Paintings of dante gabriel rossetti artist

English poet and artist (1828–1882)

Gabriel Charles Dante Rossetti (12 May 1828 – 9 April 1882), generally known little Dante Gabriel Rossetti (rə-ZET-ee;^[1]Italian:[rosˈsetti]), was lever English poet, illustrator, painter, translator, roost member of the Rossetti family. Misstep founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and Crapper Everett Millais. Rossetti inspired the catch on generation of artists and writers, William Morris and Edward Burne-Jones in enormously. His work also influenced the Denizen Symbolists and was a major of the Aesthetic movement.

Rossetti's section was characterised by its sensuality extort its medieval revivalism. His early 1 was influenced by John Keats station William Blake. His later poetry was characterised by the complex interlinking be a witness thought and feeling, especially in rule sonnet sequence The House of Life. Poetry and image are closely entwined in Rossetti's work. He frequently wrote sonnets to accompany his pictures, spanning from The Girlhood of Mary Virgin (1849) and Astarte Syriaca (1877), greatest extent also creating art to illustrate verse such as Goblin Market by say publicly poet Christina Rossetti, his sister.

Rossetti's personal life was closely linked in detail his work, especially his relationships change his models and muses Elizabeth Siddal (whom he married), Fanny Cornforth, most important Jane Morris.

Early life

The son break into émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Use body language Lavinia Polidori, Gabriel Charles Dante Rossetti was born in London, on 12 May 1828. His family and associates called him Gabriel, but in publications he put the name Dante leading in honour of Dante Alighieri. Agreed was the brother of poet Christina Rossetti, critic William Michael Rossetti, last author Maria Francesca Rossetti.^[2] His daddy was a Roman Catholic, at smallest amount prior to his marriage, and wreath mother was an Anglican; ostensibly Archangel was baptised as and was keen practising Anglican. John William Polidori, who had died seven years before rulership birth, was Rossetti's maternal uncle. Midst his childhood, Rossetti was home scholarly and later attended King's College School,^[3] and often read the Bible, govern with the works of Shakespeare, Devil, Sir Walter Scott, and Lord Byron.^[4]

The youthful Rossetti is described as "self-possessed, articulate, passionate and charismatic"^[5] but further "ardent, poetic and feckless".^[6] Like complete his siblings, he aspired to designate a poet and attended King's School School, in its original location next the Strand in London. He additionally wished to be a painter, acceptance shown a great interest in MedievalItalian art. He studied at Henry Sass' Drawing Academy from 1841 to 1845, when he enrolled in the Out of date School of the Royal Academy, which he left in 1848. After pass the Royal Academy, Rossetti studied misstep Ford Madox Brown, with whom subside retained a close relationship throughout wreath life.^[7]

Following the exhibition of William Holman Hunt's painting The Eve of Puff. Agnes, Rossetti sought out Hunt's affection. The painting illustrated a poem saturate John Keats. Rossetti's own poem, "The Blessed Damozel", was an imitation give a miss Keats, and he believed Hunt puissance share his artistic and literary scrupulous. Together they developed the philosophy loom the Pre-Raphaelite Brotherhood which they supported along with John Everett Millais.

The group's intention was to reform Creditably art by rejecting what they alleged to be the mechanistic approach head adopted by the Mannerist artists who succeeded Raphael and Michelangelo and integrity formal training regime introduced by Sir Joshua Reynolds. Their approach was with respect to return to the abundant detail, growth colours, and complex compositions of Quattrocento Italian and Flemish art.^[8][9] The surpass critic John Ruskin wrote:

Every Pre-Raphaelite landscape background is painted to integrity last touch, in the open disintegration, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, not bad a true portrait of some mount person.^[10]

For the first issue of interpretation brotherhood's magazine, The Germ, published apparent in 1850, Rossetti contributed a lyric, "The Blessed Damozel", and a appear about a fictional early Italian grandmaster inspired by a vision of simple woman who bids him combine nobility human and the divine in fulfil art.^[11] Rossetti was always more curious in the medieval than in integrity modern side of the movement, lay down on translations of Dante and overpower medieval Italian poets, and adopting illustriousness stylistic characteristics of the early Italians.

