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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. -
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. -
Rossetti and the Blue Bower: Pre-Raphaelite Symbolism and Ideals of Beauty with a Single Female Muse
Rossetti and The Blue Bower: Pre-Raphaelite symbolism and ideals of beauty with a single female muse The Blue Bower, Dante Gabriel Rossetti, 1865, oil on canvas, 84 x 70.9 cm, The Barber Institute of Fine Arts, Birmingham. Transcript Hello, and a warm welcome to the first of the online Tuesday Talks given by staff at the Barber Institute, the art gallery located in Birmingham on the University of Birmingham’s Edgbaston campus. I’m Helen Cobby, Assistant Curator, and I’m pleased to have this opportunity to talk to you about the artist Dante Gabriel Rossetti - whose birthday it is today, 12th May - and to discuss his painting called ‘The Blue Bower’ in the Barber’s collection. It was acquired for the gallery in 1959 and is one of the many highlights in the collection. I’ll begin with a brief introduction to Rossetti before considering ‘The Blue Bower’, focusing on the sitter and her costume, and some of the possible symbolic meanings suggested by the ornamentation, composition and accessories. If you have any questions, or would like to put forward ideas and continue discussions after hearing this short talk, please feel free to email the gallery (at [email protected]) or post to our social media platforms. Rossetti is one of the best-known and most popular of the Victorian Pre- Raphaelite painters. He was born in London on 12th May in 1828, which would make him 192 years old today. He came from a talented middle- class family. His father was an Italian political refugee and a scholar of the famous Renaissance poet, Dante, and his sister Christina was a prestigious poet. -
PRE-RAPHAELITE STUNNERS at CHRISTIE’S in JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE : 20 A p r i l 2 0 1 5 PRE-RAPHAELITE STUNNERS AT CHRISTIE’S IN JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton London – This summer, Christie’s London presents a stellar collection of Pre-Raphaelite and Victorian drawings and paintings – one of the very best collections in private hands with museum-quality works, some of which have not been seen for decades. Offered as part of the Victorian, Pre-Raphaelite & British Impressionist Art sale on 16 June 2015, this beautiful collection features 45 works and is expected to realise in the region of £2 million. Leading the collection is one of eight works by Dante Gabriel Rossetti (1828-1882), Beatrice: A Portrait of Jane Morris (estimate: £700,000-£1 million, illustrated above left). The collection presents the opportunity for both established and new collectors alike to acquire works at a wide range of price points with estimates ranging from £1,000 to £700,000. Harriet Drummond, International Head of British Drawings & Watercolours, Christie’s: “Christie's is delighted to be handling this important and breath-takingly beautiful collection of paintings and drawings brought together by a couple of anglophile art lovers, who combined their passion for the aesthetic of the Victorian Period with the discerning eye of the connoisseur collector. It is the art of this Victorian era celebrating beauty through its depiction of largely female figures, from the monumentality of ‘Desdemona’ to the intimacy of ‘Fanny Cornforth, asleep on a chaise-longue’ that so strongly influenced our idea of beauty today.” With the recent re-emergence of interest in the Pre-Raphaelite Brotherhood, led by Tate’s Pre-Raphaelites: Victorian Avant-Garde exhibition in 2012, this collection represents many of the ‘Stunners’ who inspired their paintings and made their work truly ‘romantic’, including eight beguiling works by Rossetti. -
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 . -
Of Dante Gabriel Rossetti and Margaret Macdonald Mackintosh Robyne Erica Calvert
A walk in Willowwood: Decoding the ‘Willowwoods’ of Dante Gabriel Rossetti and Margaret Macdonald Mackintosh Robyne Erica Calvert O ye, all ye that walk in Willowwood … Margaret Macdonald Mackintosh. The pair had previously completed an equally stylish oday, it is unlikely that those who Ladies Luncheon Room for Cranston at the shop for bargains on bustling Ingram Street Tea Room in 1900, the year TSauchiehall Street in Glasgow are of their marriage. Through the impressive aware that they are walking in what was gesso panels The May Queen by Macdonald once a meadow of willow trees. Whatever landscape inspired the Gaelic name for this thoroughfare is long buried under a sea of concrete and pavement. Sauchiehall Street was just as busy in the fin de siècle, when Glasgow was still considered the Second City of the Empire, and shoppers – ladies in particular – needed a place to pause for refreshment from their efforts. Catherine Cranston, the formidable matriarch of her own tea-room empire in Glasgow, knew this and in 1903 selected a narrow four- storey tenement on that street to transform 1. Charles Rennie into her final, and perhaps best, catering Mackintosh, street façade establishment. Charles Rennie Mackintosh, of the Willow Tea Room, who had already proven himself a radically Sauchiehall Street, inventive architect-designer in his work Glasgow. for Cranston at the Buchanan Street and Ingram Street Tea Rooms, was given the Photo author’s collection full commission to redesign the building inside and out.1 2. Margaret Macdonald Mackintosh remodelled the façade of Mackintosh, O Ye, All Ye Cranston’s building in modern white stucco That Walk In Willowwood, that still sets it apart from its neighbours 1902. -
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. -
Art in the Modern World
Art in the Modern World A U G U S T I N E C O L L E G E Beata Beatrix 1863 Dante Gabriel ROSSETTI The Girlhood of Mary 1849 Dante Gabriel ROSSETTI Ecce ancilla Domini 1850 Dante Gabriel ROSSETTI Our English Coasts William Holman HUNT | 1852 Our English Coasts detail 1852 William Holman HUNT The Hireling Shepherd 1851 | William Holman HUNT The Awakening Conscience 1853 William Holman HUNT The Scapegoat 1854 | William Holman HUNT The Shadow of Death 1870-73 William Holman HUNT Christ in the House of His Parents 1849 | John Everett MILLAIS Portrait of John Ruskin 1854 John Everett MILLAIS Ophelia 1852 | John Everett MILLAIS George Herbert at Bemerton 1851 | William DYCE The Man of Sorrows 1860 | William DYCE Louis XIV & Molière 1862 | Jean-Léon GÉRÔME Harvester 1875 William BOUGUEREAU Solitude 1890 Frederick Lord LEIGHTON Seaside 1878 James Jacques Joseph TISSOT The Awakening Heart 1892 William BOUGUEREAU The Beguiling of Merlin 1874 | Edward BURNE JONES Innocence 1873 William BOUGUEREAU Bacchante 1894 William BOUGUEREAU The Baleful Head 1885 Edward BURNE JONES Springtime 1873 Pierre-Auguste COT The Princesse de Broglie James Joseph Jacques TISSOT A Woman of Ambition 1883-85 James Joseph Jacques TISSOT Prayer in Cairo Jean-Léon GEROME The Boyhood of Raleigh 1870 | John Everett MILLAIS Flaming June 1895 Frederick Lord LEIGHTON Lady Lilith 1864 Dante Gabriel ROSSETTI Holyday 1876 | James Joseph Jacques TISSOT Autumn on the Thames 1871 James Joseph Jacques TISSOT A Dream of the Past: Sir Isumbras at the Ford 1857 | John Everett MILLAIS A Reading -
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.