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

1

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

2
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

3

• to go to nature in all singleness of heart,
  rejecting nothing, selecting nothing, and
  scorning nothing
• (Ruskin)

4

• JOHN EVERETT MILLAIS

5
Millais, Ruskin
6
Millais, Cymon and Iphigenia
7
Millais,Isabella and Lorenzo
8
Pala Sforzesca, Beatrice dEste
9
Millais, Christ in the house of his parents
10
Millais, Mariana
11
(No Transcript)
12

• 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 makeOf crowflowers, nettles, daisies, and
  long purplesThat liberal shepherds give a
  grosser name,But our cold maids do
  dead-men's-fingers call them.There on the
  pendent boughs her crownet weedsClambering to
  hang, an envious sliver broke,When down her
  weedy trophies and herselfFell in the weeping
  brook. Her clothes spread wide,And mermaid-like
  awhile they bore her upWhich time she chanted
  snatches of old tunes,As one incapable of her
  own distress,Or like a creature native and
  induedUnto that element. But long it could not
  beTill that her garments, heavy with their
  drink,Pulled the poor wretch from her melodious
  layTo muddy death.
• Laertes Alas, then she is drowned?
• Queen Gertrude Drowned, drowned

13
crowflowers
14
weeping willow
15
nettles
16
margherite
17
long purples
18
(No Transcript)
19
(No Transcript)
20
(No Transcript)
21
(No Transcript)
22
(No Transcript)
23
(No Transcript)
24
(No Transcript)
25
(No Transcript)
26
(No Transcript)
27
(No Transcript)
28
(No Transcript)
29
(No Transcript)
30
Millais, The blind girl
31

• WILLIAM HOLMAN HUNT

32
Hunt, Claudio and Isabella
33
Hunt, Valentine and Proteus
34
Hunt, The light of the world
35
Hunt, The scapegoat
36
Hunt,The awakening conscience
37
Hunt, The Lady of Shalott
38

• FORD MADOX BROWN

39
Brown, An English Autumn Afternoon
40
Brown, Brown, Carrying the corn
41
Brown,The hayfield
42
Brown, Walton-on-the-Naze
43
Madox Brown, The pretty baa-lambs
44
Madox Brown,The last of England
45
Madox Brown, Work
46
The Germ, 1850
47

• DANTE GABRIELE ROSSETTI

48
(No Transcript)
49
Rossetti, Girlhood of Mary Virgin
50
Rossetti, Ecce Ancilla Domini
51
Oxford murals
52

• 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)

53

• 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)

54
Introductory sonnet to The House of Life
55

• Dante, Divina Commedia
• Dante, Vita nuova
• Thomas Malory, Le Morte DArthur, (finito nel
  1470 e pubblicato dalleditore 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)

56
Dante in meditation holding a pomegranate
(symbol of immortality) 1852
57
Elizabeth Siddal
58

• "One face looks out from all his
  canvases,One selfsame figure sits or walks or
  leansWe 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 meansThe 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 lightNot wan with waiting, not
  with sorrow dimNot as she is, but was when hope
  shone brightNot as she is, but as she fills his
  dream."
• ------- Christina Rossetti, In an Artist's
  Studio (1856)

59
(No Transcript)
60
Lizzy
61
Lizzy Siddal
62
Lizzy in a chair
63
Lizzy Siddal
64
Lizzy Siddal plaiting her hair
65
(No Transcript)
66
E.Siddal, Self-portrait
67
E.Siddal, Self-portrait
68
E.Siddal, The Lady of Shalott
69
E.Siddal, Portrait of Clara Siddal
70
E.Siddal, Lovers listening to music
71
E.Siddal, Before the battle
72
Beatrice nega a Dante il saluto (1853)
73
(No Transcript)
74
Dante,Vita Nuova e traduzione di DGR

• E per questa cagione, cioè di questa
  soverchievole voce che parea che minfamasse
  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

75
Primo anniversario della morte di Beatrice (1853)
76
(No Transcript)
77

• In quel giorno nel quale si compiea lanno 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.

78
Paolo e Francesca
79
Paolo e FrancescaQuali colombe dal disìo
chiamateInferno, canto V, vv.82-142

• Icominciai Poeta, volentieri
• parlerei a quei due che nsieme vanno,
• e paion sì al vento esser leggeri.

80

• 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.

81
Paolo e Francesca

• O lasso
• Quanti dolci pensier quanto disìo
• 
  Menò costoro al doloroso passo

82
Rossetti, Arthurs tomb
83
The Tune of the seven towers 1857
84
The Blue Closet 1857
85
The wedding of saint George and the Princess
Sabra 1857
86
How Sir Galahad
87
Roman de la Rose
88
Beata Beatrix
89
Bocca baciata1859bocca baciata non perde
ventura,anzi rinnova come fa la luna, Decameron,
giornata II, novella VII
90

• 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).

91

Here is something quite new for Rossettia
voluptuous, inscrutable image, coarse and sensual
perhaps, but experienced in precisely the way
that differs so essentially from the early work.
And Venetian Cinquecento painting now provides
Rossetti with a model that replaces his earlier
preference for Florentine and Sienese
Quattrocento (The Pre-Raphaelites, Tate 1984,
25).
92
Tiziano, Giovane donna alla toletta c.1515
93
Dante sogna la morte di Beatrice 1856
94
Dante sogna la morte di Beatrice, 1870
95

• ...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 dumilitade...
• (Vita Nuova, XXIII, 7-9)

96
Fazios lover (18631873) per illustrare,
nella prima versione, la canzone di Fazio degli
Uberti, Io miro i crespi e biondi capegli
97
MonnaVanna1866il titolo allude a Madonna
Giovanna,la donna amata da Guido Cavalcanti
98
Lady Lilith
99
Regina cordium1866
100
The beloved1865
101
Venus Verticordia1864-66
102
Jane Burden
103
Jane Burden
104
Jane Burden
105
Jane Burden
106
(No Transcript)
107
(No Transcript)
108
(No Transcript)
109
(No Transcript)
110
(No Transcript)
111
(No Transcript)
112
(No Transcript)
113
(No Transcript)
114
(No Transcript)
115
(No Transcript)
116
Proserpina1874Lungi 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 ascoltatriceE qualche
cuore a qualche anima dice, (Di cui mi giunge il
suon da quando in quando, Continuamente insieme
sospirando,) Oimè per te, Proserpina
infelice!
117

• 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).

118
Perla nera
119
Mariana
120
Pia dei Tolomei
121
aurea catena
122
reverie
123
(No Transcript)
124
la donna della fiamma
125
Astarte syriaca
126
The Blessed damozel1873-78
127
(No Transcript)
128
(No Transcript)
129
(No Transcript)
130

• 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).