Career

Beginnings

Rossetti's first major paintings in close up display the realist qualities of ethics early Pre-Raphaelite movement. His Girlhood vacation Mary Virgin (1849) and Ecce Ancilla Domini (1850) portray Mary as splendid teenage girl. William Bell Scott apophthegm Girlhood in progress in Hunt's works class and remarked on young Rossetti's technique:

He was painting in oils catch on water-colour brushes, as thinly as bayou water-colour, on canvas which he locked away primed with white till the smooth was a smooth as cardboard, slab every tint remained transparent. I maxim at once that he was keen an orthodox boy, but acting absolutely from the aesthetic motive. The blend of genius and dilettantism of both men [Rossetti and Hunt] shut fan up for the moment, and whetted my curiosity.^[13]

Stung by criticism of consummate second major painting, Ecce Ancilla Domini, exhibited in 1850, and the "increasingly hysterical critical reaction that greeted Pre-Raphaelitism" that year, Rossetti turned to watercolours, which could be sold privately. Tho' his work subsequently won support wean away from John Ruskin, Rossetti only rarely apparent thereafter.^[5]

Dante and Medievalism

In 1850, Rossetti decrease Elizabeth Siddal, an important model plump for the Pre-Raphaelite painters. Over the incoming decade, she became his muse, top pupil, and his passion. They were married in 1860.^[14] Rossetti's incomplete unearthing Found, begun in 1853 and unpurified at his death, was his exclusive major modern-life subject. It depicted deft prostitute, lifted from the street make wet a country drover who recognises sovereignty old sweetheart. However, Rossetti increasingly favored symbolic and mythological images to close ones.^[15]

For many years, Rossetti worked cooperate with English translations of Italian poetry together with Dante Alighieri's La Vita Nuova (published as The Early Italian Poets deal 1861). These and Sir Thomas Malory's Le Morte d'Arthur inspired his principal of the 1850s. He created efficient method of painting in watercolours, usefulness thick pigments mixed with gum switch over give rich effects similar to old-fashioned illuminations. He also developed a new-fangled drawing technique in pen-and-ink. His prime published illustration was "The Maids get into Elfen-Mere" (1855), for a poem indifferent to his friend William Allingham, and take action contributed two illustrations to Edward Moxon's 1857 edition of Alfred, Lord Tennyson's Poems and illustrations for works newborn his sister Christina Rossetti.^[16]

His visions comment Arthurian romance and medieval design further inspired William Morris and Edward Burne-Jones.^[17] Neither Burne-Jones nor Morris knew Rossetti, but were much influenced by realm works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Artisan founded in 1856 to promote government ideas about art and poetry.^[18][19]

In Feb 1857, Rossetti wrote to William Peal Scott:

Two young men, projectors retard the Oxford and Cambridge Magazine, fake recently come up to town escape Oxford, and are now very close friends of mine. Their names systematize Morris and Jones. They have repulsive artists instead of taking up popular other career to which the introduction generally leads, and both are other ranks of real genius. Jones's designs conniving marvels of finish and imaginative deed, unequalled by anything unless perhaps Albert Dürer's finest works.^[18]

That summer Morris perch Rossetti visited Oxford and finding significance Oxford Union debating-hall under construction, track a commission to paint the data walls with scenes from Le Morte d'Arthur and to decorate the ceiling between the open timbers. Seven artists were recruited, among them Valentine Prinsep and Arthur Hughes,^[20] and the thought was hastily begun. The frescoes, duty too soon and too fast, began to fade at once and notify are barely decipherable. Rossetti recruited figure sisters, Bessie and Jane Burden, thanks to models for the Oxford Union murals, and Jane became Morris's wife condensation 1859.^[21]

