Terza e ultima parte della presentazione del modulo della prof ssa Gabrieli



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Terza e ultima parte della presentazione del modulo della prof.ssa Gabrieli

  • Terza e ultima parte della presentazione del modulo della prof.ssa Gabrieli

  • I Preraffaelliti


The Pre-Raphaelites

  • THE PRE-RAPHAELITE BROTHERHOOD

  • Dante Gabriel Rossetti

  • John Everett Millais

  • William Holman Hunt

  • Thomas Woolner

  • William Michael Rossetti

  • James Collinson

  • Frederick Stephens

  • John Ruskin

  • Ford Madox Brown

  • Edward Burne-Jones

  • William Morris



  • “to go to nature in all singleness of heart, rejecting nothing, selecting nothing, and scorning nothing”

  • (Ruskin)



  • JOHN EVERETT MILLAIS



Millais, Ruskin



Millais, Cymon and Iphigenia



Millais,Isabella and Lorenzo



Pala Sforzesca, Beatrice d’Este



Millais, Christ in the house of his parents



Millais, Mariana





  • Laertes “Drowned! O, where?”

  • Queen Gertrude “There is a willow grows askant the brook, That shows his hoar leaves in the glassy stream. Therewith fantastic garlands did she make Of crowflowers, nettles, daisies, and long purples That liberal shepherds give a grosser name, But our cold maids do dead-men's-fingers call them. There on the pendent boughs her crownet weeds Clambering to hang, an envious sliver broke, When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide, And mermaid-like awhile they bore her up; Which time she chanted snatches of old tunes, As one incapable of her own distress, Or like a creature native and indued Unto that element. But long it could not be Till that her garments, heavy with their drink, Pulled the poor wretch from her melodious lay To muddy death.”

  • Laertes “Alas, then she is drowned?”

  • Queen Gertrude “Drowned, drowned”



crowflowers



weeping willow



nettles



margherite



long purples



























Millais, The blind girl



  • WILLIAM HOLMAN HUNT



Hunt, Claudio and Isabella



Hunt, Valentine and Proteus



Hunt, The light of the world



Hunt, The scapegoat



Hunt,The awakening conscience



Hunt, The Lady of Shalott



  • FORD MADOX BROWN



Brown, An English Autumn Afternoon



Brown, Brown, Carrying the corn



Brown,The hayfield



Brown, Walton-on-the-Naze



Madox Brown, The pretty baa-lambs



Madox Brown,The last of England



Madox Brown, Work



The Germ, 1850



  • DANTE GABRIELE ROSSETTI





Rossetti, Girlhood of Mary Virgin



Rossetti, Ecce Ancilla Domini



Oxford murals



  • My own belief is that I am a poet (within the limit of my powers) primarily and that it is my poetic tendencies that chiefly give value to my pictures: only painting being – what poetry is not – a livelihood – I have put my poetry chiefly in that form. On the other hand, the bread-and-cheese question has led a good deal of my painting being pot-boiling and no more – whereas my verse, being unprofitable, has remained (as much as I have found time for) unprostituted.

  • (Lettera di D.G.Rossetti a T.G.Hake, 21 aprile 1870)



  • I have not unfrequently heard my brother say that he considered himself more essentially a poet than a painter.

  • To vary the form of expression, he thought that he had mastered the means of embodying poetical conceptions in the verbal and rhythmical vehicle more thoroughly than in form and design, perhaps more thoroughly than in colour

  • (Dalla Introduzione di W.M. Rossetti alla edizione di The Poetical works of Dante Gabriel Rossetti, London, Ellis and Elvey,1891, p.xxx)



Introductory sonnet to The House of Life



  • Dante, Divina Commedia

  • Dante, Vita nuova

  • Thomas Malory, Le Morte D’Arthur, (finito nel 1470 e pubblicato dall’editore Caxton nel 1485)

  • rielaborazione quattrocentesca delle leggende del ciclo arturiano (Lancillotto e Ginevra, Tristano e Isotta, la vicenda del Santo Graal etc.)

  • Elizabeth Siddal (1829 -1862)



Dante in meditation holding a pomegranate (symbol of immortality) 1852



Elizabeth Siddal



  • "One face looks out from all his canvases, One selfsame figure sits or walks or leans: We found her hidden just behind those screens, That mirror gave back all her loveliness. A queen in opal or in ruby dress, A nameless girl in freshest summer-greens, A saint, an angel - every canvas means The same one meaning, neither more nor less. He feeds upon her face by day and night, And she with true kind eyes looks back on him, Fair as the moon and joyful as the light: Not wan with waiting, not with sorrow dim; Not as she is, but was when hope shone bright; Not as she is, but as she fills his dream."

