#pre raphaelite brotherhood style

[fayriequeene]

"There’s rosemary, that’s for remembrance.

Pray you, love, remember.

And there is pansies, that’s for thoughts ...

There’s fennel for you, and columbines.

There’s rue for you, and here’s some for me.

We may call it “herb of grace” o' Sundays.

- Oh, you must wear your rue with a difference.

There’s a daisy. I would give you some violets,

But they withered all when my father died."

[preraphaelitepaintings]

The Stream

Artist: Charles Allston Collins (British, 1828-1873)

Date: 19th century

Medium: Oil on canvas

Collection: Southwark Heritage Centre, London, England

[uwmspeccoll]

It’s Fine Press Friday! 

Today we’re leaning into the drama with a 1910 edition of Poems from notorious bohemian and (unofficial) Pre-Raphaelite Brotherhood (PRB) member Christina Rossetti (1830-1894). This vellum covered, gilt stamped, 369-page tome was printed on Unbleached Arnold paper by the Villafield Press in Glasgow and published in limited run of 350 copies in London by Blackie & Son under the art direction of Talwin Morris. It features a praiseful yet cutting introduction from fellow poet, critic, and suffragist Alice Meynell (1847-1922) along with a wealth of illustrations (70 plates) by Florence Harrison (1877–1955) , an Australian illustrator of poetry and children’s books who worked extensively with Blackie & Son. Harrison’s style was inspired by the Romantic Era and the nature-worshipping, hedonistic values of the Art Nouveau and Pre-Raphaelite movements of the time. Fittingly, she also illustrated the works of fellow PRB poets William Morris (1834-1896) and Alfred Tennyson (1809-1892).   

While many of the poems included are overtly devotional and express themes of purity, motifs of romantic love, limerence, melancholy, and death permeate the mood of the text as a whole. The Rossetti family, particularly Christina’s brother Dante Gabriel Rossetti (1828-1882) (poet, illustrator, painter, translator, and co-founder of the PRB) and Elizabeth Siddal (1829-1862) (artist, iconic art model, poet, and Dante’s longtime partner, muse, and eventual wife), are known for their exploits, excesses, creative legacy and influence on the culture of the era. Christina published her first poem at only 16, and Siddal posed for Millais's Ophelia at 19. The radical, passionate nature of the philosophies and lifestyle they embodied was as much a product of the intensity and privilege of their youth as of the Renaissance ideals and Victorian mores they rebelled against.   

For a deeper dive on the Rossettis and their generation, check out this recent exhibition at the Tate Modern.  

View another Christina Rossetti post

View another Dante Gabriel Rossetti post

View another Pre-Raphaelite post

View more Art Nouveau posts

--Ana, Special Collections Graduate Intern

[the-most-sublime-fool]

Elizabeth Siddal & Jane Morris

Pre-Raphaelite models as artists in their own right

Photographs of Elizabeth Siddal (left) and Jane Morris (right)

Elizabeth Siddal and Jane Morris are mostly known as artists' models for the Pre-Raphaelite Brotherhood, representing the ideal of feminine beauty for the movement.

Elizabeth Siddal famously modelled for John Everett Millais's Ophelia (1852)

Jane Morris in paintings by Dante Gabriel Rossetti: Proserpine (1874) + The Daydream (1880)

But both women were also artists themselves.

Elizabeth Siddal

In the paintings and drawings she modelled for, Siddal is never depicted as looking directly at the viewer. Instead, she is languid and lovely, gazing off dreamily into the distance or closing her eyes, like in the examples below.

Elizabeth Siddal in paintings by Dante Gabriel Rossetti: Regina Cordium (1860) + Beata Beatrix (1870)

Her self-portrait, however, presents a fascinating contrast.

Elizabeth Siddal's self-portrait (1854)

Her expression is stony and her gaze is direct. She knows you're looking, and she's looking right back. It reminds me of the Agnès Varda quote,

“The first feminist gesture is to say: OK, they're looking at me. But I'm looking at them.”

Here are some more of Siddal's own paintings below.

Her style is distinct and striking.