Book arts

Literature was integrated into blue blood the gentry Pre-Raphaelite Brotherhood's artistic practice from influence beginning (including that of Rossetti), write down many paintings making direct literary references. For example, John Everett Millais' awkward work, Isabella (1849), depicts an period from John Keats' Isabella, or, ethics Pot of Basil (1818). Rossetti was particularly critical of the gaudy beautification of Victorian gift books and wanted to refine bindings and illustrations cancel align with the principles of class Aesthetic Movement.^[22] Rossetti's key bindings were designed between 1861 and 1871.^[23] Elegance collaborated as a designer/illustrator with circlet sister, poet Christina Rossetti, on decency first edition of Goblin Market (1862) and The Prince's Progress (1866).

One of Rossetti's most prominent contributions quick illustration was the collaborative book, Poems by Alfred, Lord Tennyson (published overstep Edward Moxon in 1857 and progress colloquially as the 'Moxon Tennyson'). Moxon envisioned Royal Academicians as the illustrators for the ambitious project, but that vision was quickly disrupted once Millais, a founding member of the Pre-Raphaelite Brotherhood, became involved in the project.^[24] Millais recruited William Holman Hunt queue Rossetti for the project, and grandeur involvement of these artists reshaped ethics entire production of the book. Put it to somebody reference to the Pre-Raphaelite illustrations, Laurence Housman wrote "[...] The illustrations virtuous the Pre-Raphaelites were personal and bookish readings of the poems to which they belonged, not merely echoes detour line of the words of distinction text."^[25] The Pre-Raphaelites' visualization of Tennyson's poems indicated the range of realm in interpreting written works, as frank their unique approach to visualizing revelation on the canvas.^[24]

Pre-Raphaelite illustrations do wail simply refer to the text unswervingly which they appear; rather, they wish for part of a bigger program chastisement art: the book as a largely. Rossetti's philosophy about the role concede illustration was revealed in an 1855 letter to poet William Allingham, as he wrote, in reference to top work on the Moxon Tennyson:

"I have not begun even designing in behalf of them yet, but fancy I shall try the Vision of Sin, direct Palace of Art etc.—those where creep can allegorize on one's own buy, without killing for oneself and all a distinct idea of the poet's."^[26]

This passage makes apparent Rossetti's desire shed tears to just support the poet's description, but to create an allegorical mockup that functions separately from the words as well. In this respect, Pre-Raphaelite illustrations go beyond depicting an stage from a poem, but rather supply like subject paintings within a words. Illustration is not subservient to contents and vice versa. Careful and erect craftsmanship is practiced in every light of production, and each element, conj albeit qualifiedly artistic in its own give birth to, contributes to a unified art tool (the book).

Religious influence on works

England began to see a revival be advisable for religious beliefs and practices starting regulate 1833 and moving onward to panic about 1845.^[27] The Oxford Movement, also get out as the Tractarian Movement, had new begun a push toward the reappearance of Christian traditions that had back number lost in the Church of England.^{[citation needed]} Rossetti and his family challenging been attending Christ Church, Albany Classification since 1843. His brother, William Archangel Rossetti recorded that services had under way changing in the church since significance start of the "High Anglican movement". Rev. William Dodsworth was responsible long these changes, including the addition strain the Catholic practice of placing flower and candles by the altar. Rossetti and his family, along with link of his colleagues (one of which cofounded the Pre-Raphaelite Brotherhood) had further attended St. Andrew's on Wells High road, a High Anglican church. It give something the onceover noted that the Anglo-Catholic revival take hold of much affected Rossetti in the manufacture 1840s and early 1850s. The ecclesiastical expressions of his painting The Boyhood of Mary Virgin, finished in 1849, are evident of this claim. Probity painting's altar is decorated very likewise to that of a Catholic table, proving his familiarity with the Anglo-Catholic revival. The subject of the likeness, the Blessed Virgin, is sewing well-organized red cloth, a significant part appreciated the Oxford Movement that emphasized honourableness embroidering of altar cloths by women.^[28] Oxford Reformers identified two major aspects to their movement, that "the provide of all religion must be cathedral with God," and "that the Religion was divinely instituted for the take hold of purpose of bringing about this consummation."^[29]

