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 Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed.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 :. | La Donna Della Finestra | Monna Vanna | Girl at a Lattice (mk28) | A Sea Spell | La Donna della Finestra (mk28) |
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Franz von Defregger
(after 1883 Franz von Defregger) (30 April 1835 - 2 January 1921) was an Austrian artist known mostly for his genre and history paintings. He was born in Ederhof at Stronach, in Tyrol, the son of a prosperous farmer. In 1860, following his father's death, Franz sold the family's farm and went to Innsbruck, where he studied with the sculptor Michael Stolz. He went to Munich in 1861 to study under Hermann Dyck and Hermann Anschetz. In 1863 he travelled to Paris, where he continued his artistic education autodidactically by a routine of figure drawing and a thorough study of the museums, art collections and studios. On 8 July 1865 he returned to Munich, where from 1867 to 1870 he studied alongside Hans Makart and Gabriel Max in the studio of history painter Karl von Piloty. Defregger became one of the leading genre painters in Munich, and became a professor of history painting at the Munich Academy, where he continued to teach until 1910. He died in Munich in 1921.
george moore
(1873 C 1958), G.E. Moore, British philosopher
Joseph Anton Koch
1768-1839 Austrian Joseph Anton Koch Galleries was an Austrian painter of the German Romantic movement. The Tyrolese painter left academic training in the Karlsschule Stuttgart, a strict military academy, and traveled through France and Switzerland. He arrived in Rome in 1795. Koch was close to the painter Asmus Jacob Carstens and carried on Carstens' 'heroic' art, at first in a literal manner. After 1800 Koch developed as a landscape painter. In Rome he espoused a new type of 'heroic' landscape, revising the classical compositions of Poussin and Lorrain with a more rugged, mountainous scenery. He left Rome in 1812 and stayed in Vienna until 1815, in protest of the French invasion. During this period he incorporated more non-classical themes in his work. In Vienna he was influenced by Friedrich Schlegel and enthusiasts of old German art. In response, his style became harsher, and this new approach had a wide influence on German landscape painters who visited Rome.