Lady Clare (1857), The Quest of the Holy Grail (1855), Clerk Saunders (1857), Holy Family (1856)

Jane Morris

Jane Morris was not a painter herself, but an embroiderer, bookbinder, and calligrapher.

She came from a working-class background and only received an artistic education as an adult, after she married William Morris.

Unfortunately, not much of her work survives, or can be definitively attributed to her, but the two floral patterns below reveal her skill with the needle.

[portrait-paintings]

Portrait of John Keats

Artist: Joseph Severn (British, 1793–1879)

Date: 1821-1823

Medium: Oil on Canvas

Collection: National Portrait Gallery, London

John Keats

John Keats (31 October 1795 – 23 February 1821) was an English poet of the second generation of Romantic poets, along with Lord Byron and Percy Bysshe Shelley. His poems had been in publication for less than four years when he died of tuberculosis at the age of 25. They were indifferently received in his lifetime, but his fame grew rapidly after his death. By the end of the century, he was placed in the canon of English literature, strongly influencing many writers of the Pre-Raphaelite Brotherhood; the Encyclopædia Britannica of 1888 called one ode "one of the final masterpieces".

Keats had a style "heavily loaded with sensualities", notably in the series of odes. Typically of the Romantics, he accentuated extreme emotion through natural imagery. Today his poems and letters remain among the most popular and analysed in English literature – in particular "Ode to a Nightingale", "Ode on a Grecian Urn", "Sleep and Poetry" and the sonnet "On First Looking into Chapman's Homer". Jorge Luis Borges named his first time reading Keats an experience he felt all his life.

This portrait Severn, who had nursed his friend in Rome, described the circumstances recreated in this posthumous portrait: 'This was the time he first fell ill & had written the Ode to the Nightingale on the morning of my visit to Hampstead. I found him sitting with the two chairs as I have painted him & was struck with the first real symptoms of sadness in Keats so finely expressed in that poem.'

[eyesdrawmagic]

John William Waterhouse was an English painter who completed a work titled "The Magic Circle" in 1886. He adopted the style of the Pre-Raphaelite Brotherhood(PRB) later in his career although the movement itself became lost toward the end of the century.

The image itself depicts a sorceress drawing a magic circle on the ground to create a ritual space.

[gravemakamura]

Let Me Tell Ya Something: Artists and Writers of the Aestheticism Movement

(Note: I've gone bonkers at the end of it)

The art movement called ‘Aestheticism” is both interesting and weird.

The movement originally started back in 1860 and ended in 1900 (At least according to articles and Youtube videos).

There are two sections or categories that Aestheticism is found in (or at least I'm interested in). Art and Literature. But first…

What Is Aestheticism?

Aestheticism is basically the embodiment of “Art for the sake of art”

As Aestheticism was uninspired by the natural world, and instead only showed the shallow beauty of things. As the article that I read wrote; Beauty escapism. Or something along those lines. The movement chose beauty over sharing political and/or social ideas. Aestheticism showcased the beauty of manly or female beauty and created a new fashion trend as it influenced public consciousness. Aestheticism was also associated with the Decadent movement. Aestheticism looks back to the art of the past, similar to the Renaissance, but with no substance other than being food for the eyes. (You can correct me if I'm wrong)

Aestheticism is also a philosophy. The study and nature of beauty.

Artists During The Aestheticism Movement

(Note that information about these artists and writers in this blog may be insufficient, and I will shorten the description of each individual as much as possible)

- Dante Gabriel Rossetti (I am unsure how his surname is spelled, as it kept changing between sources)

- Lord Leighton

Dante Gabriel Rossetti

Born in London, England on May 12, 1828. He was the most celebrated member of the Rossetti family. Rossetti was an English artist and poet. He helped found the Pre-raphaelites Brotherhood, painters who were just haters of Raphael’s and Michelangelo’s works to put it simply and lightly. But, by the 1860s, he moved on from the pre-raphaelites and was searching for something new to paint.

