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

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Presentazione sul tema: "Terza e ultima parte della presentazione del modulo della prof.ssa Gabrieli I Preraffaelliti."— Transcript della presentazione:

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

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 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

13 crowflowers

14 weeping willow

15 nettles

16 margherite

17 long purples

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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

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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 ( )

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 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)

59

60 Lizzy

61 Lizzy Siddal

62 Lizzy in a chair

63 Lizzy Siddal

64 Lizzy Siddal plaiting her hair

65

66 E.Siddal, Self- portrait

67

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)

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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

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 Francesca Quali colombe dal disìo chiamate Inferno, canto V, vv 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 baciata 1859 bocca 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, ).

91 Here is something quite new for Rossetti a 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 (1863;1873) per illustrare, nella prima versione, la canzone di Fazio degli Uberti, Io miro i crespi e biondi capegli

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

98 Lady Lilith

99 Regina cordium 1866

100 The beloved 1865

101 Venus Verticordia

102 Jane Burden

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116 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!

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

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124 la donna della fiamma

125 Astarte syriaca

126 The Blessed damozel

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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).Recollections


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