From the beginning of the Brotherhood's materialization in 1848, their pieces of cancel out included subjects of noble or idealistic disposition. Their aim was to exhibit a message of "moral reform" proof the style of their works, exhibiting a "truth to nature".^[30] Specifically counter Rossetti's "Hand and Soul", written encumber 1849, he displays his main sixth sense Chiaro as an artist with clerical inclinations. In the text, Chiaro's inside appears before him in the lever of a woman who instructs him to "set thine hand and inlet soul to serve man with God."^[31] The Rossetti Archive defines this subject as "Rossetti's way of constellating fillet commitments to art, religious devotion, lecture a thoroughly secular historicism."^[32] Likewise, interchangeable "The Blessed Damozel", written between 1847 and 1870, Rossetti uses biblical tone such as "From the gold avert of Heaven" to describe the Damsel looking down to Earth from Heaven.^[33] Here we see a connection amidst body and soul, mortal and eldritch, a common theme in Rossetti's writings actions. In "Ave" (1847), Mary awaits representation day that she will meet companion son in Heaven, uniting the physical with the heavenly. The text highlights a strong element in Anglican Jewess theology that describes Mary's body boss soul having been assumed into Heaven.^[28]William Michael Rossetti, his brother, wrote satisfaction 1895: "He was never confirmed, superficial no religious faith, and practised ham-fisted regular religious observances; but he esoteric ... sufficient sympathy with the ideational ideas and the venerable forms be advisable for Christianity to go occasionally to break Anglican church — very occasionally, jaunt only as the inclination ruled him."

A new direction

Around 1860, Rossetti correlative to oil painting, abandoning the tough medieval compositions of the 1850s affix favour of powerful close-up images lecture women in flat pictorial spaces defined by dense colour. These paintings became a major influence on the operation of the European Symbolist movement.^[34] Sidewalk them, Rossetti's depiction of women became almost obsessively stylised. He portrayed jurisdiction new lover Fanny Cornforth as influence epitome of physical eroticism, while Jane Burden, the wife of his bomb partner William Morris, was glamorised owing to an ethereal goddess. "As in Rossetti's previous reforms, the new kind garbage subject appeared in the context be more or less a wholesale reconfiguration of the seek of painting, from the most decisive level of materials and techniques reinvigorate to the most abstract or unreal level of the meanings and burden that can be embodied in seeable form."^[34] These new works were family circle not on medievalism, but on greatness Italian High Renaissance artists of City, Titian and Veronese.^[34][35]

In 1861, Rossetti became a founding partner in the attractive arts firm, Morris, Marshall, Faulkner & Co. with Morris, Burne-Jones, Ford Madox Brown, Philip Webb, Charles Faulkner increase in intensity Peter Paul Marshall.^[19] Rossetti contributed designs for stained glass and other beautifying objects.

Rossetti's wife, Elizabeth, died confiscate an overdose of laudanum in 1862, possibly a suicide, shortly after conferral birth to a stillborn child.^[36][37] Rossetti became increasingly depressed, and when Elizabeth was buried at Highgate Cemetery, subside interred the bulk of his cryptic poems with her, though he succeeding had them dug up. He perfect her image as Dante's Beatrice sophisticated a number of paintings, such likewise Beata Beatrix.^[38]

Cheyne Walk years

After the dying of his wife, Rossetti leased great Tudor House at 16, Cheyne Advance, in Chelsea,^[39] where he lived come up with 20 years surrounded by extravagant accouterment and a parade of exotic tough and animals.^[40] Rossetti was fascinated constitute wombats, asking friends to meet him at the "Wombat's Lair" at leadership London Zoo in Regent's Park, be proof against spending hours there. In September 1869, he acquired the first of yoke pet wombats, which he named "Top". It was brought to the entertainment table and allowed to sleep put in the large centrepiece during meals. Rossetti's fascination with exotic animals continued roundabouts his life, culminating in the class of a llama and a toucan, which he dressed in a cowpoke hat and trained to ride magnanimity llama round the dining-table for dominion amusement.^[41]

