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1900) (Unpublished Doctoral Dissertation) Dépôt Institutionnel de l’Université libre de Bruxelles / Université libre de Bruxelles Institutional Repository Thèse de doctorat/ PhD Thesis Citation APA: Brogniez, L. (1998). Préraphaélisme et symbolisme: discours critique et création littéraire en France et en Belgique (1880-1900) (Unpublished doctoral dissertation). Université libre de Bruxelles, Faculté de Philosophie et Lettres, Bruxelles. Disponible à / Available at permalink : https://dipot.ulb.ac.be/dspace/bitstream/2013/211998/2/b3de43a5-b736-4b28-82f0-b2e622b9c45d.txt (English version below) Cette thèse de doctorat a été numérisée par l’Université libre de Bruxelles. L’auteur qui s’opposerait à sa mise en ligne dans DI-fusion est invité à prendre contact avec l’Université ([email protected]). Dans le cas où une version électronique native de la thèse existe, l’Université ne peut garantir que la présente version numérisée soit identique à la version électronique native, ni qu’elle soit la version officielle définitive de la thèse. DI-fusion, le Dépôt Institutionnel de l’Université libre de Bruxelles, recueille la production scientifique de l’Université, mise à disposition en libre accès autant que possible. Les œuvres accessibles dans DI-fusion sont protégées par la législation belge relative aux droits d'auteur et aux droits voisins. 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Toute autre utilisation non mentionnée ci-dessus nécessite l’autorisation de l’auteur de l’œuvre ou de l’ayant droit. ------------------------------------------------------ English Version ------------------------------------------------------------------- This Ph.D. thesis has been digitized by Université libre de Bruxelles. The author who would disagree on its online availability in DI-fusion is invited to contact the University ([email protected]). If a native electronic version of the thesis exists, the University can guarantee neither that the present digitized version is identical to the native electronic version, nor that it is the definitive official version of the thesis. DI-fusion is the Institutional Repository of Université libre de Bruxelles; it collects the research output of the University, available on open access as much as possible. The works included in DI-fusion are protected by the Belgian legislation relating to authors’ rights and neighbouring rights. Any user may, without prior permission from the authors or copyright owners, for private usage or for educational or scientific research purposes, to the extent justified by the non-profit activity, read, download or reproduce on paper or on any other media, the articles or fragments of other works, available in DI-fusion, provided: - The authors, title and full bibliographic details are credited in any copy; - The unique identifier (permalink) for the original metadata page in DI-fusion is indicated; - The content is not changed in any way. It is not permitted to store the work in another database in order to provide access to it; the unique identifier (permalink) indicated above must always be used to provide access to the work. Any other use not mentioned above requires the authors’ or copyright owners’ permission. UNIVERSITÉ LIBRE DE BRUXELLES FACULTÉ DE PHILOSOPHIE ET LETTRES PRÉRAPHAÉLiSME ET SYMBOLISME, Discours critlque et création 'littéraire .en France et en Belgique (1880 -1900) Annexes , Iconographie, Documents, Bibliographie THESE PRÉSENTÉE SOUS LA Dlr~ECTION DU PF\OFESSEÙR JACQUES MARX EN VUE DE L'OBTENTION DU TITRE . L A UR E NeE B R,O G NIE Z DE DOCTEur~ EN PHILOSOPHIE ET LETTRES ORIENTATION LANGUE;; ET LITTÉRATUFlES ROMANES ANNÉE ACADÉMIQUE 1998-1999 l ' ICONOGRAPHIE À fig. 2 : John Everett Millais, Ophelia, 1851-52, huile sur toile, 76.2 X 111.8, Tate Gallery, Londres -> fig. 3 : John Everett Millais, A Dream ofthe Past • Sir Isumbras at the Ford, 1857, huile sur toile, 124.5 x 170.2, National Muséums and Galleries on Merseyside, Lady Lever Art Gallery fig. 4 : William Holman Hunt, The Awakening Conscience, 1853, huiie sur toile, 74 x 55, Taie Galiery, Londres fig. 5 ; Dante Gabriel Rossetti, Found, 1854 (inachevé), huile sur toile, 91.4 x 80, Deiaware Art Muséum, Samuel and Mary R. Bancroft Mémorial Collection fig. 6 : Ford Madox Brown, Work, 1852-65, huile sur toile, 137 x 197.3, Manchester City Art Gaîlery fig. 7 : Dante Gabriel Rossetti, Bocca Baciata, 1859, huile sur panneau, 33.6 x 30.5, collection privée fîg. 8 : Dante Gabriel Rossetti, Veronica Veronese, 1872, huile sur toile, 109.2 x 88.9, Delaware