|
|
Dante Gabriel Rossetti 1828-82.
.
1847.
Self portrait (1847)
, , , . , . , . , . , . , , , , , - , , , .
, , , , , . 1841 , , . . . , , 1845 . . , , , , .
1847 .
1853 .
Frances M.L. Rossetti.
. " " " ". 1847 .
1847 . , , . , . , .
1847 1474 " . ", . , .
: "" . 1847 "" 1849 .
1849 " "
, , , . , , " " , "", , , .
, , " ", " " , " " . - .
1855 .
,
Fitzwilliam Museum - Cambridge, UK
1870
Self portrait (1870)
5.Rossetti 1858-59 1858-59
, , .. . , . .
.
: ( , , - ) . , .
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. . Christina Rossetti.
2. . Elizabeth Siddal.
3. . Alexa Wilding. ALEXA WILDING
4. . Fanny Cornforth
5. . Annie Miller. ANNIE MILLER
6. Jane Morris Burden JANE MORRIS BURDEN
7. . Marie Spartali Stillman.
:http://www.youtube.com/watch?v=KW6ATsQTpcw&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
, , , , , , ( ). . « »:
« ,
,
, .
, ,
,
, , .
,
.
, ,
, .
, , .
, .
« » « » 1896.
‘One face looks out from all his canvases,
One selfsame figure sits or walks or leans:
We found her hidden just behind those screens,
That mirror gave back all her loveliness.
A queen in opal or in ruby dress,
A nameless girl in freshest summer-green,
A saint, an angel – every canvas means
The same one meaning, neither more nor less.
He feeds upon her face by day and night,
And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
Not as she is, but as she fills his dream.’
Cristina Rossetti.
‘In an Artist’s Studio’ 1856. from New Poems by Cristina Rossetti Hitherto Unpublished or Uncollected, edited by Michael Rossetti, 1896.
, ... ( ) 1849 . , . . .
The first official shows of painting inscribed P.R.B. – whose meaning had not been revealed to the public – took place in London in 1849. Rossetti exhibited The Girlhood of Mary Virgin at Free Exhibition at Hyde Park Corner, also showing it at the Royal Academy with Millais’ Isabella and Hunt’s Rienzi.
The Girlhood of Mary Virgin was Rossetti’s first large-scale painting. Drawing on medieval religious painting, he deployed a complex iconography.
.
. 1848-1849.
The Girlhood of Mary Virgin. 1849.
83,2*65,4
, , : , , . ( ) . ; .
:
, , , , . , , .
: – , . - , ? .
, .
Models were his mother and sister. Its Rossetti’s first large-scale painting. The complex iconography he explained in a sonnet inscribed on the frame and in another one in the catalog;
‘These are symbols. On that close of red
I’ the centre, is the Tri-point – perfect each
Except the second of its points, to teach
That Christ is not yet born.’
Floral symbols: the lily is the symbol of purity, the palm and the thorn prefigure the seven joys and sorrows of the Virgin.
THE GIRLHOOD OF MARY VIRGIN " "
(For a Picture) ( )
This is that blessed Mary, pre-elect
God's Virgin. Gone is a great while since she . ,
Dwelt thus in Nazareth of Galilee. ,
Her kin she cherished with dwvout respect, , , :
Her gifts were simpleness of intellect, - ;
And supreme patience. From her mother's knee , ,
Faithful and hopeful; wise in charity;
Strong in grave peace; in duty circumspect. .
So held she through her girlhood; as it were ,
An angel-watered lily, that near God ,
Grows and is quiet. Till one dawn, at home , ,
She woke in her white bed, and had no fear -
At all, - yet wept till sunshine, and felt awed: , ,
Because the fulness of the time was come. - .
1848.
, Ecce Ancilla Domini! 1850. , , « ». , , . , .
– . , ( , ) . , , . . « ».
The furore against the Pre-Raphaelites began when Rossetti showed Ecce Ancilla Domini! At the National Institution in April 1850. His brother summarized his approach to the representation of religious themes by describing this painting as a ‘vehicle for representing ideas’. It was intended as part of diptych, the second panel of which would have shown the Virgin’s death, though it was never executed. The critics found this painting disturbing because it was too innovative and daring.
