1850 . THE LIFE AND OEUVRE. |
1. ( ) 1850.
Rosso Vestita (Dressed in Red) 1850.
2. 1850.
3. 1850.
Portrait of Thomas Woolner 1850
4. Anna Marie Howitt
1850. - "", . National Institution 'Ecce Ancilla Domini'.
1850- . "Hist- Said Kate the Queen".
, , , . . , , .
PIPPA PASSES
https://archive.org/stream/pipppasseswithan00browuoft/pipppasseswithan00browuoft_djvu.txt
NOON 47
(' Hist ' said Kate the queen /
But ' Oh ' cried the maiden, binding her tresses,
''Tis only a page that carols unseen
' Crumbling your hounds their messes ! ')
, Ecce Ancilla Domini! 1850. , , « ». , , . , .
– . , ( , ) . , , . . « ».
The furore against the Pre-Raphaelites began when Rossetti showed Ecce Ancilla Domini! At the National Institution in April 1850. His brother summarized his approach to the representation of religious themes by describing this painting as a ‘vehicle for representing ideas’. It was intended as part of diptych, the second panel of which would have shown the Virgin’s death, though it was never executed. The critics found this painting disturbing because it was too innovative and daring.
The iconography is curious, with the Virgin shown semi-prostrate. The use of a most untraditional palette virtually reduced to primary colors (white is dominant, whereas the Virgin is normally associated with blue) unleashed the fury of the critics. The atmosphere is unreal but the almost anguished expression Rossetti gives to the Virgin is very human. The painting was an innovative rendering of the theme of the Annunciation. One critic describe the painter as ‘the high priest of this retrograde school’
, , . . , .
Ecce Ancilla Domini! 1849 - 1850. The Tate Gallery - London.
72,6*41,9 .
, , . .
Like The Girlhood of Mary Virgin, it is strongly inspired by the medieval pictures Rossetti had seen in Flanders and Italy. Christina was his model.
, , .
The ramification of The Gorham Judgement
https://en.wikipedia.org/wiki/George_Cornelius_Gorham
, High Churchmen, , .
1850 - Deverell and Collins. .
Sevenoaks .
1850- III.
Chelsea W B Scott .
1850.
Portrait of Thomas Woolner 1850
Pen and ink with ink wash, on laid paper. Width: 109 mm Height: 169 mm
, -. , .
Thomas Woolner was a sculptor and poet and a member of the Pre-Raphaelite Brotherhood. This is an interesting drawing of the revolving table that he used in his studio.
Date: 1850-1852
Model: Anna Marie Howitt
Christina Rossetti 1850 (circa) Medium: pencil Dimensions: 5 7/8 x 4 1/2 in.
Rosso Vestita (Dressed in Red) 1850
Watercolour, over pencil and ink, on paper laid down on card.
Width: 156 mm
Height 260
. " " , , . 'Pippa Passes'. , " ".
This is the artist's second watercolour, and originally formed part of a large design for Kate the Queen, which was destroyed by Rossetti but of which four fragments remain. The subject was taken from Browning's poem 'Pippa Passes'. The entire composition was to represent a queen sitting among many maidens in a 'painted gallery'.
1850. Two Lovers 1850
Pen and ink with brown wash on paper.
Width: 106 mm
Height: 132 mm
1850-1852
Love's Mirror or a Parable of Love 1850 – 1852
Black pen and ink over pencil, with ink wash, on paper.
Width: 175 mm Height: 195 mm
The simple message of the 'parable' is that while the young man assists his beloved with her self-portrait, the mirror ('Love's Mirror') improves on art by reflecting an image of the two lovers together. Whether the features of the woman are meant to be those of Elizabeth Siddal is unclear, but the subject can be read as a romanticised image of her in the dual role of Rossetti's model and pupil in the earliest days of their relationship. These is no contemporary reference to this drawing, although it is known to have belonged to the poet Coventry Patmore (possibly as a gift from the artist), who was an intimate associate of the Pre-Raphalites. The model for the young man in the drawing may have been Thomas Woolner.
1850 ( 1849 , ) Walter Deverell, Cranborn Street , , . . , , . - , « » Twelfth Night .
| : | . ROSSETTI./ ROSSETTI LIFE |
