Dante Gabriel Rossetti

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 Dante Gabriel Rossetti La Piia de'Tolomei (mk28) oil painting artist
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     La Piia de'Tolomei (mk28)
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INCHES CM High Quality Museum Quality
16x20 40x50   $65   $69
20x24 50x60   $85   $89
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36x48 90x120   $209 $209
48x72 120x180 $389 399

 

  La_Piia_de'Tolomei_(mk28)
c 1868-80 Oil on canvas 105.8 x 120.6 cm Spencer Museum of Art,University of Kansas,Lawrence,KS

 Dante Gabriel Rossetti Mariana (mk28) oil painting artist
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     Mariana (mk28)
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INCHES CM High Quality Museum Quality
16x20 40x50   $65   $69
20x24 50x60   $85   $89
24x36 60x90   $129   $139
30x40 75x100   $139 $149
36x48 90x120   $209 $209
48x72 120x180 $389 399

 

  Mariana_(mk28)
1870 Oil on canvas 109 x 89 cm Aberdeen Art Gallery

 Dante Gabriel Rossetti La Donna della Fiamma (mk28) oil painting artist
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     La Donna della Fiamma (mk28)
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INCHES CM High Quality Museum Quality
16x20 40x50   $65   $69
20x24 50x60   $85   $89
24x36 60x90   $129   $139
30x40 75x100   $139 $149
36x48 90x120   $209 $209
48x72 120x180 $389 399

 

  La_Donna_della_Fiamma_(mk28)
1870 Chalk on paper 100.5 x 75 cm City Art Galleries Manchester

 Dante Gabriel Rossetti Water Willow (mk28) oil painting artist
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     Water Willow (mk28)
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INCHES CM High Quality Museum Quality
16x20 40x50   $65   $69
20x24 50x60   $85   $89
24x36 60x90   $129   $139
30x40 75x100   $139 $149
36x48 90x120   $209 $209
48x72 120x180 $389 399

 

  Water_Willow_(mk28)
1871 Oil on canvas 33 x 26.7 cm Samuel and Mary R Bancroft Memorial,Delaware Art Museum,Wilmingron,DE

 Dante Gabriel Rossetti Dante's Dream at the Time of the Death of Beatrice (mk28) oil painting artist
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     Dante's Dream at the Time of the Death of Beatrice (mk28)
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INCHES CM High Quality Museum Quality
16x20 40x50   $89   $99
20x24 50x60   $109   $119
24x36 60x90   $139   $159
30x40 75x100   $169 $199
36x48 90x120   $249 $249
48x72 120x180 $459 469

 

  Dante's_Dream_at_the_Time_of_the_Death_of_Beatrice_(mk28)
1871 Oil on canvas 211 x 317.5 cm Walker Art Gallery,Liverpool

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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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