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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE FEl1l'1E FA TALE IMAGE IN LATE NINETEENTH CENTURY ENGLAND: ROSSETTI AND BURNE-JONES A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Trudy Israel January, 1979 The Thesis of Trudy Israel is approved: California State University, Northridge ~ ii ACKNOWLEDGMENTS I would like to sincerely thank the members of my committee. Dr. Camp for his patience and understand­ ing, and Louise Lewis for her continuous encouragement and never-failing energy. I would especially like to express my gratitude to Mary Kenon Breazeale, the chair­ person of my committee, whose extensive knowledge and stimulating presentation of 19th century art originally inspired me. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS iii LIST OF PLATES AND SOURCES . v ABSTRACT xi Chapter 1. INTRODUCTION . ... 1 2. DANTE GABRIEL ROSSETTI AND THE FE~lli FATALE . 6 Early \\fork And The Pre-Raphaelite Brotherhood . 6 Elizabeth Siddal: Hodel, Mistress And \\fife . 10 Elizabeth's Death And The Rise Of The Femme Fatale . 22 Fanny Cornforth 30 Fanny As A Femme Fatale 34 Jane Morris: Late Years . 3. ED\\TARD BURNE-JONES AND THE FEJ:.1NE FATALE 61 Early Years And Education 61 Apprenticeship And Introduction To The Femme Fatale . 67 Stylistic Development: The Femme Fatale . 79 Success And Influence 95 4. Sill1HARY AND CONCLUSION 105 BIBLIOGRAPHY . iv \ PLATES Al.\lD SOURCES Dante Gabriel Rossetti Plate Page 1. Elizabeth Siddal, 1854. Pencil. The Tate Gallery, London. Source: Marina Henderson, Dante Gabriel Rossetti, London, Academy Editions, 1973, Page 15. .. 13 2. Boatmen and Siren, 1853. Pen_and brown ink. v ~--l Manchester City Art Gallery, Manchester, England. Source: Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti 1825- 1882: a Catalo,ue Raisonne, Oxford, Clarendon Press, 1971, Vo ume 2, Plate 53. 17 3. Lucretia Borgia Adm~nistering The Poison Draught, 1860, Photograph of oil on canvas be­ fore repainted. Source: II. C. Marillier, Dante Gabriel Rossetti: An Illustrated Hemorial o:tlHs Art and Life, London, George Bell and Sons, 1904, Page 70. .. 19 4. Lucretia Borgia Administering the Poison praught, 1860. Oil on canvas. Source: H. C. Marillier, Dante Gabriel Rossetti: An Illustrated Hemorial of His Art and Life, London, George Bell and Sons, 1~ Page 70. 20 5. Helen of Troy, 1863. Oil on panel. Kunsthalle, Hamburg, Germany. Source: H. C. Harillier, Dante Gabriel Rossetti: An Illustrated Memorial of His Art and Life, London, George Bell and Sons, 1904, Page ~ . 24 v I Plate Page 6. La Castagnetta, c. 1863. Oil on canvas. Private Collection. Source: H. C. Marillier, Dante Gabriel Rossetti: An Illustrated Memorial of His Art and Life, London, George Bell and Sons, 1904, Page 100. 26 7. Venus Verticordia, 1864. Oil on canvas. Russell-Cotes Art Gallery, Bournernouth, England. Source: David Sonstroem, Rossetti and the Fair Lady, Middletmm, Connecticut, Wesleyan University Press, 1970, Page 114. 28 8. for Fair Rosamund, The Cecil Higgins Art Source: Marina Henderson, Dante Gabriel Rossetti, London, Academy Editions, 1973, Page 12. 31 9. Found, Begun 1853. Oil on canvas. The \Vilmington Society of Fine Arts, Dela-vmre Art Center . Source: Timothy Hilton, The Pre-Raphaelites, New York, Praeger Publishers, 1974, Plate 97. 33 10. Bocca Baciata, 1860. Oil on canvas. The collection of Mrs. Suzette M. Zurcher, Chicago. Source: Edward Lucie-Smith, Symbolist Art, London: Thames and Hudson LTD., 1972, Plate 35. 35 11. Fazies Histress, 1863. Oil on canvas. Tate Gallery, London. Source: Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti 1825-1882": a Catal2_gue RaisonnE?, Oxford, Clarendon Press, 1971, VOlume 2, Plate 234. 37 vi Plate Page 12. Lady Lilith, begun 1864. Photograph of oil on canvas'before repainted. Wilmington Society of Fine Arts, Delaware. Source: David Sonstroem, Rossetti and the Fair Lady, Middletown, Connecticut, Wesleyan University Press, 1970, Page 117. 39 13. Lady Lilith, 1864, partially repainted in 1872. Oil on canvas. lHlmington Society of Fine Arts, Dela\vare. Source: H. C. Harillier, Dante Gabriel Rossetti: An Illustrated Memorial of His Art and Life, London, George Bell and Sons, 1904, Page 90. 43 14. The Merciless Lady, 1865. Watercolor. Fogg Art Museum, Harvard University. Source: H. C. Marillier, Dante Gabriel Rossetti: An Illustrated Memorial of His Art and Life, London, George Bell and Sons, 1904, Page 94. 45 15. Portrait of Jane l1orris, 1866. Oil on can­ vas. The Society of Antiquaries of London. Source: David Sonstroem, Rossetti and the Fair Lady, Middletmvn Connecticut, Hesleyan University Press, 1970, Page 124. 49 16. Pandora, 1871. Oil on canvas. The Art Museum, Princeton University. Source: David Sonstroem, Rossetti and the Fair Lady, Hiddletown, Connecticut, Wesleyan Oniverslty Press, 1970, Page 133. 51 17. Pandora, 1879. Chalk. Fogg Art l1useum, Harvard University. Source: David Sonstroem, Rossetti and the Fair Lady, Middleto\vn Connectlcut, Wesleyan University Press, 1970, Page 134. 