Dante Gabriel Rossetti

English Pre-Raphaelite Painter, 1828-1882 Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci. Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.


       Prev  17  18  19  20  21  22  23  24  25  26   Next
  Prev Artist       Next Artist     

   
    

Dante Gabriel Rossetti Scenes from Malory's Morte d'Arthur oil


Scenes from Malory's Morte d'Arthur
Painting ID::  28172
Scenes from Malory's Morte d'Arthur
1857 fresco Library Oxford Union Society
1857 fresco_Library_Oxford_Union_Society
   
   
     

Dante Gabriel Rossetti The Girlhood of Mary Virgin oil


The Girlhood of Mary Virgin
Painting ID::  28233
The Girlhood of Mary Virgin
1845-9 Oil on canvas 81.2 x 65.4 cm (32 3/4 x 25 3/4 in) Tate Gallery London (mk63)
   
   
     

Dante Gabriel Rossetti Ecce Ancilla Domini oil


Ecce Ancilla Domini
Painting ID::  28234
Ecce Ancilla Domini
1849-50 Oil on canvas 72.6 x 41.9cm (28 5/8 x 16 1/2 in) Tate Gallery London (mk63)
   
   
     

Dante Gabriel Rossetti Regina Cordium oil


Regina Cordium
Painting ID::  28244
Regina Cordium
1860 Oil on canvas 25.4 x 20.3 cm (10 x 8in) Johannesburg Art Gallery (mk63)
   
   
     

Dante Gabriel Rossetti Bocca Baciata oil


Bocca Baciata
Painting ID::  28246
Bocca Baciata
1859 Oil on wood 33.7 x 30.5 cm (13 1/4 x 12) Museum of Fine Arts,Boston (mk63)
   
   
     

       Prev  17  18  19  20  21  22  23  24  25  26   Next
Prev Artist       Next Artist     

     Dante Gabriel Rossetti
     English Pre-Raphaelite Painter, 1828-1882 Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci. Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.

CONTACT US
Xiamen China Wholesale Oil Painting Stretcher Bar Frame Moulding Mirror Framed Stretched Paintings