Talk:Dante Gabriel Rossetti
|This article is of interest to the following WikiProjects:|
- 1 Jane Burden Affair
- 2 Exhumation
- 3 Blake
- 4 Lady Lilith
- 5 The Age of Innocence
- 6 MISSING: Dante's Inferno by Ken Russell
- 7 Version 0.7
- 8 Wombat
- 9 New file File:Dante Gabriel Rossetti by George Frederic Watts.jpg
- 10 L.S. Lowry
- 11 same model?, Proserpine, Fiammetta, Greensleaves
- 12 Poem attributed to Rossetti
- 13 Expansion
- 14 Of Lady Lilith
Jane Burden Affair
Shouldn't there be some mention of his affair with Jane Burden?! It did go on for years and she was William Morris' wife! Morris even moved out and Rossetti moved into his house!!! (a5y 19:26, 29 March 2006 (UTC))
- To be fair, there is still some speculation whether they did have an affair or not. The accepted view is that Rossetti's feelings may have been unrequited. Absurdtrousers (talk) 12:13, 23 August 2009 (UTC)
I vaguely recall some story of the wife's exhumed corpse being amazingly and startlingly preserved; does anyone have a source for this? — Stumps 07:23, 30 March 2006 (UTC)
I think there should be something about the inspiration he took from William Blake and the important part he played in the re-discovery of Blake's works, his acquisition of Blake's notebook, possibly?
Could I request someone to add that famous painting here & maybe a section on his contributation to feminism & her modern conception?(I'm sure the copyright is the same as his other paintings.) At least one on his role in feminism would be nice. Xuchilbara 01:05, 16 March 2007 (UTC)
The Age of Innocence
Am I right in thinking that it is Rossetti's "The House of Life" that is referred to in Edith Wharton's The Age of Innocence? The line is as follows (p. 138 in my edition):
"Suddenly, among them, he lit on a small volume of verse which he had ordered because the name had attracted him: 'The House of Life.' He took it up, and found himself plunged in an atmosphere unlike any he had ever breathed in books; so warm, so rich, and yet so ineffably tender, that it gave a new and haunting beauty to the most elementary of human passions."
If someone can confirm this, please tell me. It could also be interesting to add it to the article. Thanks -- hibou 20:03, 7 April 2007 (UTC)
MISSING: Dante's Inferno by Ken Russell
It's interesting sometimes, the omissions one finds. There was a mini-film (apparently from TV) about Dante Gabriel Rossetti was used in a class I took in college, and I loved it: Omnibus, Dante's Inferno (1967), but references to it in this article on DGR omit it, and it doesn't come up easily as a film in Wikipedia, or in IMDB.COM
The film used innovative visual, musical, and symbolic means to illustrate the artist and the Pre-Raphealites, while Oliver Reed played Dante with brooding genius and demon haunted greatness. WHY, oh why is this not put on DVD? I hope wiki-gods that be will be sure to see that references to this film show up somewhere, before all memory of it is lost.
CB - email@example.com - Aug 18, at 17:55
Although I love Rossetti's work, I don't think this article is yet strong enough to be included in Version 0.7. Hopefully it can be renominated when there is more content and better sourcing. Thanks, Walkerma 06:07, 2 November 2007 (UTC)
Recently the file File:Dante Gabriel Rossetti by George Frederic Watts.jpg (right) was uploaded and it appears to be relevant to this article and not currently used by it. If you're interested and think it would be a useful addition, please feel free to include it. Dcoetzee 02:41, 4 April 2009 (UTC)
Is it worth mentioning that the artist L. S. Lowry amassed quite a sizeable collection of Rossetti's portraits of Lizzie Siddal and Jane Morris? It's not quite as trivial a detail as it sounds: many of the works (Prosperpine, etc) are the pieces that Rossetti's reputation rests upon. A fair proportion of them were eventually bequeathed to Manchester Art Gallery, too. Absurdtrousers (talk) 12:10, 23 August 2009 (UTC)
same model?, Proserpine, Fiammetta, Greensleaves
- Jane Morris modelled for these three works; Rossetti used her frequently in his later paintings because she reminded him of his late wife Lizzie. Absurdtrousers (talk) 17:55, 7 December 2009 (UTC)
Poem attributed to Rossetti
O how the family affections combat Within this heart, and each hour flings a bomb at My burning soul! Neither from owl nor from bat Can peace be gained until I clasp my wombat. - Dante Gabriel Rossetti, 1869
I am working on-and-off on expanding this article. I am planning to delete this sentence unless someone has a attribution for it:
Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci.
