Pre-Raphaelite Brotherhood – Early Days
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The Virgin Mary and the Feminist Voice in Dante Gabriel Rossetti's
Małgorzata Hołdys She "felt no fear at all"? : the Virgin Mary and the Feminist Voice in Dante Gabriel Rossetti’s The Girlhood of Mary Virgin and Ecce Ancilla Domini! Acta Philologica nr 45, 36-42 2014 36 Małgorzata Hołdys Małgorzata Hołdys She “felt no fear at all”? The Virgin Mary and the Feminist Voice in Dante Gabriel Rossetti’s The Girlhood of Mary Virgin and Ecce Ancilla Domini! As it is widely known, Dante Gabriel Rossetti has never been a feminist critics’ favorite. He has been frequently criticized for indulging in a way of looking known as “the male gaze,” where the woman is depicted as a lifeless object of contemplation and a thing to be possessed rather than an individualized, thinking human being. Alternatively, his art – both poetic and pictorial – has been critiqued for stripping strong and autonomous women of their femininity.1 Finally, some of his poetic texts – the literary ballad “Eden Bower” or his sonnet “Body’s Beauty” are good examples here – are overtly misogynist in tone, as they locate the origin of the fall in female sexuality and go on to present it in monstrous, grotesque tones. However, after closer scrutiny, it seems that Rossetti does not deserve such harsh criticism. The present paper aims at partial rehabilitation of the leading member of the Pre-Raphaelite Brotherhood by showing his art as protofeminist. To do so, I intend to look closely at two famous early paintings by Rossetti, Ecce Ancilla Domini! (The Annunciation) and The Girlhood of Mary Virgin as well as at two sonnets that accompany the latter painting in order to see how the allegedly anti-feminist artist makes a claim against si- lencing, objectification, and marginalization of women. -
以『前拉菲爾派』為例 Representation of Shakespeare’S Women in Pre-Raphaelite Art
國立臺灣師範大學國際與社會科學學院歐洲文化與觀光研究所 碩士論文 Graduate Institute of European Cultures and Tourism College of International Studies and Social Sciences National Taiwan Normal University Master Thesis 莎士比亞女角的再現 - 以『前拉菲爾派』為例 Representation of Shakespeare’s Women in Pre-Raphaelite Art 許艾薇 Ivy Tang 指導教授﹕陳學毅 博士 Dr. Hsueh-I CHEN 中華民國 107 年 06 月 June 2018 Acknowledgement This thesis could not have been written without the assistance of and support from numerous individuals. First and foremost, I would like to thank Professor Hsueh-I Chen for his generous encouragement, consistent guidance, and full support for the completion of this project. I am hugely appreciative to Professor Chen for encouraging me when I faced doubts and questioned myself throughout the process. I am grateful for the guidance and assistance that Professor Dinu Luca provided in the early stages of this thesis. I am fortunate for his close attention and assistance throughout the shaping of this thesis. My appreciation also goes to my thesis committee members Professor Louis Lo and Professor Candida Syndikus, for their careful examination of my thesis. Their comments and advice helped me to consider new interdisciplinary approaches in the study. I thank Professor Lo for the guidance since undergraduate for whom had first introduced me to the study of Ophelia’s madness and representations. Professor Syndikus’s careful reading and probing questioning added depth and coherence to my thesis. This thesis has benefited from the above individual’s vast knowledge of literature, Shakespeare, British art, philosophical theories, Victorian studies, sensitive editing, insightful interpretations of paintings, and sensitive editing. Without the help of them, this thesis would not have been able to be completed. -
The Afterglow in Egypt Teachers' Notes
Teacher guidance notes The Afterglow in Egypt 1861 A zoomable image of this painting is available by William Holman Hunt on our website to use in the classroom on an interactive whiteboard or projector oil on canvas 82 x 37cm www.ashmolean.org/learning-resources These guidance notes are designed to help you use paintings from our collection as a focus for cross- curricular teaching and learning. A visit to the Ashmolean Museum to see the painting offers your class the perfect ‘learning outside the classroom’ opportunity. Starting questions Questions like these may be useful as a starting point for developing speaking and listening skills with your class. What catches your eye first? What is the lady carrying? Can you describe what she is wearing? What animals can you see? Where do you think the lady is going? What do you think the man doing? Which country do you think this could be? What time of day do you think it is? Why do you think that? If you could step into the painting what would would you feel/smell/hear...? Background Information Ideas for creative planning across the KS1 & 2 curriculum The painting You can use this painting as the starting point for developing pupils critical and creative thinking as well as their Hunt painted two verions of ‘The Afterglow in Egypt’. The first is a life-size painting of a woman learning across the curriculum. You may want to consider possible ‘lines of enquiry’ as a first step in your cross- carrying a sheaf of wheat on her head, which hangs in Southampton Art Gallery. -
