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The reputations of Dante Gabriel Rossetti, the artist and poet, together with his sister, the poet Christina Rossetti, were zealously guarded by their brother Michael and the Rossetti family in general. Any whiff of scandal was to be strictly avoided, concealed or otherwise written out of history. But according to family traditions handed down to Dr Powell, the author of this book, her great-grandfather was Dante Gabriel Rossetti's illegitimate son. Based on the evidence she has unearthed, Dr Powell tells the story of Rossetti's secret love affair and the son that resulted.
A revolutionary figure throughout his career, Dante Gabriel Rossetti’s work provides a distinctly revolutionary lens through which the Victorian period can be viewed. Suggesting that Rossetti’s work should be approached through his poetry, Brian Donnelly argues that it is both inscribed by and inscribes the development of verbal as well as visual culture in the Victorian era. In his discussions of modernity, aestheticism, and material culture, he identifies Rossetti as a central figure who helped define the terms through which we approach the cultural productions of this period. Donnelly begins by articulating a method for reading Rossetti’s poetry that highlights the intertextual relations within and between the poetry and paintings. His interpretations of such poems as the 'Mary’s Girlhood' sonnets, the sonnet sequence The House of Life, and 'The Orchard-Pit' in relationship to paintings such as The Girlhood of Mary Virgin and Ecce Ancilla Domini! shed light on Victorian ideals of femininity, on consumer culture, and on the role of gender hierarchies in Victorian culture. Situating Rossetti’s poetry as the key to all of his work, Donnelly also makes a case for its centrality in its representation of the dominant discourses of the late Victorian period: faith, sex, consumption, death, and the nature of representation itself.
Focusing on two of the most influential figures in the Pre-Raphaelite movement, this book explores ways of considering art and literature together. The author traces the relationship of the poetry and poetics of Rossetti and Morris and their practice of visual art and design.
Dante Gabriel Rossetti, English poet, illustrator, painter and translator, founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais. Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement. Rossetti's art was characterised by its sensuality and its medieval revivalism. His early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence, The House of Life. Poetry and image are closely entwined in Rossetti's work. He frequently wrote sonnets to accompany his pictures, spanning from The Girlhood of Mary Virgin (1849) and Astarte Syriaca (1877), while also creating art to illustrate poems such as "Goblin Market" by the celebrated poet Christina Rossetti, his sister.
In The Modern Portrait Poem, Frances Dickey recovers the portrait as a poetic genre from the 1860s through the 1920s. Combining literary and art history, she examines the ways Dante Gabriel Rossetti, Algernon Swinburne, and J. M. Whistler transformed the genre of portraiture in both painting and poetry. She then shows how their new ways of looking at and thinking about the portrait subject migrated across the Atlantic to influence Ezra Pound, T. S. Eliot, William Carlos Williams, Amy Lowell, E. E. Cummings, and other poets. These poets creatively exposed the Victorian portrait to new influences ranging from Manet’s realism to modern dance, Futurism, and American avant-garde art. They also condensed, expanded, and combined the genre with other literary modes including epitaph, pastoral, and Bildungsroman. Dickey challenges the tendency to view Modernism as a break with the past and as a transition from aural to visual orientation. She argues that the Victorian poets and painters inspired the new generation of Modernists to test their vision of Aestheticism against their perception of modernity and the relationship between image and text. In bridging historical periods, national boundaries, and disciplinary distinctions, Dickey makes a case for the continuity of this genre over the Victorian/Modernist divide and from Britain to the United States in a time of rapid change in the arts.
Why did the work of Dante Gabriel Rossetti come to dominate the cultural geography of England between 1850 and 1910? And why, having attained that kind of eminence, did Rossetti's star decline so precipitously with the advent of Modernism? Finally, what is there about Rossetti's work and its historical aftermath that makes these questions important ones to ask? The cultural and aesthetic problems raised by those questions are the subject of this fascinating book. Jerome McGann, an eminent authority on Rossetti, demonstrates the programmatic aims of Rossetti's innovative multimedia work by focusing on two issues, one philosophical and one cultural. First, McGann shows how in Rossetti's work high-order thinking processes are modeled and executed as aesthetic practices. Second, from Rossetti's Pre-Raphaelite 'art of the inner standing point' McGann argues that Rossetti forces a revision of the cultural norms commonly used for evaluating artistic success and failure.