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Girlhood of Mary Virgin
Painting ID:: 40700
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Dante Gabriel Rossetti
Girlhood of Mary Virgin
mk156
1849
Oil on canvas
86x66cm
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Beata Beatrix
Painting ID:: 40728
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Dante Gabriel Rossetti
Beata Beatrix
mk156
c.1864-70
Oil on canvas
86.4x66cm
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The infancy of Maria
Painting ID:: 42057
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Dante Gabriel Rossetti
The infancy of Maria
mk166
1849
I Wave on cloth Galeria Tate, London
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Ecce Ancilla Domini i
Painting ID:: 42059
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Dante Gabriel Rossetti
Ecce Ancilla Domini i
mk166
1849-1853
Galeria Tate, London
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The Annunciation
Painting ID:: 51694
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Dante Gabriel Rossetti
The Annunciation
nn09
1850
Oil on canvas
mounted on wood
72.6x41.3cm
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Dante Gabriel Rossetti
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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. |
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