Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of Dante Gabriel Rossetti 02

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
3605		The Beloved	1865-66 32 1/2 x 30 in Tate Gallery, London
3618		The Blessed Damozel	1875-78 68 1/2 x 37 in (174 x 94 cm) Fogg Art Museum, Cambridge, Massachusetts
24449		The Blessed Damozel (mk28)	1876-8 Oil on canvas 174 x 94 cm Fogg Museum of Art,Harvard University,Cambridge,MA
24435		The Blue Bower (mk28)	1865 Oil on canvas 90 x 69 cm Barber Institute of Fine Arts University of Birmingham
24416		The Blue Closet (mk28)	1857 Watercolour on paper 34.3 x 24.8 cm Tate Gallery London
24447		The Boat of Love (mk28)	1874-81 Oil on canvas 124.5 x 94 cm Birmingham Museum and Art Gallery
3593		The Bower Meadow	1872 33 1/2 x 26 1/2 in Manchester City Art Galleries, England
24445		The Bower Meadow (mk28)	1872 Oil on canvas 85 x 67 cm City Art Galleries Manchester
34012		The Bride	mk87 1865 Oil on canvas 80x76cm London,Tate Gallery
21550		The Bride (mk09)	1865 Oil on canvas,80 x 76 cm London,Tate Gallery
24404		The Bride (mk28)	1865 Oil on canvas 80 x 76 cm London Tate Gallery
3576		The Day Dream	1880 62 1/2 x 36 1/2 in (157.5 x 92.7 cm) The Victoria and Albert Museum, London
24452		The Day Dream (mk28)	1880 Oil on canvas 159 x 93 cm Victoria and Albert Museum,London
23469		The Day-dream (nn03)	1880 Oil on canvas 159 x 93 cm 62 1/2 x 36 1/2 in Victoria and Albert Museum London
3610		The First Anniversary of the Death of Beatrice	1853-54 Ashmolean Museum, Oxford
24411		The First Anniversary of the Death of Beatrice: Dante Drawing the Angel (mk28)	1853 Watercolour on paper 42 x 61 cm Ashmolean Museum,Oxford
28017		The Gate Memory	1857-64 Coloured chalks on paper 33.6 x 26.6 cm (13 1/4 x 10 1/2 in) Private collection (mk63)
3612		The Girlhood of Mary Virgin	1848-49 Tate Gallery, London
28233		The Girlhood of Mary Virgin	1845-9 Oil on canvas 81.2 x 65.4 cm (32 3/4 x 25 3/4 in) Tate Gallery London (mk63)
53417		The Girlhood of Mary Virgin	mk231 1848 Oil on canvas 83.2x65.4cm
91992		The Girlhood of Mary Virgin	1849(1849) Medium oil on canvas Dimensions Deutsch: 83 X 65,5 cm cyf
24408		The Girlhood of Mary Virgin (mk28)	1849 Oil on canvas 83 x 65 cm Tate Gallery London
42057		The infancy of Maria	mk166 1849 I Wave on cloth Galeria Tate, London
85657		The Loving Cup	Date 1867(1867) Medium Oil on canvas Dimensions 66 x 45.7 cm (26 x 18 in) cjr
3600		The Meeting of Dante and Beatrice in Paradise	1853-54
3603		The Salutation of Beatrice	1859 Oil on two panels Each 29 1/2 x 31 1/2 in (74.9 x 80 cm) National Gallery of Canada, Ottawa
3607		The Seed of David	1858-64 Llandaff Cathedral, Wales
53438		The Seed of David	mk231 90x60 Oil on canvas
24421		The Seed of David (mk28)	1858-64 Oil on canvas centre panel of triptych 228.5 x 152 cm Wings 185 x 62 cm Llandaff Cathedral Cardiff
24427		The Sermon on the Mount (mk28)	1862 Stained glass South nave window All Saints Selsley Gloucestershire
3597		The Tune of Seven Towers	1857
24418		The Tune of Seven Towers (mk28)	1857 Watercolour on paper 31.4 x 36.5 cm Tate Gallery London
3608		The Wedding of Saint George and Princess Sabra	1857 Watercolor on paper 14 3/8 x 14 3/8 in Tate Gallery, London
24417		The Weding of St George and the Princess Sabra (mk28)	1857 Watercolour on paper 36.5 x 36.5 cm Tate Gallery London
3614		Venus Verticordia	1864-68 38 5/8 x 27 1/2 in Russell Cotes Art Gallery, Bournemouth
51802		Venus Verticordia	mk221 1867 Pastel on paper 77x59cm USA 1828-1882
24433		Venus Verticordia (mk28)	1864-8 Oil on canvas 98 x 70 cm Russell Cotes Art Gallery and Museum Bournemouth
28306		Venus Vertisordia	1864-8 Oil on canvas 98 x 69.9 cm (38 5/8 x 27 1/2 in) Russel Cotes Art Gallery and Museum Bournemouth (mk63)
3585		Veronica Veronese	1872 43 x 35 in Delaware Art Museum, Wilmington
24443		Water Willow (mk28)	1871 Oil on canvas 33 x 26.7 cm Samuel and Mary R Bancroft Memorial,Delaware Art Museum,Wilmingron,DE
10241		Waterfall in a Mountainous	Northern Landscape 1665Oil on canvas Fogg Art Museum Cambridge
24422		Writing on the Sand (mk28)	1859 Watercolour on paper 26.5 x 24 cm British Museum, London
25992		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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