Rossetti was known for painting his muse (and wife, which is cute) Elizabeth Siddal, who had pale skin and bright red hair. A trait considered to be ‘undesirable’ back then (and also they associate them with witches if I’m correct?) But, because Rossetti continued to paint Elizabeth, the beauty standard between people with red hair began to change, he made red hair socially acceptable.

He eventually died in 1882 on Easter Sunday. His health withered due to Chloral, while his wife died due to Laudanum (a drug made of 10% opium). Rossetti died of Bright’s disease, which he was suffering from for quite some time now.

This is unfortunately the only information that I wrote down about him. I do not have the time to do further research about him. For I have a group activity to do ;-;

Lord Fredric Leighton

Born in Scarborough, United Kingdom on December 3, 1830.

Now, let me tell you this. HE IS RICH AF. His dad paid his allowance for his whole life. Like, are you fr????

Anyways. Based on my notes he:

Became the President of the Royal Academy in 1878 and lasted until he died in 1896.

He was the most famous artist of his day and won many honours and national awards. He also worked on a house till his death, he lived inside that house for 30 years and worked on it around the mid-1860s. The house had multiple styles (And looks rad af). The sources came from Italian Renaissance and the architecture from the near east. The house is often described to as a “Private palace of art”

Leighton would travel around Europe and often come back to Florence and Rome until his death. And, up to this day, it is debated whether he had an illegitimate child with one of his models, or if he was a homosexual. (tbh, I think he’s the latter)

Lord Leighton died on January 25, 1896. Due to Angina Pectoris. A symptom of heart disease, but could be a sign of a heart attack.

Writers During The Aestheticism Movement

- Oscar Wilde

- Algernon Charles Swinburne (will forever remember such a badassatron surname)

- Ernest Dowson

Oscar Wilde

(As his surname implies, dude’s a wildin’)

The most famous artist and writer during the Aestheticism movement. Born on October 16, 1854, in Westland Row, Dublin, Ireland. Wilde was both a poet and a playwrite. Wilde attended Trinity College and Oxford University. His works were often flamboyant and witty. He won the Newdigate prize back in 1878. He was first inspired by aestheticism through what Walter Pater taught.

And just like a peacock, he LOVED attention, good or bad he would GOBBLE IT UP. He got married in 1884 and had two kids with his wife. And since a peacock is a bird and birds can be gay (not peacocks though, which ruins this analogy), Oscar Wilde was imprisoned due to his gayness, to say the least. He had a relationship with Lord Alfred Douglas, and he (Oscar Wilde) was accused to be a ‘Sodomite” aka; he likes hot butt sex. (iyyk)

When he was finally freed from prison, he went to France. But he went bankrupt and died broke. He died due to meningitis and a condition called “I’m Broke Bruh” (IBB) in Paris in 1900.

Algernon Charles Swinburne

Born in London, 5th of April 1837. Swinburne was a famous lyric poem of his time. Mostly a poet, but he also wrote novels, plays and critics. Swinburne contributed to the Encyclopedia Brittanica,

Swinburne’s works tackled subjects such as atheism and cannibalism, subjects not often read in books, poetry or of any kind. He went to Eton and Oxford University. There, he met Dante Gabriel Rossetti.

And according to my notes, he liked scaring people. His works that were often tackling sadomasochism shocked people, so much so their heads must’ve split open, an image I wish I didn’t imagined while writing this. One of his famous work was called “Poems and Ballads” a collection of… well.. poems and ballads.

Swinburne eventually died on April 10, 1909, due to flu. Bro had a badassatron name but died in a not do badassatron way (I'm not saying dying due to flu is boring, I just didn't expect him to die that way)

Ernest Dowson

Born in Kent, England back in 1867. He was a novelist and a poet (like me, but he was successful). He was considered a Decadent writer due to his age and reputation. He also followed the ideals of the Aestheticism movement. And his most famous work came to fruition because of an unrequited love. And just like most authors, he died broke. (That’s my future right there) He died of tuberculosis at the age of 32, on February 23, 1900.

Moral of the Story

If you're a writer, you're going to die broke, and maybe young.

If you're an artist, and have not been born in a wealthy family. You're going to die broke.

