All Dante Gabriel Rossetti's oil paintings

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3605

The Beloved

1865-66 32 1/2 x 30 in Tate Gallery, London

3618

The Blessed Damozel

1875-78 68 1/2 x 37 in (174 x 94 cm) Fogg Art Museum, Cambridge, Massachusetts

24449

The Blessed Damozel (mk28)

1876-8 Oil on canvas 174 x 94 cm Fogg Museum of Art,Harvard University,Cambridge,MA

24435

The Blue Bower (mk28)

1865 Oil on canvas 90 x 69 cm Barber Institute of Fine Arts University of Birmingham

24416

The Blue Closet (mk28)

1857 Watercolour on paper 34.3 x 24.8 cm Tate Gallery London

24447

The Boat of Love (mk28)

1874-81 Oil on canvas 124.5 x 94 cm Birmingham Museum and Art Gallery

3593

The Bower Meadow

1872 33 1/2 x 26 1/2 in Manchester City Art Galleries, England

24445

The Bower Meadow (mk28)

1872 Oil on canvas 85 x 67 cm City Art Galleries Manchester

34012

The Bride

mk87 1865 Oil on canvas 80x76cm London,Tate Gallery

21550

The Bride (mk09)

1865 Oil on canvas,80 x 76 cm London,Tate Gallery

24404

The Bride (mk28)

1865 Oil on canvas 80 x 76 cm London Tate Gallery

3576

The Day Dream

1880 62 1/2 x 36 1/2 in (157.5 x 92.7 cm) The Victoria and Albert Museum, London

24452

The Day Dream (mk28)

1880 Oil on canvas 159 x 93 cm Victoria and Albert Museum,London

23469

The Day-dream (nn03)

1880 Oil on canvas 159 x 93 cm 62 1/2 x 36 1/2 in Victoria and Albert Museum London

3610

The First Anniversary of the Death of Beatrice

1853-54 Ashmolean Museum, Oxford

24411

The First Anniversary of the Death of Beatrice: Dante Drawing the Angel (mk28)

1853 Watercolour on paper 42 x 61 cm Ashmolean Museum,Oxford

28017

The Gate Memory

1857-64 Coloured chalks on paper 33.6 x 26.6 cm (13 1/4 x 10 1/2 in) Private collection (mk63)

3612

The Girlhood of Mary Virgin

1848-49 Tate Gallery, London

28233

The Girlhood of Mary Virgin

1845-9 Oil on canvas 81.2 x 65.4 cm (32 3/4 x 25 3/4 in) Tate Gallery London (mk63)

53417

The Girlhood of Mary Virgin

mk231 1848 Oil on canvas 83.2x65.4cm

91992

The Girlhood of Mary Virgin

1849(1849) Medium oil on canvas Dimensions Deutsch: 83 X 65,5 cm cyf

24408

The Girlhood of Mary Virgin (mk28)

1849 Oil on canvas 83 x 65 cm Tate Gallery London

42057

The infancy of Maria

mk166 1849 I Wave on cloth Galeria Tate, London

85657

The Loving Cup

Date 1867(1867) Medium Oil on canvas Dimensions 66 x 45.7 cm (26 x 18 in) cjr

3600

The Meeting of Dante and Beatrice in Paradise

1853-54

3603

The Salutation of Beatrice

1859 Oil on two panels Each 29 1/2 x 31 1/2 in (74.9 x 80 cm) National Gallery of Canada, Ottawa

3607

The Seed of David

1858-64 Llandaff Cathedral, Wales

53438

The Seed of David

mk231 90x60 Oil on canvas

24421

The Seed of David (mk28)

1858-64 Oil on canvas centre panel of triptych 228.5 x 152 cm Wings 185 x 62 cm Llandaff Cathedral Cardiff

24427

The Sermon on the Mount (mk28)

1862 Stained glass South nave window All Saints Selsley Gloucestershire

3597

The Tune of Seven Towers

1857

24418

The Tune of Seven Towers (mk28)

1857 Watercolour on paper 31.4 x 36.5 cm Tate Gallery London

3608

The Wedding of Saint George and Princess Sabra

1857 Watercolor on paper 14 3/8 x 14 3/8 in Tate Gallery, London

24417

The Weding of St George and the Princess Sabra (mk28)

1857 Watercolour on paper 36.5 x 36.5 cm Tate Gallery London

3614

Venus Verticordia

1864-68 38 5/8 x 27 1/2 in Russell Cotes Art Gallery, Bournemouth

51802

Venus Verticordia

mk221 1867 Pastel on paper 77x59cm USA 1828-1882

24433

Venus Verticordia (mk28)

1864-8 Oil on canvas 98 x 70 cm Russell Cotes Art Gallery and Museum Bournemouth

28306

Venus Vertisordia

1864-8 Oil on canvas 98 x 69.9 cm (38 5/8 x 27 1/2 in) Russel Cotes Art Gallery and Museum Bournemouth (mk63)

3585

Veronica Veronese

1872 43 x 35 in Delaware Art Museum, Wilmington

24443

Water Willow (mk28)

1871 Oil on canvas 33 x 26.7 cm Samuel and Mary R Bancroft Memorial,Delaware Art Museum,Wilmingron,DE

10241

Waterfall in a Mountainous

Northern Landscape 1665Oil on canvas Fogg Art Museum Cambridge

24422

Writing on the Sand (mk28)

1859 Watercolour on paper 26.5 x 24 cm British Museum, London

25992

Writing on the Sand (mk46)

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Dante Gabriel Rossetti

English Pre-Raphaelite Painter, 1828-1882 Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci. Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.

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