The Anonymous Fairy Tale: Ruskin's King of the Golden River
Volume 14 Number 3 Article 8 Spring 3-15-1988 The Anonymous Fairy Tale: Ruskin's King of the Golden River Marjorie J. Burns Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Burns, Marjorie J. (1988) "The Anonymous Fairy Tale: Ruskin's King of the Golden River," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 3 , Article 8. Available at: https://dc.swosu.edu/mythlore/vol14/iss3/8 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Discusses Ruskin’s only fairy tale as a successful work, reflecting his interest in Northern landscapes. Notes female symbolism despite a lack of female characters. Recounts how Ruskin’s psychological problems made him ambivalent toward, and eventually mistrustful of, fantasy. -
Pre-Raphaelite Sisters
Mariëlle Ekkelenkamp exhibition review of Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Mariëlle Ekkelenkamp, exhibition review of “Pre-Raphaelite Sisters ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.13. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ekkelenkamp: Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Pre-Raphaelite Sisters National Portrait Gallery, London October 17, 2019–January 26, 2020 Catalogue: Jan Marsh and Peter Funnell, Pre-Raphaelite Sisters. London: National Portrait Gallery Publications, 2019. 207 pp.; 143 color illus.; bibliography; index. $45.58 (hardcover); $32.49 (paperback) ISBN: 9781855147270 ISBN: 1855147279 The first exhibition devoted exclusively to the contribution of women to the Pre-Raphaelite movement opened in the National Portrait Gallery in London in October. It sheds light on the role of twelve female models, muses, wives, poets, and artists active within the Pre- Raphaelite circle, which is revealed as much less of an exclusive “boys’ club.” The aim of the exhibition was to “redress the balance in showing just how engaged and central women were to the endeavor, as the subjects of the images themselves, but also in their production,” as stated on the back cover of the catalogue accompanying the exhibition. Although there have been previous exhibitions on the female artists associated with the movement, such as in Pre-Raphaelite Women Artists (Manchester City Art Galleries, Birmingham Museum and Art Gallery, Southampton City Art Gallery, 1997–98), the broader scope of this exhibition counts models and relatives among the significant players within art production and distribution. -
PRE-RAPHAELITES: DRAWINGS and WATERCOLOURS Opening Spring 2021, (Dates to Be Announced)
PRESS RELEASE 5 February 2021 for immediate release: PRE-RAPHAELITES: DRAWINGS AND WATERCOLOURS Opening Spring 2021, (dates to be announced) Following the dramatic events of 2020 and significant re-scheduling of exhibition programmes, the Ashmolean is delighted to announce a new exhibition for spring 2021: Pre-Raphaelites: Drawings and Watercolours. With international loans prevented by safety and travel restrictions, the Ashmolean is hugely privileged to be able to draw on its superlative permanent collections. Few people have examined the large number of Pre-Raphaelite works on paper held in the Western Art Print Room. Even enthusiasts and scholars have rarely looked at more than a selection. This exhibition makes it possible to see a wide range of these fragile works together for the first time. They offer an intimate and rare glimpse into the world of the Pre-Raphaelite Brotherhood and the artists associated with the movement. The exhibition includes works of extraordinary beauty, from the portraits they made of each other, studies for paintings and commissions, to subjects taken from history, literature and landscape. Dante Gabriel Rossetti (1828–1882) In 1848 seven young artists, including John Everett Millais, William The Day Dream, 1872–8 Holman Hunt and Dante Gabriel Rossetti, resolved to rebel against the Pastel and black chalk on tinted paper, 104.8 academic teaching of the Royal Academy of Arts. They proposed a × 76.8 cm Ashmolean Museum. University of Oxford new mode of working, forward-looking despite the movement’s name, which would depart from the ‘mannered’ style of artists who came after Raphael. The Pre-Raphaelite Brotherhood (PRB) set out to paint with originality and authenticity by studying nature, celebrating their friends and heroes and taking inspiration from the art and poetry about which they were passionate. -
Dante's Dream: Rossetti's Reading of the Vita Nuova Through the Lens Of