  • ------- Christina Rossetti, In an Artist's Studio (1856)





Lizzy



Lizzy Siddal



Lizzy in a chair



Lizzy Siddal



Lizzy Siddal plaiting her hair





E.Siddal, Self-portrait



E.Siddal, Self-portrait



E.Siddal, The Lady of Shalott



E.Siddal, Portrait of Clara Siddal



E.Siddal, Lovers listening to music



E.Siddal, Before the battle



Beatrice nega a Dante il saluto (1853)





Dante,Vita Nuova e traduzione di DGR

  • E per questa cagione, cioè di questa soverchievole voce che parea che m’infamasse viziosamente, quella gentilissima, la quale fue distruggitrice di tutti li vizi e regina de le virtudi, passando per alcuna parte, mi negò lo suo dolcissimo salutare, ne lo quale stava tutta la mia beatitudine

  • ...and by this it happened...that she who was the destroyer of all evil and the queen of all good, coming where I was, denied me her sweet salutation, in the which alone was my blessedness



Primo anniversario della morte di Beatrice (1853)





  • In quel giorno nel quale si compiea l’anno che questa donna era fatta de li cittadini di vita eterna, io mi sedea in parte ne la quale, ricordandomi di lei, disegnava uno angelo sopra certe tavolette; e mentre io lo disegnava, volsi li occhi, e vidi lungo me uomini a li quali si convenia di fare onore. E’ riguardavano quello che io facea; e secondo che mi fu detto poi, elli erano stati già alquanto anzi che io me ne accorgessi.Quando li vidi, mi levai, e salutando loro dissi: “Altri era testé meco, però pensava”.



Paolo e Francesca



Paolo e Francesca “Quali colombe dal disìo chiamate” Inferno, canto V, vv.82-142

  • I’cominciai: “Poeta, volentieri

  • parlerei a quei due che ’nsieme vanno,

  • e paion sì al vento esser leggeri”.



  • Noi leggiavamo un giorno per diletto

  • di Lancialotto come amor lo strinse:

  • soli eravamo e sanza alcun sospetto.

  • Per più fiate gli occhi ci sospinse

  • quella lettura, e scolorocci il viso;

  • ma solo un punto fu quel che ci vinse.

  • Quando leggemmo il disiato riso

  • esser baciato da cotanto amante,

  • questi che da me non fia diviso,

  • la bocca mi baciò tutto tremante.

  • Galeotto fu il libro e chi lo scrisse:

  • quel giorno più non vi leggemmo avante.



Paolo e Francesca

          • O lasso
  • Quanti dolci pensier quanto disìo

  • Menò costoro al doloroso passo



Rossetti, Arthur’s tomb



The Tune of the seven towers 1857



The Blue Closet 1857



The wedding of saint George and the Princess Sabra 1857



How Sir Galahad



Roman de la Rose



Beata Beatrix



Bocca baciata 1859 “bocca baciata non perde ventura,anzi rinnova come fa la luna”, Decameron, giornata II, novella VII



  • When Hunt in 1860 saw this picture he judged that DGR had “completely changed his philosophy”, which he showed in his art, “leaving monastic sentiment for Epicureanism” (see Hunt, Pre-Raphaelitism, vol. 2, 111-112).





Tiziano, Giovane donna alla toletta c.1515



Dante sogna la morte di Beatrice 1856



Dante sogna la morte di Beatrice, 1870



  • ...e fu sì forte la erronea fantasia, che mi mostrò questa donna morta: e pareami che donne la covrissero, cioè la sua testa, con un bianco velo; e pareami che la sua faccia avesse tanto aspetto d’umilitade...

  • (Vita Nuova, XXIII, 7-9)



Fazio’s lover (1863;1873) per illustrare, nella prima versione, la canzone di Fazio degli Uberti, “Io miro i crespi e biondi capegli”



Monna Vanna 1866 il titolo allude a Madonna Giovanna,la donna amata da Guido Cavalcanti



Lady Lilith



Regina cordium 1866



The beloved 1865



Venus Verticordia 1864-66



Jane Burden



Jane Burden



Jane Burden



Jane Burden























Proserpina 1874 Lungi è la luce che in sù questo muro Rifrange appena, un breve istante scorta Del rio palazzo alla soprana porta. Lungi quei fiori d'Enna, O lido oscuro, Dal frutto tuo fatal che omai m'è duro. Lungi quel cielo dal tartareo manto Che quì mi cuopre: e lungi ahi lungi ahi quanto Le notti che saràn dai dì che furo. Lungi da me mi sento; e ognor sognando Cerco e ricerco, e resto ascoltatrice; E qualche cuore a qualche anima dice, (Di cui mi giunge il suon da quando in quando, Continuamente insieme sospirando,)— “Oimè per te, Proserpina infelice!”



  • In 1878 DGR gave a long description of the symbolic context of the picture to W. A. Turner, who had just bought the (so-called) sixth version: “The figure represents Proserpine as Empress of Hades. After she was conveyed by Pluto to his realm, and became his bride, her mother Ceres importuned Jupiter for her return to earth, and he was prevailed on to consent to this, provided only she had not partaken any of the fruits of Hades. It was found, however, that she had eaten one grain of a pomegranate, and this enchained her to her new empire and destiny. She is represented in a gloomy corridor of her palace, with the fatal fruit in her hand. As she passes, a gleam strikes on the wall behind her from some inlet suddenly opened, and admitting for a moment the light of the upper world; and she glances furtively toward it, immersed in thought. The incense-burner stands behind her as the attribute of a goddess. The ivy-branch in the background (a decorative appendage to the sonnet inscribed on the label) may be taken as a symbol of clinging memory” (see Sharp, Dante Gabriel Rossetti, 236).



Perla nera



Mariana



Pia dei Tolomei



aurea catena



reverie





la donna della fiamma



Astarte syriaca



The Blessed damozel 1873-78









  • “I saw that Poe had done the utmost it was possible to do with the grief of the lover on earth, and so I determined to reverse the conditions, and give utterance to the yearning of the loved one in heaven”(Caine, Recollections, 284).



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