àåòñÿ îò ðèñóíêà 1869 ãîäà, ïëå÷è äàæå áîëåå ìàññèâíûå ÷åì â Astarte Syriaca  è íàïîìèíàþò Cumaen Sibil of the Sistine ceillng.  Íà êîðîáêå òåïåðü íàäïèñü VLTIMA MANET SPES è êðûëàòàÿ ãîëîâà Íàäåæäû ñ ïîäñîëíóõàìè. Óãðîæàþùåå è ìàíèàêàëüíîå äâèæåíèå çàìåíèëè ëåòàðãè÷åñêóþ ìðà÷íîñòü ðàííèõ âåðñèé. ultima manet spes    the last hope remains îñòà¸òñÿ ïîñëåäíÿÿ íàäåæäà. Ó÷èòûâàÿ, ÷òî Íàäåæäó çàáûëè âûïóñòèòü è îíà îñòàëàñü íà äíå çâó÷èò äâóñìûñëåííî. Ïî÷åìó "V" à íå "U", íåïîíÿòíî. Ëàòûíü õðåíîâî çíàë?

 

Cumaen Sibil of the Sistine

r_Cumaea1 (336x407, 28Kb)

 

 

«Ïðèâåòñòâèå Áåàòðè÷å» —, ñîçäàííàÿ â 1869 ãîäó. Êàðòèíà íå ñâÿçàíà ñ îäíîèì¸ííûìè ðàáîòàìè Ðîññåòòè, ñîçäàííûìè â 1859 è 1880 ãîäó. 

Íàòóðùèöåé äëÿ îáðàçà Áåàòðè÷å ñòàëà Äæåéí Ìîððèñ. Ñþæåò êàðòèíû âçÿò èç ñòèõîòâîðåíèÿ Äàíòå Àëèãüåðè «Íîâàÿ æèçíü», ãäå Äàíòå âïåðâûå âñòðå÷àåò Áåàòðè÷å. Ïîñëå ñìåðòè ñâîåé ñóïðóãè Ýëèçàáåò Ñèääàë, òàêæå èçîáðàæàâøåéñÿ Ðîññåòòè â îáðàçå Áåàòðè÷å, õóäîæíèê àññîöèèðîâàë ñâîè ÷óâñòâà ê Äæåéí Ìîððèñ, íàõîäèâøåéñÿ çàìóæåì, ñ èñòîðèåé Äàíòå è Áåàòðè÷å. Òåêñò íà êàðòèíå ââåðõó ñëåâà — âçÿòû èç ñîíåòà Àëèãüåðè (èç XXVI ÷àñòè, íà÷èíàÿ ñëîâàìè Tanto gentile e tanto onesta pare [Ñòîëü áëàãîðîäíà, ñòîëü ñêðîìíà áûâàåò…]

 

Ïðèâåòñòâèå Áåàòðè÷å. 1869
The Salutation of Beatrice
Õîëñò, ìàñëî. 57,1 × 47 ñì

 

800px-Dante_Gabriel_Rossetti_The_Salutation_of_Beatrice_1869 (336x408, 22Kb)

  

Ïèÿ äå Òîëîìåè. La Pia  Pia de' Tolomei  1868

 

Õîëñò, ìàñëî. 105,4 × 120,6 ñì

Ìóçåé èñêóññòâ Ñïåíñåðà, Ëîóðåíñ

 

Dante_Gabriel_Rossetti_-_Monna_Rosa_(1867) (250x350, 39Kb)«Ìîííà Ðîçà» — êàðòèíà àíãëèéñêîãî õóäîæíèêà-ïðåðàôàýëèòà Äàíòå Ãàáðèýëÿ Ðîññåòòè, ñîçäàííàÿ â 1867 ãîäó, ãäå èçîáðàæåíà Ôðåíñèñ Äîóñîí Ëåéëàíä, ñóïðóãà êîëëåêöèîíåðà Ôðåäåðèêà Ëåéëàíäà.

 

 Âàçó ñòîèò ðàññìàòðèâàòü íå ïðîñòî êàê äåòàëü èíòåðüåðà, â íå¸ õóäîæíèê ïðîïèñàë îòðàæåíèå ïëàòüÿ, öâåòîâ è ôîíà, òàêæå â íåé âèäèòñÿ óâëå÷åíèå Ðîññåòòè âîñòî÷íûìè âåùàìè.

