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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 Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed.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.
Dante Gabriel Rossetti Dante's Vision of Rachel and Leah (mk28) 1855 Watercolour on paper 35.5 x 31.5 cm Tate Gallery London
Painting ID:: 24416
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Dante Gabriel Rossetti The Blue Closet (mk28) 1857
Watercolour on paper 34.3 x 24.8 cm Tate Gallery London
Painting ID:: 24417
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Dante Gabriel Rossetti The Weding of St George and the Princess Sabra (mk28) 1857
Watercolour on paper 36.5 x 36.5 cm Tate Gallery London
Painting ID:: 24418
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Dante Gabriel Rossetti The Tune of Seven Towers (mk28) 1857 Watercolour on paper 31.4 x 36.5 cm Tate Gallery London
Painting ID:: 24419
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Dante Gabriel Rossetti St Catherine (mk28) 1857
Oil on canvas 34.3 x 24.1 cm Tate Gallery London
Painting ID:: 24420
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Dante Gabriel Rossetti A Christmas Carol (mk28) 1857-8 Watercolour and Gouache on paper,Mounted on panel 34.3 x 29.7 cm Fogg Museum of Art,Harvard University,Cambridge, MA
Painting ID:: 24421
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Dante Gabriel Rossetti The Seed of David (mk28) 1858-64 Oil on canvas centre panel of triptych 228.5 x 152 cm Wings 185 x 62 cm
Llandaff Cathedral Cardiff
Painting ID:: 24422
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Dante Gabriel Rossetti Writing on the Sand (mk28) 1859 Watercolour on paper 26.5 x 24 cm British Museum, London
Painting ID:: 24423
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Dante Gabriel Rossetti Sir Galahad at the Ruined Chapel (mk28) 1859 Watercolour and bodycolour on paper 29.1 x 34.5 cm Birmingham Museum and Art Gallery
Painting ID:: 24424
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Dante Gabriel Rossetti Bocca Baciata (mk28) 1859 Oil on panel 32.2 x 27.1 cm Museum of Fine Arts Boston MA
Painting ID:: 24425
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Dante Gabriel Rossetti Dantis Amor (mk28) 1860 Oil on panel 74.9 x 81.3 cm
Tate Gallery London
Painting ID:: 24426
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Dante Gabriel Rossetti Fair Rosamund (mk28) 1861 Oil on canvas 52 x 42 cm National Museum of Wales,Cardiff
Painting ID:: 24427
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Dante Gabriel Rossetti The Sermon on the Mount (mk28) 1862 Stained glass South nave window All Saints Selsley Gloucestershire
Painting ID:: 24428
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Dante Gabriel Rossetti Portrait of Maria Leathart (mk28) 1862 Oil on panel 33 x 30 cm Family collection
Painting ID:: 24429
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Dante Gabriel Rossetti Girl at a Lattice (mk28) 1862 oil on canvas 30.5 x 27 cm Fitzwilliam Museum University of Cambridge
Painting ID:: 24430
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Dante Gabriel Rossetti Helen of Troy (mk28) 1863 Oil on panel 31 x 27 cm Hamburger Kunsthalle
Painting ID:: 24431
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Dante Gabriel Rossetti How Sir Galahad,Sir Bors and Sir Percival were Fed with the Sanc Grael But Sir Percival's Sister Died by the Way (mk28) 1864 Watercolour on paper 29.2 x 41.9 cm Tate Gallery London
Painting ID:: 24432
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Dante Gabriel Rossetti Beata Beatrix (mk28) 1864-70 Oil on canvas 86 x 66 cm Tate Gallery London
Painting ID:: 24433
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Dante Gabriel Rossetti Venus Verticordia (mk28) 1864-8 Oil on canvas 98 x 70 cm Russell Cotes Art Gallery and Museum Bournemouth
Painting ID:: 24434
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Dante Gabriel Rossetti Study for Venus Verticordia (mk28) c 1863 Chalk on paper 77.5 x 62 cm
Faringdon Collection Trust,Buscot Park Oxfordshire
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.
