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Astarte Syriaca (mk28)
new8/Dante Gabriel Rossetti-823842.jpg
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Astarte_Syriaca_(mk28)
1877 Oil on canvas 183 x 107 cm City Art Galleries,Manchester
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La Donna della Finestra (mk28)
new8/Dante Gabriel Rossetti-586639.jpg
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La_Donna_della_Finestra_(mk28)
1878 Oil on canvas 100 x 74 cm Fogg Museum of Art,Harvard University,Cambridge MA
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The Day Dream (mk28)
new8/Dante Gabriel Rossetti-689342.jpg
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The_Day_Dream_(mk28)
1880 Oil on canvas 159 x 93 cm Victoria and Albert Museum,London
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Arthur's Tomb (mk46)
new2/Dante Gabriel Rossetti-858753.jpg
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Arthur's_Tomb_(mk46)
1854
Watercolour
22.9x36.8cm
London,British Museum
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Writing on the Sand (mk46)
new2/Dante Gabriel Rossetti-287254.jpg
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Writing_on_the_Sand_(mk46)
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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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