[gingerbredman1989]

Gorgeous young man in the Pre-Raphaelite Brotherhood style of painting.

ChatGPT with DALL-E

[bm2ab]

Three's a Crowd . 20 November 2024 . Lorenzo and Isabella . John Everett Millais . 1848–1849

Isabella (1848–1849) is a painting by John Everett Millais, which was his first exhibited work in the Pre-Raphaelite style, completed shortly after the formation of the Pre-Raphaelite Brotherhood in 1848. It was first exhibited at the Royal Academy in 1849, and is now in the collection of the Walker Art Gallery in Liverpool.

The painting illustrates an episode from Giovanni Boccaccio's Decameron novel Lisabetta e il testo di bassilico (1349 - 1353), which was reused for John Keats's poem, Isabella, or the Pot of Basil, which describes the relationship between Isabella, the sister of wealthy medieval merchants, and Lorenzo, an employee of Isabella's brothers. It depicts the moment at which Isabella's brothers realise that there is a romance between the two young people, and plot to murder Lorenzo so they can marry Isabella to a wealthy nobleman. Isabella, wearing grey at the right, is being handed a blood orange on a plate by the doomed Lorenzo. A cut blood orange is symbolic of the neck of someone who has just been decapitated, referring to Isabella cutting off Lorenzo's head to take it with her after finding him buried. One of her brothers violently kicks a frightened dog while cracking a nut.

[mask131]

Fantasy sights: Paton

Next on our list, the Scottish 19th century painter Joseph Noel Paton.

He became very famous for his set of paintings illustrating Shakespeare's Midsummer Night's Dream.

The Quarrel of Oberon and Titania...

The Reconciliation of Oberon and Titania...

Oberon and the Mermaid...

Puck and Fairies...

(I am really sad that for the first two I cannot include a full-size version of the paintings, because the amount of little details in these pieces is WONDERFUL if you can ever check it up close, don't hesitate)

Paton is often included among the Pre-Raphaelites, given his style is very similar to theirs, though he actually declined and refused to be part of their brotherhood. But their common interested for the Arthurian legends shows up in a few of his pieces, such as:

... Sir Galahad

... How an angel rowed sir Galahad across the Dern Mere

... Sir Galahad and the Angel

Other fantasy pieces of Paton include his "The Fairy Raid : Carrying Off a Changeling - Midsummer Eve"

"Oskold and the Elf-maids"

And "Cymocles Discovered by Atis in the Bowre of Bliss" (from Spencer's Faerie Queene, Book II, chapter V"

[artemlegere]

An Idyll

Artist: Edward Burne-Jones (British, 1833–1898)

Date: 1862

Medium: Oil painting

Collection: Birmingham Museums Trust, Birmingham, United Kingdom

[thegreenwallrabbit-blog]

Explaining one of VTMB paintings (pt 3)

Sleep and His Half-Brother Death- 1874 Oil on canvas, by John William Waterhouse.  

John William Waterhouse (6 April 1849 – 10 February 1917) was a English painter first known for his works painting in the Academic style before rejecting this and becoming part of the Pre-Raphaelite Brotherhood in 1883.  

Sleep and His Half-Brother Death is notable  as one of his early works still using the Academic style. This painting was Waterhouse's first Royal Academy exhibit, and it was painted after both his younger brothers died of tuberculosis* The painting itself is a reference to the Greek gods Hypnos (sleep) and Thanatos (death) who, in the Greek mythology, were brothers. Despite their similar poses in the painting, the character in the foreground is bathed in light, while his brother is shrouded in darkness; the first therefore represents Sleep, the latter Death. The personification of Sleep clasps poppies, symbolic of narcosis and dreamlike-states. This painting was first exhibited at the Royal Academy summer exhibition in 1874. and was such a well received success. [1]

In VTMB there are two interesting points. First, is that the artists brothers died of Consumptionit (tuberculosis), which up until the early 1800s deceased victims were sometimes though to come back to life as vampires. Bodies of those who had dies from tuberculosis were exhumed and internal organs ritually burned to stop the "vampire" from attacking the local population and to prevent the spread of the disease. [2]  Secondly, sleep is the closest a Kindred can get to the peace without meeting their Final Death. Theres always lots of rumored over elders that have supposedly who have meet their Final Death that actually have chosen to go into a Sleep of Ages torpor. Sometimes in heavy, ostentatious and ominously decorated containers.(^ ‿ <) but don’t worry I hear there is a dedicated kindred out there separating fact from fiction owo.

