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 Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed.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.  Related Paintings of Dante Gabriel Rossetti :. | The Bride (mk09) | Astarte Syriaca | A Vision of Fiammetta | A Sea Spell | Regina Cordium |
Related Artists:
johann tischbein
Johann Heinrich Wilhelm Tischbein, also known as Goethe-Tischbein (15 February 1751 in Haina ?C 26 February 1828 in Eutin) was a German painter. He was a descendant of the Tischbein family of painters, and a pupil of his uncle Johann Jacob Tischbein. Like many contemporary colleagues, Tischbein lived in Rome for some years. During his first stay in Rome (1779?C1781) his style changed from Rococo to Neoclassicism. He painted landscapes, historical scenes and still lifes. His second stay in Rome lasted 16 years (1783?C1799). He met Johann Wolfgang von Goethe there in 1786, made friends with him and accompanied him to Naples in 1787. Later, Goethe recounted this travel in his Italian Journey. Also in 1787, Tischbein painted his most famous work, a portrait of Goethe as a traveller in the Roman Campagna (now in the Städel museum, Frankfurt am Main). From 1808, Tischbein was a painter at the court of Oldenburg in Northern Germany.
Aleksander Lesser
(May 13, 1814 - March 13, 1884) was a Polish painter and art critic of Jewish descent. Lesser specialized in Polish historic and contemporary themes. He was a member of Krakew Academy of Learning and co-founder of Warsaw's Zachęta, the Society for Encouragement of the Fine Arts. Lesser studied painting at Warsaw University's department of fine arts, as well as at art schools in Dresden and Munich. He was a founder of the history-painting movement in Poland, which is considered a part of the "archeological trend" that existed before Jan Matejko. The trend's purpose was to portray the entire history of Poland in works of art.
Alexander Mann
Alexander Mann (January 22, 1853 - January 26, 1908) was a Scottish landscape and genre painter. He was a member of New English Art Club and Royal Institute of Oil Painters. Alexander Mann was born in Glasgow, Scotland on January 22, 1853. He died in London on January 26, 1908. The second son of James Mann, merchant and collector, he took drawing lessons from the age of ten with Robert Greenlees (1820-94) and then attended evening classes at the Glasgow School of Art, where Greenlees was headmaster. In 1877 he went to Paris and enrolled at the Academie Julian, and then studied under Mihely Munk? - sy and from 1881 to 1885 under Carolus-Duran. From 1883-93 Mann exhibited in London at the Royal Academy, Royal Institute of Oil Painters, Fine Art Society, New Gallery, Ridley Art Club, New English Art Club and Society of British Artists, a society that appointed James McNeill Whistler its President in 1886. At the same year he was invited to become the first Scottish member of the New English Art Club and was joined by several of his friends, notably John Lavery, Thomas Millie Dow of the Glasgow Boys and Norman Garstin. Influenced by the Hague school and by Jules Bastien-Lepage, his picture A Bead Stringer, Venice gained an honorable mention at the Salon in 1885. After a public controversy over this painting when it was exhibited at the Royal Glasgow Institute, Mann settled in England, at West Hagbourne, Berkshire, and later in the neighboring village of Blewbury, where he painted a series of views of the Downs and portraits of country people. Mann traveled extensively in Britain, paying several visits to the coast in Angus and Fife, and to Walberswick, Suffolk.