The iconography is curious, with the Virgin shown semi-prostrate. The use of a most untraditional palette virtually reduced to primary colors (white is dominant, whereas the Virgin is normally associated with blue) unleashed the fury of the critics. The atmosphere is unreal but the almost anguished expression Rossetti gives to the Virgin is very human. The painting was an innovative rendering of the theme of the Annunciation. One critic describe the painter as ‘the high priest of this retrograde school’
Ecce Ancilla Domini! 1849 - 1850. The Tate Gallery - London.
72,6*41,9 .
, , . .
Like The Girlhood of Mary Virgin, it is strongly inspired by the medieval pictures Rossetti had seen in Flanders and Italy. Christina was his model.
National Portrait Gallery - London, UK
Christina and Frances Rossetti (1877)
-
.
. 1854-81.
FOUND. 91,4*80cm
Delaware Art Museum - Delaware, USA
"" , . , ( !) . " ", - .
Found the only contemporary theme treated by that painter. The model was Fanny Cornforth, a prostitute and his mistress.
In Rossetti's paintings, Fanny Cornforth appears as a fleshy redhead, in contrast to his more ethereal treatments of his other models, Jane Morris and Elizabeth Siddal.
«» (1854-81), . , « » . . , , «», , . .
, , (, , ). , , , – – .
« … … , , ». ( 1855) , Blackfriars Bridge – . , , « » (1851-1862). -.
, – , , .
, : « , ! !» ( ). «», .
, , 1840-, , 1870-. , 1862 . . ( ).
‘She cries in her locked heart, -“Leave me - I do not know you – go away!’
Rossetti from the poem ‘Found’, that was inspired by the painting of the same name, which was never completed.
Rossetti, who was passionately interested in the poetry of the Italian Renaissance and particularly the works of Dante, began writing at the very outset of his artistic career, in the late 1840s, though his first collection of Poems was not published until 1870. The reason of the lapse in time was because Rossetti had put the manuscripts of his poems in Elizabeth Siddal’s coffin on her premature death in 1862. They were only exhumed seven years later.
.
The Damsel of the Sanct Grael
92*57,7 1874.
Lady Lilith (red chalk on paper).
62x57 cms
Can you imagine the Virgin, or Christina Rossetti, like this?
, . 1852. ( , ).
.
Sibylla Palmifera
, . " " ( ).
: , , , . , . , - , , , . , . - - . - , . , " " . (, ) , - .
The magnificent painting Sibylla Palmifera demonstrates the connections artist Dante Gabriel Rossetti often made between his paintings and his poetry. One of the sonnets from the House of Life reveals the subject of Sibylla Palmifera (or "Soul's Beauty"): This is that Lady Beauty, in whose praiseThy voice and hand shake still, - long known to theeBy flying hair and fluttering hem, - the beatFollowing her daily of thy heart and feet,How passionately and irretrievably,In what fond flight, how many ways and days! The painting features a great deal of symbolic detail. The woman holds a palm, which suggests victory - some sources state that Rossetti meant to represent the victory of the soul over death. Indeed, other symbols in the work seem to reinforce this interpretation. The butterflies that hover in the background are symbols of the soul, and the poppies that appear in the upper right corner are often used to symbolize sleep or death in art. Sibylla Palmifera is also an example of one of Rossetti's primary artistic obsessions - depicting the beautiful woman that so haunted his imagination. In this image, the artist's model was the 'stunner' Alexa Wilding. In addition to Sibylla Palmifera, the lovely Alexa Wilding appears in several of Rossetti's other works, including his Lady Lilith, La Sidonia von Bork" by Edward Burne-Jones, 1860 (Tate Gallery London).
Bocca Baciata
Bocca Baciata
Year1859
Oil on canvas 33,7*30,5 .
Location Museum of Fine Arts, Boston, Boston
. , "" . , .
, " " , :"Bocca baciata non perde ventura, anzi rinnova come fa la luna." ", , , ".
, , , , Alatiel, , -.
William Bell Scott, , ", , , - "" ... , , , ". , , .
