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4102 burne-jones christina georgina rossetti dante gabriel rossetti edward edward poynter elizabeth siddal eugene onegin feet fetish girls goblin market hughes lady louis de taeye morris naked nude painting rossetti the rossetti family vampyre walter deverell
JANE MORRIS |
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Jane Morris appeared in a series of photographs posed by Rossetti.
Jane Morris, posed by Rossetti, 1865
John Parsons is best known for his photographs of the wife of artist William Morris, Jane, whom the Pre-Raphaelite artist Dante Gabriel Rossetti idolised and painted. Rossetti himself arranged and choreographed the photographs in collaboration with Parsons and it seems likely that he used the photographs as reference for his paintings; there are noticeable similarities between his painted portraits of Jane Morris and Parsons’ photographs.
1865.
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Reverie, by Dante Gabriel Rossetti
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‘I cannot say that Rossetti’s presence was enlivening [in his later years]. My most representative recollection of him is of his sitting beside Mrs. Morris, who looked as if she had stepped out of any one of his pictures, both wrapped in a motionless silence as of a world where they would have no need of words. And silence, however poetically golden, was a sin in a poet whose voice in speech was so musical as his – hers I am sure I never heard.’
R.E. Francillon, Mid-Victorian Memories
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The home of William and Jane Morris, The Red House, is famous for its architecture and for the collaborative efforts used to decorate it –decorations which led to the Arts and Crafts movement. Both William and Jane, as well as Rossetti, Burne-Jones, Elizabeth Siddal and others worked together painting murals, creating furniture, tapestries, and other artistic masterpieces.
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The Biguiling of Merlin. (1874, Lady Lever Gallery)
In later years, Jane would claim to have never loved her husband. In a Victorian marriage, should we really find this shocking? Her marriage may not have been born of love, but for a girl with no education and poor family, she made the only marital choice she could have.Her affair with Dante Gabriel Rossetti after his wife died was famous. She began to pose for Rossetti again in 1865, which began a series of Rossetti masterpieces familiar to us all –he painted her repeatedly until his death. And but for his paintings, Jane Burden Morris might not even be of interest to us at all. She would merely be the quiet wife of William Morris.But Rossetti captured something in those paintings. Was it her? Or some element in his own mind that her face inspired? We shall never know.
In viewing actual photographs of Jane, it is obvious that Rossetti glamorized her a great deal. I have to wonder how she felt about this. How did she feel when she saw a painted version of herself that held no resemblance to what she saw in the mirror? How did she feel about herself? Was she proud? Did she prefer the painted version? You may see it differently, but all of Rossetti’s paintings of Jane seem somber, enigmatic. She seems quiet and contemplative. A mystery. Perhaps she was a mystery even to Rossetti.
A portrait of Jane Morris that .
The Roseleaf, drawn by DGR Rossetti titled Perlascura.
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Jane posed mainly for Gabriel at first (his main model and muse, Lizzie Siddal, was away at the time). Gabriel was soon called away to join Lizzie, who had probably heard through the grapevine about Rossetti’s new model. Jane then began to sit for William Morris. Morris was a great admirer of Rossetti’s – he looked upon him as a mentor and it seems as if their friendship bordered upon hero worship.
Museum: | Victoria and Albert Museum (London) |
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Beatrice, a Portrait of Jane Morris
Signed with monogram and dated 1879 at the upper left
Oil on canvas
13 1/2 x 11 inches.
Inscribed in Rossetti's handwriting on a label on the back of the frame: "Tanto gentile e tanto onesta pare." Dante Vita Nuova
This is a portrait of Jane Morris in the guise of Dante's Beatrice. It is a variation of the half-length seated portrait of her in the role of Mariana which he painted in 1870, and which is now in Aberdeen Art Gallery. — Christopher Newall
Pencil on paper, dated Aug. 12 1870, 24.1 x 45.1cm, The Society of Antiquaries of London (Kelmscott Manor)
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1865.
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Jane Morris suffered throughout her life from debilitating back pain and was often too ill to sit up or stand.
Rossetti made at least fifteen drawings of Jane reclining on a sofa, the large majority of which date from 1870. Most are in pencil or pen-and-ink, rather than the more elaborate coloured chalks he used for more formally posed drawings of the same period.
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Evelyn De Morgan
Portrait of Jane Morris
1904
chalks on brown paper laid on canvas
De Morgan Foundation
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Astarte Syriaca (1877)
Mystery: lo! betwixt the sun and moon
Astarte of the Syrians: Venus Queen
Ere Aphrodite was. In silver sheen
Her twofold girdle clasps the infinite boon
Of bliss whereof the heaven and earth commune:
And from her neck's inclining flower-stem lean
Love-freighted lips and absolute eyes that wean
The pulse of hearts to the sphere's dominant tune.
Torch-bearing, her sweet ministers compel
All thrones of light beyond the sky and sea
The witnesses of Beauty's face to be:
That face, of Love's all-penetrative spell
Amulet, talisman, and oracle, -
Betwixt the sun and moon a mystery.
----Dante Gabriel Rossetti
1872.
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http://www.all-art.org/history392-5.html
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