Citations [1] Waterhouse, John William. “Sleep and His Half Brother Death, 1874 - John William Waterhouse  .” Www.wikiart.org, 1 Jan. 1874, https://www.wikiart.org/en/john-william-waterhouse/sleep-and-his-half-brother-death-1874. 

[preraphaelitepaintings]

Claudio and Isabella

Artist: William Holman Hunt (English, 1827–1910)

Date: 1850

Medium: Oil paint on mahogany

Collection: TATE Britain, United Kingdom

Description

The picture illustrates the dilemma of Claudio and Isabella and is based on a scene from Shakespeare's Measure for Measure. Claudio's life can only be saved if his sister Isabella agrees to sacrifice her virginity to Angelo, the absent Duke's deputy. The moment is summed up by these lines from the play, which Hunt inscribed on the picture frame: 'Claudio. Death is a fearful thing. Isabella. And shamed life is hateful.' However, the painting is more than a mere illustration of Shakespeare's words, and Hunt conditions our response through the picture's subtle imagery.

[hisinfernalmajesty666]

"And the soul of the rose went into my blood"

The Soul of The Rose d.1908 by John William Waterhouse.

📍Private Collection.

John William Waterhouse was an English painter who was known firstly as an Academic painter before embracing the Pre-Raphaelite Brotherhood art style. The Pre-Raphaelite Brotherhood was a group of English painters, poets and art critics, founded in 1848. Waterhouse, who wasn't born until a year later in 1849, would join the group later in life. The group sought a return to the great detail, intense colours and detailed compositions of Quattrocento Italian art, rejecting the Mannerist artists who succeeded Raphael and Michelangelo. Hence the name Pre-Raphaelite. Much of his artwork is known for depictions of women from Greek mythology and Arthurian legend, as well as works from authors such as Homer, Shakespeare and Tennyson.

The title of the painting derives from the Tennyson poem 'Maud' but the painting is by no means an interpretation of the poem, merely the quote at the top of the post. The main focus is the female figure, Maud, who is in love with a man she cannot be with, leading to mental illness and death for both characters in the poem. Maud's adoration of the rose can be interpreted as her sparking a memory of her lover. This fits with the depicted role of women in this era as delicate creatures who lived in debt and admiration of their male counterparts. The painting draws together the senses of sight and smell, as our appreciation of the painting goes beyond our eyes, imagining the scent of a rose. The woman also touches the rose which arouses our sense of touch. Like most Waterhouse paintings. The background has very little importance, though it is an Italian style garden, which connects the painting to Italy, the birthplace of Waterhouse, which heavily influences the painting at hand. The use of high walls creates an atmosphere that the woman is trapped both physically and metaphorically.

[exhibit-of-the-century]

Lecture Notes MON 22nd JAN

Masterlist

BUY ME A COFFEE

The Artwork in History: ‘Renaissance’ Art

‘Renaissance’ word association:

Rebirth, revival, Florence, Michelangelo, Leonardo, Raphael, dropping church, Christian art/ Madonna, dissection, revival, revival of Antique, Sistine Chapel, Bronze Sculpture, Medici

Compared to the words suggested surrounding ‘Medieval’, these highlight a far greater knowledge and specialisation. Presenting specific artworks, people, and places. Unlike in ‘Medieval’ which presents a greater generalisation and vagueness.