Sophie Gray.
Bocca Baciata (1859) is a painting by Dante Gabriel Rossetti which represents a turning point in his career. It was the first of his pictures of single female figures, and established the style that was later to become a signature of his work. The model was Fanny Cornforth, the principal inspiration for Rossetti's sensuous figures.
The title, meaning "mouth that has been kissed", refers to the sexual experience of the subject and is taken from the Italian proverb written on the back of the painting:
Bocca baciata non perde ventura, anzi rinnova come fa la luna.
‘The mouth that has been kissed does not lose its savour,
indeed it renews itself just as the moon does.’
Rossetti, an accomplished translator of early Italian literature, probably knew the proverb from Boccaccio’s Decameron where it is used as the culmination of the tale of Alatiel: a beautiful Saracen princess who, despite having had sex on perhaps ten thousand occasions with eight separate lovers in the space of four years, successfully presents herself to the King of the Algarve as his virgin bride.
Rossetti explained in a letter to William Bell Scott that he was attempting to paint flesh more fully, and to "avoid what I know to be a besetting fault of mine - & indeed rather common to PR painting - that of stipple in the flesh...Even among the old good painters, their portraits and simpler pictures are almost always their masterpieces for colour and execution; and I fancy if one kept this in view, one might have a better chance of learning to paint at last."
The painting may have been influenced by Millais' portrait of his sister-in-law Sophie Gray, completed two years earlier.
, .
First Anniversary 1853
42*61 cm
« » , .
( ) . , ,
, ; , , , , , « ». , . , 1852 , , . . , . 1855 57 . .
, , Paolo and Francesca da Rimini (1855) and Dantis Amor (1859-60). , .
, , . 1860 .
Rossetti fell in love with Elizabeth Siddal (the model Millais used for Ophelia) and their intense relationship profoundly affected his life and career. The hose in Chatham Place to which tey moved in 1852 was the backdrop to their complex and passionate love affair, in which Elizabeth Siddal became his obsessional model and his artistic double. From the start of their relationship, Rossetti guided and encouraged her to draw and to compose poetry. Although the young woman’s poems were not wildly known, her graphic work soon gained a considerable reputation. From 1855 to 1857 John Ruskin gave her a kind of allowance in exchange for all her works. They showed a strong resemblance to Rossetti’s, reflecting a claustrophobic and fascinating love affair.
Rossetti himself projected his passionate feelings for her into paintings illustrating the story of Dante and Beatrice, such as Paolo and Francesca da Rimini (1855) and Dantis Amor (1859-60); this panel was originally the centre door out of three on the upper section of a large settle that was part of Morris’ furniture at Red Lion Square and then at the Red House. Rossetti was torn between his idealized love for Elizabeth Siddal and his liaisons with some of his other models: Fanny Cornforth, a Soho prostitute, and Annie Miller, who was also Hunt’s mistress. He eventually married Siddal in 1860.
Beginning in 1853, with his watercolor, The First Anniversary of the Death of Beatrice, Rossetti painted her in many works. In this piece, Lizzie portrays a regal woman, who visits the distinguished Dante as he writes his autobiography. Too absorbed with his overwhelming passion for Beatrice, Dante initially fails to notice the other people present in the room. Wearing a long, tailored blue gown and a teal headdress, Lizzie clearly occupies a position of considerable rank and beauty. Following this work, Rossetti used Lizzie in other Dante-related pieces, including Dante's Vision of Rachel and Leah (1855) and Beatrice Meeting Dante at a Marriage Feast, Denies him her Salutation (1851).
In the latter painting, Lizzie represented Dante's obsession, Beatrice, and again wore a distinguished, long green dress and possessed exquisite beauty. Surrounded by throngs of supporters, she confronts Dante with a defiance that attests to her authority.
.
Beata Beatrix
86,4*66 cm
Dante Gabriel Rossetti began "Beata Beatrix" a year after Siddal's death.
, . , 1864 1870 . . " " , . - , , , - ( ) . , , , , ( ?) . , . , . , .
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.
Oil on canvas.
Width: 682 mm
Height: 864 mm
. . , . . . .
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.
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.