Dante’s Dream: Rossetti’s Reading of the Vita Nuova Through the Lens of a Double Translation Chiara Moriconi, La Sapienza Università di Roma Abstract Dante Gabriel Rossetti’s work as an interlinguistic and intersemiotic translator of the Vita Nuova reveals much about his characteristic adaptation of Dante to the new sensibility of Victorian poetry and art. After translating the episode of the dream of Beatrice’s death into English, Rossetti goes on to illustrate it in an early watercolor version (1865), and then in a final monumental oil (1871) which will be closely examined in this article. By focusing on both phases of Rossettian translation this article means to show how Rossetti derives from the Florentine a distinctively Dantesque iconographic repertoire which he then develops into a post-Romantic set of poetics. It is precisely in the distance between Dante’s poetry and Rossetti’s double works of art that the latter’s understanding of and autonomy from Dante has to be traced. Keywords: Dante Gabriel Rossetti; Dante Alighieri; Vita Nuova; intersemiotic translation; interlinguistic translation; Victorian literature and art; Pathetic Fallacy One of the most crucial episodes of the Vita Nuova is Beatrice’s death as dreamt by Dante. Dante Gabriel Rossetti’s deep love of Dante Alighieri, inherited from his father Gabriele,1 led him to an early reading and translation into English of this chapter of the Florentine’s ‘rubrica ’. He set to illustrate the passage in 1848. The project, however, was soon laid aside and resumed between 1855 and 1857, when the artist made a watercolor of the same episode, Dante’s Dream at the Time of the Death of Beatrice . -
Dante Gabriel Rossetti - Poems
Classic Poetry Series Dante Gabriel Rossetti - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Dante Gabriel Rossetti(12 May 1828 – 9 April 1882) Rossetti was born, the son of an Italian patriot and political refugee and an English mother, in England. He was raised in an environment of cultural and political activity that, it has been suggested, was of more import to his learning than his formal education. This latter was constituted by a general education at King's College from 1836 to 1841 and, following drawing lessons at a school in central London at the age of fourteen, some time as a student at the Royal Academy from 1845 onwards. Here he studied painting with William Hollman Hunt and John Everett Millais who, in 1848, would set up the Pre-Raphaelite Brotherhood with Rossetti, Rossetti's younger brother and three other students. The school's aspirations, in this its first incarnation, was to paint true to nature: a task pursued by way of minute attention to detail and the practice of painting out of doors. Rossetti's principal contribution to the Brotherhood was his insistence on linking poetry and painting, no doubt inspired in part by his earlier and avaricious readings of Keats, Shakespeare, Goethe, Sir Walter Scott, Byron, Edgar Allan Poe and, from 1847 onwards, the works of William Blake. 'The Germ' lasted however for only four issues, all published in 1850. In 1854 Rossetti met and gained an ally in the art critic John Ruskin and, two years later, meetings with Edward Burne-Jones and William Morris set a second phase of the Brotherhood into movement. -
Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university. -
Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works. -
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T. -
GENDER STUDIES 19(1)/2020 1 10.2478/Genst-2021-0001
GENDER STUDIES 19(1)/2020 10.2478/genst-2021-0001 SISTERS OF INSPIRATION. FROM SHAKESPEAREAN HEROINE TO PRE-RAPHAELITE MUSE DANA PERCEC West University of Timișoara [email protected] Abstract: The paper aims to make a connection between the female models of the Pre-Raphaelite Brotherhood and the portrayal of Shakespearean heroines, given that the 19th-century school of painting was using the Bard not only as a source of legitimation and authority, but also as a source of displacement, tackling apparently universal and literary subjects that were in fact disturbing for the Victorian sensibilities, such as love and eroticism, neurosis and madness, or suicide. As more recent scholarship has revealed, the women behind the Brotherhood, while posing as passive and contemplative, objects on display for the public gaze, had more agency and mobility than the average Victorian women. Keywords: Pre-Raphaelite brotherhood, female models, Victorian sensibilities, Shakespearean heroines, sisterhood. 1. Introduction The Pre-Raphaelite movement has received a lot of critical attention both in artistic terms and in terms of the literary sources of inspiration this school of painting used. The founders, Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt were members of the same generation of young imaginative artists, but even half a century after the first PRB exhibition in 1848, a late Pre-Raphaelite like John William Waterhouse had the same technical and aesthetic approach. Escapist and nostalgic, the Pre-Raphaelite painting favours medieval settings, Biblical or mythological themes, lavish costumes and vivid colours. Above all, it brings to the forefront the female subject: beautiful young women in a melancholy pose, enigmatic and inactive, statuesque and aloof.