Nothing I have immediately to hand cites Botticelli as a major influence, and I am likely to replace that with a line or two on the influence of Titian, which I have sources for. - PKM (talk) 17:44, 25 September 2010 (UTC)
- I would keep it, take it out of quotes and improve the syntax. It seems to have cut and pasted from this. That Rossetti and Burne-Jones were emulating Botticelli's Venus is echoed about the place, such as in this essay, though I can find nothing solidly sourcable at the minute. The ref to Simonetta Vespucci may confuse matters. I think Burne-Jones spent a good deal of time in Italy falling for Botticelli's work, came back and inspired the rest of the crowd. Spangle (talk) 19:31, 25 September 2010 (UTC)
- Just pasted in a major expansion (without the Botticelli reference) from my sandbox, before I saw this comment. We can certainly add it back in somehow.
- Still needed:
- Mention Aesthetic movement in main text as it's in lead (is it by way of EBJ? if so, I can cobble a sentence or two with refs from my EBJ books)
- Add critical assessment to "Collections" section as counter to the rather nasty comment about the later portraits - it's the watercolours and drawings that most critics seem to admire these days.
- Mention awkward drawing skills early on, evolved later.
- More on Siddal, relationship with Ruskin (or too much detail)?
- Add dates to the C Rossetti illustrations mention in the text.
- Multiple versions (e.g. Proserpina as a redhead and brunette; watercolours and reworkings in oil).
- Overpainting face in Found with Fanny Cornforth.
- That's all for today, back on this later... - PKM (talk) 01:05, 27 September 2010 (UTC)
- Still needed:
- My thoughts:
- The lead should be longer. Why "poet, illustrator, painter and translator" - order seems odd, and not "artist" ("artist, mainly in painting" might be best)? Similar issue at "Rossetti's art was characterised by its sensuality and its medieval revivalism. His early poetry was influenced by John Keats." - the "art" could be the poetry, but presumably isn't.
- His younger adult life - to 1862 - leaves you a bit unclear what he did & where he did it.
- When I did Raphael it was clear to me that the PRB did not just want to go back "pre" the evil bogeymen "Mannerists" - probably the wrong suspects the way the term is defined these days anyway - but also before the mature Raphael himself, rejecting his classical idealism. But User:Paul Barlow disagrees with me here. Nonetheless there is a reason they called themselves the "Pre-Raphaelite Brotherhood" and not the "Pre-post-Raphaelite Brotherhood" or "Pre-Mannerist Brotherhood"!
- The William Bell Scott quote could be expanded on to explain how the technique described is indeed the pre-16th century one.
- More analysis of both his paintings and poetry could be added - some quotes from the poems?
The section: For the first issue of the Brotherhood's magazine, The Germ, published early in 1850, Rossetti contribute his poem "The Blessed Damozel" and *the story "Hand and Soul" about a fictional early Italian artist inspired by a vision of a woman who bids him combine the human and the divine in his art. ... —Preceding unsigned comment added by 22.214.171.124 (talk) 01:24, 29 March 2011 (UTC)
Of Lady Lilith
In the gallery, it is to be observed that there are two versions given, of the painting whose name is Lady Lilith. The former, which the article suggests is an original, for which the model was Fanny Cornworth. The latter portrays Alexa Wilding. While the original was indeed painted over, the picture in the gallery is not an original, but a replica, and a bad replica at that.
Now, while it would be nice to be able to display the original, as it was first painted, I can find, and I infer that no other has found, an image of it. I do not believe, however, that this awful watercolour should be included, simply because it portrays Cornworth. We don't show any of the other replicas, so why bother with this one?
I suggest that the picture be removed from the gallery, and shall do so myself, if none oppose me.
I,E • Wouldst thou speak? 00:02, 3 January 2013 (UTC)
- Is the watercolour a _copy_ or a preparatory study, which would be typical of practice at the time. It should be annotated, either way, but not removed. - PKM (talk) 03:07, 9 January 2013 (UTC)
- Research confirms, that it is a replica and not a preparatory study, though such a study may be found on the Lady Lilith page. My reasons for wishing to see it removed are two, though one reason is of little import. First, there are no other replicas in the gallery. I can conceive of no reason for such an inconsistency, except the change of Models. Second, though admittedly inconsequential, is that is in every way an inferior work; it's garbage. My weighted opinion, therefore, is that to justify this hideous inclusion, we should be obliged to track down every replica Rossetti made of the works in the gallery and include them. I think to display the original work, amended or no, is sufficient. If the reader is sufficiently intrigued by the painting's history, they can click upon the link with little effort, and there assault their eyes with the watercolour. I,E • Communicate 06:36, 9 January 2013 (UTC)