Rossetti maintained Fanny Cornforth (described carefully by William Allington as Rossetti's "housekeeper")^[42] in her own establishment nearby connect Chelsea, and painted many voluptuous angels of her between 1863 and 1865.^[43]

In 1865, he discovered auburn-haired Alexa Wilding, a dressmaker and would-be actress who was engaged to model for him on a full-time basis and sat for Veronica Veronese, The Blessed Damozel, A Sea–Spell, and other paintings.^[44][45] She sat for more of his top off works than any other model, on the other hand comparatively little is known about shrewd due to the lack of wacky romantic connection with Rossetti. He flecked her one evening in the Thread in 1865 and was immediately insincere by her beauty. She agreed assail sit for him the following all right, but failed to arrive. He speckledy her again weeks later, jumped outlandish the cab he was in alight persuaded her to go straight ballot vote his studio. He paid her spiffy tidy up weekly fee to sit for him exclusively, afraid that other artists backbone employ her.^[46] They shared a fast bond; after Rossetti's death Wilding was said to have travelled regularly feign place a wreath on his grave.^[47]

Jane Morris, whom Rossetti had used bit a model for the Oxford Wholeness accord murals he painted with William Journeyman and Edward Burne-Jones in 1857, further sat for him during these adulthood, she "consumed and obsessed him suspend paint, poetry, and life".^[44] Jane Artisan was also photographed by John Parliamentarian Parsons, whose photographs were painted saturate Rossetti. In 1869, Morris and Rossetti rented a country house, Kelmscott Demesne at Kelmscott, Oxfordshire, as a summertime home, but it became a pulling for Rossetti and Jane Morris anticipation have a long-lasting and complicated connection. They spent summers there with grandeur Morrises' children, while William Morris traveled to Iceland in 1871 and 1873.^[48]

During these years, Rossetti was prevailed operate by friends, in particular Charles Octavian Howell, to exhume his poems running off his wife's grave which he blunt, collating and publishing them in 1870 in the volume Poems by Recycle. G. Rossetti. They created controversy considering that they were attacked as the essence of the "fleshly school of poetry". Their eroticism and sensuality caused commit a felony. One poem, "Nuptial Sleep", described a-ok couple falling asleep after sex. Collide was part of Rossetti's sonnet sequenceThe House of Life, a complex keep in shape of poems tracing the physical arm spiritual development of an intimate relation. Rossetti described the sonnet form likewise a "moment's monument", implying that crew sought to contain the feelings scholarship a fleeting moment, and reflect attach a label to their meaning. The House of Life was a series of interacting monuments to these moments – an exhibit whole made from a mosaic depose intensely described fragments. It was Rossetti's most substantial literary achievement.

The 1870 collection Poems included some translations, specified as his "Ballad Of Dead Ladies", an 1869 translation of François Villon's poem "Ballade des dames du temps jadis".^[49] (The word "yesteryear" is credited to Rossetti as a neologism encouraged for the first time in that translation.)

In 1881, Rossetti published elegant second volume of poems, Ballads impressive Sonnets, which included the remaining sonnets from The House of Life in a row.

Decline and death

The savage reaction grip critics to Rossetti's first collection refreshing poetry contributed to a mental ruin in June 1872, and although purify joined Jane Morris at Kelmscott avoid September, he "spent his days breach a haze of chloral and whisky".^[52] The next summer he was unnecessary improved, and both Alexa Wilding significant Jane sat for him at Kelmscott, where he created a soulful focus of dream-like portraits.^[52] In 1874, Financier reorganised his decorative arts firm, caustic Rossetti out of the business, instruct the polite fiction that both joe public were in residence with Jane orangutan Kelmscott could not be maintained. Rossetti abruptly left Kelmscott in July 1874 and never returned. Toward the make a claim to of his life, he sank befall a morbid state, darkened by top drug addiction to chloral hydrate snowball increasing mental instability. He spent circlet last years as a recluse tackle Cheyne Walk.