Art Muséum, Samuel and Mary R. Bancroft Mémorial Collection fig. 9 : Edward Burne-Jones, The Wine ofCirce, 1863-69, aquarelle, 70 x 101.5, collection privée fig. 10 : Edward Bume-Jones, Pan et Cérès, gravure reproduite dans la Gazette des Beaux-Arts,']\x\\\Qi 1969 '• ^^îî^^ G?t)riel Rossetti, Proserpina, 1874, huile sur toile, 126.4 x o 1, Tate Gallery, Londres fig. 12 : Dante Gabriel Rossetti, The Sonnet, 27 avril 1880, dessin à la plume et à l'encre, Delaware Art Muséum, Samuel and Mary R. Bancroft Mémorial Collection E. BunNE JONES. — Merliii et Viviain;. fig. 13 : Edward Bume-Jones, Merlin et Viviane, gravure reproduite dans La Peinture anglaise d'Ernest Chesneau, 1882 F. MADOX BROWN. — Roméo et Juliette. fig. 14 : Ford Madox Brown, Roméo et Juliette, gravure reproduite dans La Peinture anglaise d'Ernest Chesneau, 1882 fig. 15 : Frederick Hollyer, A Collection of 72 Photographs after Drawings by Edward Bume-Jones fig. 16 : Dante Gabriel Rossetti, Lady Lilith, 1868, huile sur toile, 95.3 x 81.3, Delaware Art Muséum, Samuel and Mary R. Bancroft Mémorial Collection fig. 17 : Dante Gabriel Rossetti, Venus Verticordia, 1864-68. huile sur toile, 98.1 x 69.9, The Russell-Cotes /\rt Galler>- and Muséum, Bournemouth fig. 18 : Dante Gabriel Rossetti, Early Italian Poets, 1861 fig. J 9 : Dante Gabriel Rossetti, The Blessed Damozel, 1875-78, huile sur toile avec prédeiie, 174 X 94, Harvard University Art Muséums, Fogg Art Muséum, don de Grenviile L. Winthrop fig. 20 : Dante Gabriel Rossetti, Beata Beatrix, 1872, huile sur toile, 87.5 x 69.3 (prédeHe : 26.5 / 69,2), Art Institute of Chicago, Charles L. Hutchinson Collection fig. 22 : Fernand Khnopff, Avec Joséphin Péladan. Istar. dessin pour le frontispice à\Istar de Joséphin Péladan, Paris, 1888, sanguine sur papier, 16.5 X 7, collection privée fig. 23 : Dante Gabriel Rossetti, Sancta Lilias, 1874, huile sur toile, 48.3 x 45.7, Tate Gallery, Londres D. - c. R 0 S ? E 1 T !. — Le Songe de Dame. (DanU-S Drc.vn.) fig. 24 : Dante Gabriel Rossetti, Le Rêve de Dante, gravure reproduite dans La Peinture anglaise d'Ernest Chesneau, 1882 fig. 25 : Edward Burne-Jones, King Cophetua and the Beggar Maid, 1880-84, huile sur toile, 290 X Î36, Tate Gallerv, Londres fig. 26 : Odilon Redon, frontispice pour les Chevaleries sentimentales d'André-Ferdinand Hérold, 1893 fig. 27 : Willy Schlobach, La Morte, 1890, aquarelle, 62 x 138, Bibliothèque Royale Albert 1er, Bruxelles fig. 28 : Femand Khnopff, frontispice pour Bruges-la-Morte de Geor' Rodenbach, 1894 ' fig. 29 : Charles Van Lerberghe, Dessin, Archives et Musée de la Littérature, Bruxelles fig. 30 : Charles Van Lerberghe, Dessin, Archives et Musée de la Littérature, Bruxelles fig. 31 : Charles Van Lerberghe, Dessin, Archives et Musée de la Littérature, Bruxelles fig. 32 : Dante Gabriel Rossetti, La Pia de Tolomei, 1868-80, huile sur toile, 104.8 x 120.6, Spencer Muséum of Art, University of Kansas fig. 33 : Femand Khnopff, Je ne vois plus le ciel à travers tes cheveux lUustration pour Pelléas et Mélisande de Maurice Maeterhnck Bruxelles' Société des Bibliophiles «Les Cinquantes», 1920, BibHothèque Royale Albert 1er, Bruxelles ^ fig. 34 : Walter Crâne, The Sleeping Beauty, illustration pour les Household Stories des frères Grimm fig. 35 : Edward Burne-Jones, The Briar Rose : The Rose Bower, 1871, 60 X 115, Museo de Arte de Ponce, Puerto Rico, Ttie Luis A. Ferré Foundation, Inc. fig. 36 : Edward Burne-Jones, The Tower of Brass, 1888, huiie sur toile, 231 xll3, Glasgow Muséums, Art Gallery and Muséum, Kelvingrove, don de William Connal fig. 37 : Alexandre Séon, Jeanne d'Arc, gravure reproduite dans le catalogue du Salon de la Rose-Croix, Paris, Durand-Ruel, 1892 fig. 38 : Edward Bume-Jones, Tête de femme, 1885, mine de plomb, 24.5 x 15, Musée du Louvre, Département des arts graphiques, Paris fîg. 39 : Edward Bume-Jones, Tête de femme aux yeux baissés (étude pour The Wheel of Fortune), 1872, mine de plomb, 25.2 x 17.7, Musée du Louvre, Département des arts graphiques, Paris fig. 40 : Edward Bume-Jones, Tête de femme de profil vers la droite (étude pour The Wheel of Fortune), 1872, mine de plomb, 25.2 x 17.7, Musée du Louvre, Département des arts graphiques, Paris fïg. 41 : Maurice Denis, lithographie pour La Damoiselle élue, poème lyrique d'après D. G. Rossetti, traduction française de G. Sarrazin, Partition pour chant et piano, Paris, Librairie de l'Art Indépendant, 1893 THE FITZROY PICTURES HEYWOOD SUMNER. Saint Georges et le Dragon. Hauteur : Urgcur : o'",;^. Prix Je la planche coloriée : o francs.
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