52 vii Plate Page 18. Astarte Syrica, 1877. Oil on canvas. Manchester City Art Gallery, Manchester England. Source: Marina Henderson, Dante Gabriel Rossetti, London, AcadeBy Editions, 1973 Page 78. 54 19. A Sea Spell, 1877 .. Oil on canvas. Source: David Sonstroem, Rossetti and the Fair Lady, ~·1iddletown, Connecticut, Wesleyan University Press, 1970, Page 157. 57 20. Fig. 1. The Maids of Elfenmere, 1855. ~vood engraving. Tate Gallery, London. Source: Timothy Hilton. The Pre-Raphaelites. New York, Praeger Publishers, 1974. Plate 125. 68 Edward Burne-Jones 20. Fig. 2. Going to Battle, 1858. Pen and ink. Fitzwilliam Gallery, Cambridge, England. Source: Arts Council of Great Britain. The Paint in s, Graphics and Decorative \vork o Sir Edward Burne-Jones, 1833-1898). London: The Arts Council of Great Britain, 1975, Page 21. 68 21. Ladies and Animals, 1860. Painted wooden sideboard. Victoria and Albert Museum,, London. Source: Hartin Harrison and Bill Waters. Burne-Jones, London: Barrie and Jenkins LTD., ~3--, Page-32. 73 22. Sidonia Von Bork, 1860. Gouache, Tate Gallery London. Source: Arts Council of Great Britain. The Paintings, Graphics and Decorative \vork of Sir Edward Burne-Jones, (1833-1898). London: The Arts Counciroi Great Brftain, 19 7 5 , Page 2 6 . 7 5 viii Plate Page 23. Clara Von Bork, 1860. Gouache. Tate Gallery, London. Source: Arts Council of Great Britain. The Paintin s, Gra hies and Decorative tvork or­ Sir Edward Burne-Jones, 1833-1898), London: The Arts Council of Great Britain, 1975, Page 26. 78 2.4. Herlin and Nimue, 1861. Gouache. Victoria and Albert Museum. Source: Penelope Fitzgerald, Edward Burne­ Janes: A Biography, London, Trinity Press, 1975. 81 25. Hypsiphile and Hedea, 1864. Stained glass panel. Combination Room, Peterhouse College, Cambridge, England. Source: Martin Harrison and Bill \Vaters. Burne-Jones, London: Barrie and Jenkins LTD., 1973, Page 76. 84 26. The Wine of Circe, 1863-1869. Watercolor. Private collection. Source: Malcolm Bell. Sir Edward Burne­ Janes: A Record and Revie·w. London, G. Bell, 1895, Page 92. 86 27. Laus Veneris, 1873-1875. Oil on canvas. The Laing Art Gallery, Newcastle-upon-Tyne, England. Source: Martin Harrison and Bill Waters. Burne-Jones, London: Barrie and Jenkins LTD., 1973, Page 30 .... , . 90 28. The Beguiling of Merlin, 1870-1874. Oil on canvas. Lady Lever Art Gallery, Port Sun­ light, Cheshire England. Source: Martin Harrison and Bill tiJaters. Burne-Jones, London: Barrie and Jenkins LTD., 1975~ate 19. 94 ix Plate Page 29. Depths of the Sea, 1866. Oil on canvas. Lent from a private collection. Source: Arts Council of Great Britain. The Paintings, Graphics and Decorative Work or-­ Sir Edward Burne-Jones, (1833-1898), London: The Arts Council of Great Britain, 1975, Page 57. 97 30. The Sirens, 1875, never completed. Oil on canvas. Private collection, Spain. Source: Hartin Harrison and Bill Waters. Burne-Jones, London: Barrie and Jenkins LTD., 1973, Plate 47. 99 X ABSTRACT: THE FEMME FATALE IMAGE IN LATE 19TH CENTURY ENGLAND: ROSSETTI AND BURNE-JONES by Trudy Israel Master of Arts in Art This paper focuses on the emergence of the femme fatale image in late 19th century England. Specifically it will trace her development through the work of two artists: Dante Gabriel Rossetti and his student, Edward Burne-Jones. The term femme fatale, literally meaning fatal \voman, refers to an irresistably attractive female who seductively lures men into dangerous or compromising situations. She possesses the power to betray and destroy man. Late 19th century artists and poets became so fasci­ nated with her image that by the end of the century the femme fatale was a popularly depicted theme. Rossetti was a painter whose art was directly influenced by his personal life. His subjects were almost exclusively women, and he often used as models the women that he knew intimately. His feelings toward them were frequently expressed in his work. Rossetti first painted a femme fatale as early as 1853, but it was after his wife, Elizabeth, died in 1861 that the fatal woman began to dominate his work. The elements of mystery, danger and sensuousness inherent in the femme fatale appealed to Rossetti and to his student, Burne-Jones as well. The objective of this study is to demonstrate how the femme fatale emerged in the painting of Rossetti, progressed within Burne-Jones' work and how both artists contributed to her parallel development in France. xii Chapter 1 INTRODUCTION Woman has always been an important subject in Western art. The various roles woman has portrayed in each era, have, in a sense, reflected the societal atti­ tudes of the time. In the Renaissance and Baroque Periods, women were primarily depicted in roles drawn from religion, mythology and Classical history. During the late 18th and early 19th centuries, the painting Academies were beginning to decline in power. As a result, artists were able to break away from tradition and began to por­ tray women in a variety of new pictorial roles.

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