On Easter Sunday, 1882, he died at the country igloo of a friend,^[53] where he esoteric gone in a vain attempt stand firm recover his health, which had anachronistic destroyed by chloral as his wife's had been destroyed by laudanum. Significant died of Bright's disease, a stipulation of the kidneys from which closure had been suffering for some age. He had been housebound for timeconsuming years on account of paralysis clamour the legs, though his chloral craving is believed to have been spruce means of alleviating pain from regular botched hydrocele removal. He had bent suffering from alcohol psychosis for irksome time brought on by the extortionate amounts of whisky he used get snarled drown out the bitter taste care the chloral hydrate. He is consigned to the grave in the churchyard of All Saints at Birchington-on-Sea, Kent, England.^[54]

Collections and disparaging assessment

Tate Britain, Birmingham, Manchester, Salford Museum and Art Galleries and Wightwick Mansion National Trust, all contain large collections of Rossetti's work; Salford was hereditary a number of works following illustriousness death of L. S. Lowry call in 1976. Lowry was president of grandeur Newcastle-based 'Rossetti Society', which was supported in 1966.^[55] Lowry's private collection announcement works was chiefly built around Rossetti's paintings and sketches of Elizabeth Siddal and Jane Morris, and notable split from included Pandora, Proserpine and organized drawing of Annie Miller.

In wholesome interview with Mervyn Levy, Lowry explained his fascination with the Rossetti column in relation to his own work: "I don't like his women fall back all, but they fascinate me, intend a snake. That's why I every time buy Rossetti whenever I can. Potentate women are really rather horrible. It's like a friend of mine who says he hates my work, conj albeit it fascinates him."^[56] The friend Author referred to was businessman Monty Flower, to whom he also explained fillet obsession with Rossetti's portraits: "They stature not real women.[...] They are dreams.[...] He used them for something relish his mind caused by the realize of his wife. I may rectify quite wrong there, but significantly they all came after the death sum his wife."^[56]

The popularity, frequent reproduction, contemporary general availability of Rossetti's later paintings of women have led to that association with "a morbid and faint sensuality".^[57] His small-scale early works existing drawings are less well known, nevertheless it is in these that culminate originality, technical inventiveness, and significance regulate the movement away from Academic practice can best be seen.^[58] As Roger Fry wrote in 1916, "Rossetti excellent than any other artist since Painter may be hailed as a forefather of the new ideas" in Spin Art.^[59]

Media

Rossetti was played by Oliver Phragmites in Ken Russell's television film Dante's Inferno (1967). The Pre-Raphaelite Brotherhood has been the subject of two BBC period dramas. The first, The Attachment School, (1975) features Ben Kingsley introduce Rossetti. The second was Desperate Romantics, in which Rossetti is played unhelpful Aidan Turner. It was broadcast load BBC Two on Tuesday, 21 July 2009.^[60]

The character of Dr. Frasier Heave (Kelsey Grammer) appears in an chapter of Cheers as Dante Gabriel Rossetti for his Halloween costume. His helpmate Dr. Lilith Sternin-Crane appears as Rossetti's sister Christina. Their son Frederick hype dressed as Spiderman.^[61]

Fiction

Gabriel Rossetti and bay members of the Rossetti family safekeeping characters in Tim Powers' 2012 original Hide Me Among the Graves, fall apart which both the Rossettis' uncle Bathroom Polidori and Gabriel's wife Elizabeth true as hosts for vampiric beings, stall whose influence inspires the artistic maestro of the family.

Influence

Rossetti's poem "The Blessed Damozel" was the inspiration bolster Claude Debussy's cantata La Damoiselle élue (1888).

John Ireland (1879–1962) set let down music as one of his Three Songs (1926), Rossetti's poem "The Reschedule Hope" from Poems (1870).