We begin the study of the ‘Renaissance’ by looking at the origins of the term/name of the period. It’s key to note that periods/movements do not have specific names during the time those artists that make those movements up are alive/create. Periods and movements usually are named after they have elapsed and passed, as well as certain meaning being prescribed to them. Although, that isn’t always the case, as for the pre-Raphaelite Brotherhood: the artists named themselves this and wrote a manifesto. Also, the closer we get to the present day, the more smaller niche movements we have happening. Partly due to knowing more, and the evolution of art and its accessibility.

Jacob Burckhardt (1818-1897)

So, the ‘Renaissance’, coined by Jacob Burckhardt. A German writer. The term comes from the French, writing a book about 15th century Italy. Although his book is slightly problematic in the sense that it doesn’t actually recommend or document any art in this so called “art-history” book.

A good example of ‘Renaissance’ art is Botticelli’s ‘Birth of Venus’. As this period of art heavily focuses on retelling classic myths, filled with antique symbolism. A reason a lot of people cite this painting is due to its immense size. A good rule of thumb as an art historian is that if it’s big, it’s important. While the period looks back on Pagan mythology, the religion however doesn’t come back. In fact, more people turn to and cite this period as one of Christian art. Theres a lack of revival of paganism, but there is a revival of form. Observe this statue:

(Right)Sandro Botticelli, The Birth of Venus, tempera on canvas. 172.5 cm x 278.9 cm, Uffizi, Florence (Left)Aphrodite/Venus, Roman, Metropolitan Museum, New York

The pose is near identical to that of the Classical Antiquity Venus, so we have some semblance and idea of where these artists were drawing their inspiration from. Whereas the ‘Medieval’ was a little bit more complicated. But the ‘Renaissance’ also makes us question as to where the people were looking to for inspiration and evolving their ideas from?

The historical awareness surrounding the Renaissance, highlights to us how they were copying and reviving Classical Antiquity, it’s also safe to say that near always in history we look back on Classical Antiquity and revive aspects of it in some manner/form.

Arch of Constantine

The Renaissance is closely associated with the visual arts. However, it’s more focused on words and the physical surprisingly.

Humanistic Script:

Humanistic script Ser Giovanni di Piero da Stia, Florence, early fifteenth century BL Harley 3426

A revival of Roman Latin occurs, and an interest in what people wrote/how they physically wrote. This prevails in the modern day, as Humanistic Script is what influences todays cursive and joined handwriting. The physical print was also important, as the Renaissance was concerned with how you spelled Latin, causing a reformation of vocab/style. Considered Roman handwriting.

While the Roman’s wrote on wax tablets, this left us with quite little to study/go off of. Apart from the in-scriptures on buildings. Surprisingly, although it was a revival of Roman Latin it was modelled on ‘Medieval’ handwriting: the earliest surviving copy is a copy of Vitruvius. Located in the British Library. Carolingian script (aka a Romanising of Medieval handwriting).

(Left) Gothic script. North Italy, thirteenth century (Right) Carolingian script An early ninth century copy of Vitruvius, British Library

Humanists were mainly concerned with text/writing.

Leonardo Bruni (tomb analysis): classical poetry doesn’t rhyme, its focus more on flow.

Bruni’s epitaph by Carlo Marsuppini

Literary and scholarly revival is actually the first thing that occurs in the Renaissance, then followed by the visual arts. The scholars worked with people in power or with people whom they shared values with. While most people name Florence as the city of the Renaissance, which it was, they are usually wrong on the city part. Florence was a republic, standing against tyranny.

Text -> Building (Architecture) -> Visual Arts

Looking at these buildings there are clear associations we can begin to link to Renaissance Architecture: simplicity, proportion, understated elegance, columns with entablature, dainty, refined and light.

Filippo Brunelleschi, Foundling Hospital, Florence, 1419-24

Baptistery, Florence Late 11th or early 12th century

When considering what the Renaissance people were reviving? It’s hard to imagine it’s the Roman buildings (‘Medieval’ post for more information), as that style was far heavier, more solid.

A name that most will recognise, is that of: Filippo Brunelleschi. The most popular architect of the time. Historians believe that rather than looking and reviving Roman Architecture or even studying it, it was Medieval architecture. The aforementioned Baptistery is a prime example of this confusion, considering this building to be a revival of Classical Antiquity when in fact it hails most of its design and inspiration from the Medieval.

