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| Dante Gabriel Rossetti |
| 但丁．加百列．羅塞蒂 |
| 主要文類：Poem |
| 資料提供者：Kate Liu/劉紀雯;Raphael Schulte/蕭笛雷 |
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References
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 Rossetti's
images of women
Rossetti
and his patrons
Rossetti's
influence on Munch
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Rossetti's
images of women |
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(The Lady of Shalott and his medieval
sources;
other images of Shalott)
1. Medievalism & death
"Not only the poses of the principal figures but also the water in the
background and the crowd of onlookers in the final version echo the
organization of the fourteenth-century illustration (see below).
In using this as a source, Rossetti, in effect, went one step further
than Tennyson in authenticity, as Tennyson's main soucre was Malory's
book, first printed ...in 1485" (Faxon 92-93).
2.
personal significance
"...the knight is shown gazing at the dead Lady of Shalott, just as
Rossetti would gaze at beauty, especially feminine beauty, and
transform it into art" (Faxon 93)
*Why dead
beauty but not a lively one?
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Dante
Gabriel Rossetti, The Lady of Shallott, 1857
Wood engraving, 35/16 x 31/16 in.
Victoria and Albert Museum, London
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a The British
Library, London |
Lancelot du Lac, (Folio 91v, Add MS 10294), c. 1316-20
The British Library, London |
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The spiritual
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the use
of frames
Above
La Donna Della Finestra,
1879
DGR's late work
"Rosseti
himself consider this his best work" (27)
Left
Dante Gabriel Rossetti, The
Blessed Damozel, 1875-78
Oil on canvas, 68 1/2 x 37 in
The Harvard University Art Museum (with Alice Wilding as the model for
the Damozel)
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the fleshly
"Rossetti use Lilith to
represent the 'Body's Beauty,' in contrast to the Soul's Beauty' of Sibylla
Palmifera. ... Lilith was Adam's first wife--a
seductress and demon woman who gave birth only to devils and who wanted
equal rights in everything" (203)
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Study
of the figure of the Virgin for "Ecce Ancilla Domini!"
Can you
imagine the Virgin, or Christina Rossetti, like this?
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 Rossetti and His Patrons |
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2. The influence of patrons on DGR (see
below for examples)
"It has been suggested that the subjects and handling of Rossetti's
late paintings were influenced by his patrons' desires; and the artist
has been characterized as 'a prisoner, albeit a willing prisoner, of
his own business arrangements.' ...
Because he did not exhibit at the Royal Academy or London galleries,
Rossetti was dependent on a small group of picture buyers,
mostly from the rising
merchant class in provincial industrial centers. ....(164) |
"Rossetti
described his patrons' taste: 'They are special men who buy special
things and lmost never effect a divergence from their limited
loves.' Leyland, for example, liked single-gigure
compositions with musical instruments in them ...
Twollectors, Leyland and Graham (the two who owned the greatest number
of Rossetti's paintings), displayed his work alongside that of
Renaissance painters." (Faxon 169) |
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Dante Gabriel Rossetti, Monna
Vanna, 1866
Oil on canvas, 35 x 34 in.
Tate Gallery, London
"Writing about the painting, Stephens said: "Monna Vanna
or The Lady with the Fan . . . has something
that is evanescent and fickle in her expression, a self-centered
character revealed by every feature, lovely as they are. . .
A heart-shaped jewel of clear white crystal is suspended on her breast,
a hard, cold, colourless gem that is significant of her
soul and its influences" (Faxon 162).
*Self-possessed,
self-centered, or being possessed? |
Dante Gabriel Rossetti, Sibylla
Palmifera, 1866-70 (or Soul's Beauty)
Oil on canvas, 37 x 32 1/2 in.
Lady Lever Art Gallery, Port Sunlight, England
"The palm in the woman's right hand may refer to the traditional symbol
of victory, in this case symbolizing the triumph of beauty or
the soul over death; the butterflies at right are traditional
symbols of the soul." *triumph of soul OR beauty?
**Why are
these two images of Alice Wilding (another of Rossetti's model who
was a dress-maker when meeting DGR) so different?
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| Rossetti's influence on Munch |
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Dante
Gabriel Rossetti, Detail of Paolo and Francesca da Rimini,
1855 |
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| Faxon, Alicia Craig.
Dante
Gabriel Rossetti.
New York: Abreville Press, 1989.
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