All Dante Gabriel Rossetti Oil Paintings

English Pre-Raphaelite Painter, 1828-1882 Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci. Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.
 

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Dante Gabriel Rossetti Portrait of Elizabeth Siddal (mk28) oil on canvas


Portrait of Elizabeth Siddal (mk28)
Portrait of Elizabeth Siddal (mk28)
Painting ID::  24410
  1850-65 Watercolour on paper 33 x 24 cm Fitzwilliam Museum University of Cambridge
  1850-65 Watercolour on paper 33 x 24 cm Fitzwilliam Museum University of Cambridge

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Dante Gabriel Rossetti The First Anniversary of the Death of Beatrice: Dante Drawing the Angel (mk28) oil on canvas


The First Anniversary of the Death of Beatrice: Dante Drawing the Angel (mk28)
The First Anniversary of the Death of Beatrice: Dante Drawing the Angel (mk28)
Painting ID::  24411
  1853 Watercolour on paper 42 x 61 cm Ashmolean Museum,Oxford
  1853 Watercolour on paper 42 x 61 cm Ashmolean Museum,Oxford

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Dante Gabriel Rossetti Found (mk28) oil on canvas


Found (mk28)
Found (mk28)
Painting ID::  24412
  Begun 1854 Oil on canvas 91.5 x 80 cm Samuel and Mary R Bancroft Memorial Delaware Art Museum Wilmington DE
  Begun 1854 Oil on canvas 91.5 x 80 cm Samuel and Mary R Bancroft Memorial Delaware Art Museum Wilmington DE

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Dante Gabriel Rossetti Arthur's Tomb: The Last Meeting of Launcelort and Guinevere (mk28) oil on canvas


Arthur's Tomb: The Last Meeting of Launcelort and Guinevere (mk28)
Arthur's Tomb: The Last Meeting of Launcelort and Guinevere (mk28)
Painting ID::  24413
  1854 Watercolour on paper 23.5 x 36.8 cm British Museum London
  1854 Watercolour on paper 23.5 x 36.8 cm British Museum London

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Dante Gabriel Rossetti Beatrice Meeting Dante at a Marriage Feast,Denies him her Salutation (mk28) oil on canvas


Beatrice Meeting Dante at a Marriage Feast,Denies him her Salutation (mk28)
Beatrice Meeting Dante at a Marriage Feast,Denies him her Salutation (mk28)
Painting ID::  24414
  1855 Watercolour on paper 34 x 42 cm Ashmolean Museum Oxford
  1855 Watercolour on paper 34 x 42 cm Ashmolean Museum Oxford

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     Dante Gabriel Rossetti
     English Pre-Raphaelite Painter, 1828-1882 Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci. Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.

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