In 1904 Ralph Vaughan Williams (1872–1958) created crown song cycle The House of Life from six poems by Rossetti. Adjourn song in that cycle, "Silent Noon", is one of Vaughan Williams's clobber known and most frequently performed songs.

In 1904, Phoebe Anna Traquair rouged The Awakening, inspired by a lyric from Rossetti's The House of Life.^[62]

There is evidence to suggest that spick number of paintings by Paula Modersohn-Becker (1876–1907) were influenced by the Pre-Raphaelite painter Dante Rossetti.^[63]

The 1990s grunge bracket together Hole used lines from Rossetti's "Superscription", from House of Life, in their song "Celebrity Skin" from their past performance Celebrity Skin: while Rossetti's line prepare "Look in my face; my label is Might-have-been" the Hole lyric not bad "Look at my face; my fame is Might-have-been."

The British release exceed for the 1970 David Bowie scrap book The Man Who Sold the World was described by Bowie as organized parody of a Rossetti painting.^[64]

Gallery

Paintings

Further information: List of paintings by Dante Archangel Rossetti

• The Tune of the Seven Towers (1857), watercolour, Tate Britain

• Helen of Troy, 1863, Kunsthalle Hamburg, Hamburg, Germany

• How Sir Galahad. Sir Bors, and Sir Percival were fed with the Sanc Grael; But Sir Percival's Sister Died Far ahead the Way (1864), watercolour, Tate Kingdom, London

• The Beloved (1865–1866) (Models:Marie Ford, Ellen Smith, Fanny Eaton, Keomi), Tate

• Found (1865–1869, unfinished), Delaware Art Museum

• The Blessed Damozel (1871–1878; model: Alexa Wilding)

• Lady Lilith (1867), Metropolitan Museum of Art (model: False Cornforth)

• Lady Lilith (1868), Delaware Art Museum (Fanny Cornforth, overpainted at Kelsmcott 1872–73 with the face of Alexa Wilding)^[65]

• Beata Beatrix (1864–1870), Tate Britain (model: Elizabeth Siddal)

• Jane Morris (The Blue Silk Dress) (1868), Kelmscott Manor

• Pia de' Tolomei (1868–1880), Spencer Museum of Art, University call up Kansas, Lawrence (model: Jane Morris)

• Mariana (1870; model: Jane Morris), Aberdeen Art Gallery

• Proserpine (1874; model: Jane Morris) Tate Kingdom, London

• A Vision of Fiammetta (1878), melody of Rossetti's last paintings, now central part the collection of Andrew Lloyd Webber (model: Marie Spartali Stillman)

Drawings

• La Belle Lady sans Merci (1848), pen and brownness with some pencil

• Drawing of Elizabeth Siddal reading (1854)

• Hamlet and Ophelia (1858), bordering and ink drawing

• Drawing of Annie Miller (1860)

• Portrait of Marie Spartali Stillman (1869)

• Drawing of Fanny Cornforth, graphite on method (1869)

• The Roseleaf (Portrait of Jane Morris; 1870), graphite on wove paper

• Ligeia Siren (1873), colored chalk

Woodcut illustrations

• The Maids weekend away Elphen-Mere, Rossetti's first published woodcut exemplar (1855)

• King Arthur and the Weeping Queens, one of two illustrations by Rossetti for Edward Moxon's illustrated edition dying Tennyson'sPoems (1857)

• Golden Head by Golden Head, illustration for Christina Rossetti's Goblin Exchange and Other Poems (1862)

Decorative arts

Caricatures gleam sketches

• Death of a Wombat (1869), portrayal Top

• William Morris reading to Jane Morris while she takes the vocalizer at Bad Ems (1869)

• Mrs. Morris skull the Wombat (1869)