Brunelleschi, Old Sacristy, San Lorenzo, c.1418-28 The tomb of Giovanni di Bicci de’ Medici (1360-1429) is at the centre

Florence, especially during this time has an important self-image, and is quietly and privately ruled by the Medici family. You’ll see their name come up a lot in art of this time, as they bolstered their position with the visual arts.

Another important figure, whose name is not as wildly known is Leon Battista Alberti, another Architect, although he dabbled really in Architecture. He was first a scholar and a writer: Humanist.

His work was more focused on borrowing than copying. It’s especially in his architecture that you see the greater details and referencing to Classical Antiquity, rather than in text.

Leon Battista Alberti, Façade of Sant’ Andrea, Mantua, c1470

(Left) Arch of Trajan, Ancona, 115CE (Right) Arch of Titus, Rome, c80CE

Brunelleschi claims to have used certain styles/ references in his biography, which was written in his late life. However, Historians aren’t too convinced by his claims. Really instead of copying, the Renaissance developed motifs.

Nudes are considered Classical Antiquity.

(Left)Apollo Bonacolsi, called Antico Apollo, 1490s (Right)Apollo Belvedere Discovered late15th century

Donatello, David, 1440s?, bronze, 1.58m, Bargello, Florence

Moreover, the bronze sculptures use a specific recipe to achieve a certain finish. The original recipe used by the Romans was lost in history, and thus the Renaissance came up with their own one. And while I reference Donatello’s David, just because it’s popular now, doesn’t necessarily mean it was popular originally/during that time in history.

A revival of Portrait Busts and Side Profile studies occurred:

(Left)Antonio Rossellino Portrait bust of Matteo Palmieri, 1468, Bargello, Florence (Right)Pisanello Portrait of Leonello d’Este, 1441

It’s also in 15th century Florence that we see great technical developments be achieved within art, like Geometrical lines indicating to perspective work, light source and shading, construction. All partially being influenced and being attributed to the Arabic optical studies.

Here in this Masaccio the perspective development can be observed.

Masaccio Trinity, 1420s, Santa Maria Novella, Florence

‘High Renaissance’ Bramante, ‘Tempietto’, c.1502, San Pietro in Montorio, Rome

PART 2 OF POST: MASACCIO

[rojinsart]

“Lady Lilith”

Painter: Dante Gabriel Rossetti Style: Pre-Raphaelite Brotherhood, Aestheticism, Oil Year: 1866-73 Themes: Beauty, Youth, Mythology Notes: Lady Lilith is an oil painting by Dante Gabriel Rossetti first painted in 1866–1868 using his mistress Fanny-Cornforth as the model, then altered in 1872–73 to show the face of Alexa Wilding. The subject is Lilith, who was, according to ancient Judaic myth, "the first wife of Adam" and is associated with the seduction of men and the murder of children. She is shown as a "powerful and evil temptress" and as "an iconic, Amazon-like female with long, flowing hair."

Rossetti overpainted Cornforth's face, perhaps at the suggestion of his client, shipping magnate Frederick Richards Leyland, who displayed the painting in his drawing room with five other Rossetti "stunners." After Leyland's death, the painting was purchased by Samuel Bancroft and Bancroft's estate donated it in 1935 to the Delaware Art Museum where it is now displayed.

The painting forms a pair with Sibylla Palmifera, painted 1866–1870, also with Wilding as the model.  Lady Lilithrepresents the body's beauty, according to Rossetti's sonnet inscribed on the frame.  Sibylla Palmifera represents the soul's beauty, according to the Rossetti sonnet on its frame.

A large 1867 replica of Lady Lilith, painted by Rossetti in watercolor, which shows the face of Cornforth, is now owned by New York's Metropolitan Museum of Art. It has a verse from Goethe’s Faust as translated by Shelley on a label attached by Rossetti to its frame:

"Beware of her fair hair, for she excells All women in the magic of her locks, And when she twines them round a young man's neck she will not ever set him free again."

More: Lady Lilith