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 Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed.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 Lady Lilith oil on canvas


Lady Lilith
Lady Lilith
Painting ID::  3616
  1868 37 1/2 x 32 in Delaware Art Museum, Wilmington
  1868 37 1/2 x 32 in Delaware Art Museum, Wilmington

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Dante Gabriel Rossetti A Christmas Carol oil on canvas


A Christmas Carol
A Christmas Carol
Painting ID::  3617
  1857-58 Watercolor and gouache on panel 13 1/8 x 11 1/4 in Fogg Art Museum, Cambridge, Massachusetts
  1857-58 Watercolor and gouache on panel 13 1/8 x 11 1/4 in Fogg Art Museum, Cambridge, Massachusetts

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Dante Gabriel Rossetti The Blessed Damozel oil on canvas


The Blessed Damozel
The Blessed Damozel
Painting ID::  3618
  1875-78 68 1/2 x 37 in (174 x 94 cm) Fogg Art Museum, Cambridge, Massachusetts
  1875-78 68 1/2 x 37 in (174 x 94 cm) Fogg Art Museum, Cambridge, Massachusetts

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Dante Gabriel Rossetti Fazio's Mistress oil on canvas


Fazio's Mistress
Fazio's Mistress
Painting ID::  3619
  1863 17 x 15 in Tate Gallery, London
  1863 17 x 15 in Tate Gallery, London

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Dante Gabriel Rossetti St. George and the Princess Sabra oil on canvas


St. George and the Princess Sabra
St. George and the Princess Sabra
Painting ID::  3620
  1862 Watercolor on paper 20 5/8 x 12 1/8 in (52.4 x 30.8 cm) Tate Gallery, London
  1862 Watercolor on paper 20 5/8 x 12 1/8 in (52.4 x 30.8 cm) Tate Gallery, London

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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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