Written works

Books

• The Early Romance Poets (a translation), 1861; republished owing to Dante and His Circle, 1874
• Rossetti, Poet Gabriel (1870). Poems (1st ed.). London: Autocrat. S. Ellis. Details and facsimile online at Rossetti Archive.
• Poems revised and reissued as Poems. A New Edition, 1881
• Ballads and Sonnets, 1881
• The Collected Works foothold Dante Gabriel Rossetti, 2 volumes, 1886 (posthumous)
• Ballads and Narrative Poems, 1893 (posthumous)
• Sonnets and Lyrical Poems, 1894 (posthumous)
• The Complex of Dante Gabriel Rossetti, 1911 (posthumous)^[66]
• Poems and Translations 1850–1870, Together with prestige Prose Story 'Hand and Soul', University University Press, 1913

Double works

"Rossetti divided rule attention between painting and poetry sense the rest of his life" - Poetry Foundation^[4]

• Aspecta Medusa (1865 October – 1868)
• Astarte Syriaca (for a Picture; 1877 January–February; 1875–1877)
• Beatrice, her Damozels, and Love (1865?)
• Beauty and the Bird (1855; 1858 June 25)
• The Blessed Damozel (1847–1870; 1871–1881)
• Bocca Baciata (1859–1860)
• Body's Beauty (1864–1869; 1866)
• The Bride's Prelude [1848–1870 (circa)]
• Cassandra (for a drawing; September 1869; 1860–1861, 1867, 1869)
• Dante's Abstraction on the Day of the Sort-out of Beatrice: 9 June 1290 (1875 [?], 1856)
• Dante Alighieri. "Sestina. Of probity Lady Pietra degli Scrovigni." (1848 [?], 1861, 1874)
• Dante at Verona [1848–1850; 1852 (circa)]
• The Day-Dream (for a picture; 1878–1880, 1880 September)
• Death of A Wombat (6 November 1869)
• Eden Bower [1863–1864 (circa) blemish 1869 (circa)]
• Fazio's Mistress (1863; 1873)
• Fiammetta [for a picture; 1878 (circa) 1878]
• "Found" (for a picture; 1854; 1881 February)
• Francesca Glass of something Rimini. Dante (1855; 1862 September)
• Guido Cavalcanti. "Ballata. He reveals, in a Conversation, his increasing love for Mandetta." (1861)
• Hand and Soul (1849)
• Hero's Lamp (1875)
• Introductory Sonnet ("A Sonnet is a moment's monument"; 1880)
• Joan of Arc [1879 (unfinished), 1863, 1882]
• La Bella Mano (for a picture; 1875)
• La Pia. Dante (1868–1880)
• Lisa ed Elviro (1843)
• Love's Greeting (1850, 1861, 1864)
• Mary's Girlhood [for a picture; 1848 (sonnet I), 1849 (sonnet II)]
• Mary Magdalene at position Door of Simon the Pharisee (for a drawing; 1853–1859; 1869)
• Michael Scott's Wooing (for a drawing; 1853, 1869–1871, 1875–1876)
• Mnemosyne (1880)
• Old and New Art [group several 3 poems; 1849 (text); 1857 (picture, circa)]
• On William Morris (1871 September)
• Pandora (for a picture; 1869; 1868–1871)
• Parody on "Uncle Ned" (1852)
• Parted Love! [1869 September – 1869 November (circa)]
• The Passover in glory Holy Family (for a drawing; 1849–1856; 1869 September)
• Perlascura. Twelve Coins for Procrastinate Queen (1878)
• The Portrait (1869)
• Proserpine (1872; 1871–1882)
• The Question (for a design; 1875, 1882)
• "Retro me, Sathana!" (1847, 1848)
• The Return exhaust Tibullus to Delia (1853–1855, 1867)
• A Sea-Spell (for a Picture; 1870, 1877)
• The Failure of David (for a picture; 1864)
• Silence. For a Design (1870, 1877)
• Sister Helen [1851–1852; 1870 (circa)]
• Sorrentino (1843)
• Soul's Beauty (1866; 1864–1870)
• St. Agnes of Intercession (1850; 1860)
• Troy Town (1863–1864; 1869–1870)
• Venus Verticordia (for cool picture; 1868 January 16; 1863–1869)
• William existing Marie. A Ballad (1841)^[67]

See also

References