Dante_Gabriel_Rossetti_-_Monna_Rosa_(1862) (313x381, 41Kb)

Ñóùåñòâóåò áîëåå ðàííÿÿ ðàáîòà Ðîññåòòè (1862 ãîä) ñ òàêèì æå íàçâàíèåì, îá å¸ ìåñòîíàõîæäåíèè íà äàííûé ìîìåíò íè÷åãî íå èçâåñòíî

 

 

   

 

 ñâî¸ì ïèñüìå ê Ôðåäåðèêó Ëåéëàíäó, êóïèâøåìó âïîñëåäñòâèè ýòó êàðòèíó, Äàíòå Ãàáðèýëü Ðîññåòòè ïèñàë, ÷òî ïðåóñïåë â ðàáîòå íàä íîâîé êàðòèíîé, óâåëè÷èâ å¸ â ðàçìåðàõ è äîáàâèâ èçîáðàæåíèå ñòðóÿùåéñÿ îäåæäû, à òàêæå, ÷òî åìó íè÷åãî íå îñòà¸òñÿ, êàê âíîâü íàçâàòü ñâî¸ ïðîèçâåäåíèå «Ìîííà Ðîçà», ññûëàÿñü íà ñòðîêè ïîýòà Àíäæåëî Ïîëèöèàíî.  1862 ãîäó õóäîæíèê íàïèñàë ïîðòðåò ñ òàêèì æå íàçâàíèåì, ãäå áûëà èçîáðàæåíà ñóïðóãà Ôðåäåðèêà Ëåéëàíäà, êàê è íà îäíîèì¸ííîé ðàáîòå 1867 ãîäà.  1873 ãîäó Ðîññåòòè íà íåêîòîðîå âðåìÿ çàáðàë êàðòèíó äëÿ òîãî, ÷òîáû ÷àñòè÷íî ïåðåäåëàòü å¸. Âî âðåìÿ ðàáîòû íàä «Ìîííîé Ðîçîé» Ðîññåòòè ïîçíàêîìèë Ëåéëàíäà ñ Äæåéìñîì Ýááîòîì Ìàêíèëîì Óèñòëåðîì; äåòàëè ôîíà êàðòèíû (ïàâëèíüè ïåðüÿ è ôàðôîð) ñõîæè ñ ðàñïèñíîé êîìíàòîé, êîòîðóþ ïîçæå Óèñòëåð ñîçäàñò äëÿ Ëåéëàíäà. «Ìîííà Ðîçà» âìåñòå ñ äðóãèìè ïîðòðåòàìè àâòîðñòâà Ðîññåòòè âèñåëà â êàáèíåòå Ôðåäåðèêà Ëåéëàíäà

 

 1866 áûë çàìåí¸í W. Knestub êàê àññèñòåíò íà H.D. Dunn.

0b38236b2afd402d829bd28eb6d70f9c (289x360, 16Kb)

Portrait painting of a young woman in a blue dress sat at table

Kelmscott Manor, Kelmscott Gloucestershire. 1868.

        1866 ãîäó Óèëüÿì Ìîððèñ ïîïðîñèë ñâîåãî äðóãà Ðîññåòòè íàïèñàòü ïîðòðåò åãî æåíû Äæåéí. Ãîòîâÿñü èñïîëíèòü çàêàç, Ðîññåòòè íàïèñàë áåñ÷èñëåííîå êîëè÷åñòâî íàáðîñêîâ, ñòàðàÿñü òî÷íåå ïåðåäàòü îñîáåííîñòè å¸ îáëèêà: çàâèòûå âîëîñû, çàäóì÷èâûå ãëàçà, ãèáêóþ ëèíèþ ðóê è øåè, âñþ ëåíèâóþ ãðàöèþ æåíùèíû. Íàêîíåö, ïîñëå äâóõ ëåò êîíöåíòðàöèè íà îäíîì ïðåäìåòå, Ðîññåòòè ñîîáùèë Äæåéí, ÷òî ãîòîâ íà÷àòü.

    Íà ïåðâûå ñåàíñû áûë ïðèãëàøåí è Ìîððèñ, íî çàòåì Äæåéí ñòàëà ïðèõîäèòü îäíà.

                                          ÏÎÑËÅÄÍßß ÌÓÇÀ.

                                  JANE  MORRIS

ÄÆÅÉÍ ÌÎÐÐÈÑ Á¨ÐÄÅÍ JANE MORRIS BURDEN

        ×òî áû òàì íè áûëî îíè íàøëè äðóã äðóãà, îäíàêî íà ìîãèëêó Ðîññåòòè, â îòëè÷èå îò Ôàííè, Äæåéí íå íàâåäûâàëàñü.  îáùåì, âûñîêèå îòíîøåíèÿ. Ýòî ÿ î Ìîððèñå, êîòîðûé âñ¸ çíàë, íî êàê-òî íå îñîáåííî ñâåòèëñÿ è ãîëóáêàì íå ìåøàë, ìîæåò ó÷èòåëÿ óâàæàë äîíåëüçÿ? Âîïðîñ îòêðûòûé.

     Marie Spartali Stillman  àêòèâíî ïîçèðîâàëà Ðîññåòòè è áûëà íåïðî÷ü âûéòè çàìóæ çà îâäîâåâøåãî õóäîæíèêà. íî íå ñëîæèëîñü.

sa837.s81 (300x307, 17Kb)

Dante's Dream (Study for Right Hand Attendant, Mrs. Stillman)1870

Ðóáðèêè:  ÐÎÑÑÅÒÒÈ. ROSSETTI./ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ ROSSETTI LIFE

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