Dante Gabriel Rossetti Paintings Art Posters Prints

See a complete list of prints for sale at Rossetti Dante

Day Dream Giclee Print

Astarte Syriaca Art Print

Pandora Giclee Print

La Pia De Tolomei Giclee Print

Reverie Giclee Print

Head of a Woman Giclee Print

Snowdrops Giclee Print

Portrait of Mrs. William J. Stillman Nee Marie Spartali Bust Length Giclee Print

May Morris Giclee Print

The Roman Widow Giclee Print

Portrait of Elizabeth Siddal Giclee Print

Beatrice Giclee Print

Study for a Portrait Art Print

Honeymoon of King Rene of Anjou by Burne Jones and Dante G. Rossetti Giclee Print

Helen of Troy Giclee Print

Aspecta Medusa Giclee Print

Arthur's Tomb Sir Launcelot Parting from Guenevere Giclee Print

Study for a Pall Bearer in Dante's Dream Giclee Print

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In 1841, Rossetti entered the Sass Academy Art School in grooming for classes at the Royal Academy School. Rossetti had difficulty selecting from dedicating himself fully to either painting or poetry. By that period he had already interpreted numerous volumes of Italian verse to English and held a deep love of poetry, however this was blended with an equal love for art. He enrolled at the Royal Academy Schools during1884 however quickly found himself agitated by the boredom of artistic schooling, a characteristic which kept him from acquiring the technical skills exhibited by the other members of Pre-Raphaelite Brotherhood. Frequently Rossetti would pass his time penning poems as well as drawing illustrations for verse. By 1848, he became bored of his lessons and eventually left the Academy in order to be able to study under painter Ford Madox Brown. It had been around this time that he started to use the name he is best known by, take the name that he is recognized by, Dante Gabriel Rossetti.

In September of 1848 William Holman Hunt, John Everett Millais and Rossetti organized a group that became known as the Pre-Raphaelite Brotherhood. The group had been established upon the ideals inspired by writings of art critic John Ruskin, chiefly Ruskin's work titled Modern Painters. The young artists sought the reform of art, and to bring it back to a pre-Renaissance method of painting. This style included ideals set in symbolism, purity of form, and simplicity. The name 'Pre-Raphaelite' was selected out of the group's admiration for Italian art prior to Raphael and 'Brotherhood' for a secret society connotations. The figure seven was believed mysterious therefore they resolved that that should be seven members in the Pre-Raphaelite Brotherhood. Shortly four others had been convinced to join their endeavors, Thomas Woolner, Frederick George Stephens, James Collinson and Michael Rossetti. Dante's brother, Michael, became the Brotherhood's historian. Frequently the artists would pose for each others work and the cryptic "PBR" began to show up in the signatures of their paintings.

In 1849, Walter Deverell brought a milliner's assistant, Elizabeth Eleanor Siddal, to the Pre-Raphaelite Brotherhood. Deverell had encountered her at a London store and so before long, the 17 year old Lizzie was posing with the painters in the group and may be seen in numerous PRB works. Her delicate, romantic beauty resulted her to be called one of the Brotherhood's 'stunners'. Siddal's figure looks out from in Millais' renowned Ophelia, William Holman Hunt's painting A Converted British Family Sheltering a Christian Priest, as well as on a few of Rossetti's more significant paintings. Gradually Rossetti monopolized Siddal's modeling for himself, while the pair built a amorous relationship including Lizzie turning into Rossetti's Beatrice. He then started calling her by the pet name of 'Guggum'. Lizzie had been physically weak and was in perpetual poor health, however her condition started to worsen to where she began ingesting laudanum to help her with her pains.

Dante and Lizzes was engaged for a decade although did not wed until 1860. By Christmas the same year, Lizzie became pregnant, however on May 2, 1861 a infant daughter was stillborn to the Rossettis. The death of the child plummeted Lizzie farther into her depression and in February 1862 she committed suicide by ingesting an overdose of laudanum. Rossetti came home from teaching to find Lizzie lying unconscious in bed with an empty medicine bottle upon a table next to the bed. There were attempts to revive her, but sadly they failed and the following morning Lizzie was announced dead. Rossetti mourned profoundly, faulting himself for Lizzies suicide. Prior to Lizzie's coffin being covered and brought to London's Highgate cemetery for burying, the bereaved Dante Gabriel Rossetti laid a manuscript inside her casket. The manuscript held the sole copy of his poetry he had been organizing for publishing.

Following Lizzie's death, Rossetti settled himself to a big home at Cheyne Walk in London where he became neighbors with fellow painters like as Whistler. He began to pull away from the public, and his home became a menagerie of unusual animals from peacocks, kangaroos, armadillos, raccoons, a Brahmin bull to to a wombat. He began appearing in public in a drunken state and although forever being oversensitive to criticism, his sensitivity inflated. Rossetti as well took up an interest in spirituality, entertaining seances with the intent of reaching his deceased wife Lizzie's spirit.

After the autumn of 1866, Rossetti seldom ventured outside his home during the daytime and as well grew prone to insomnia. In the late 1860's and 1870's his pictures depicted primarily subjects of sad female beauty, paintings which were frequently posed for by the wife of William Morris, Jane. Rossetti and Jane Morris had met in 1857. By 1869 Rossetti and Jane became lovers with Morris unhappily knowledgeable and the trio lived collectively at Kelmscott Manor. Rossetti's later paintings would be dominated by Jane Morris image.

In 1870 Rossetti finished his best known depiction of Lizzie Siddal, a painting titled Beata Beatrix. In October 1869, seven years following Lizzie's demise, Rossetti had Siddal's grave exhumed in order to recover the book of poetry he had buried with her. Word concerning the exhumation circulated as well as with the account that Lizzie's hair had kept on growing, filling the casket with it's golden brilliance. The poems were released in the volume Poems in 1870 and was rejected by critics, who called it The Fleshly School of Poetry. Rossetti, over sensitive to criticisms, went against the recommendations of friends and wrote an article named The Stealthy School of Criticism. The composition shortly kindled an argument and started a venomous public debate. Rossetti's insomnia came back and he started to take doses of chloral hydrate which he took with whiskey and found himself with alcoholism problems as well as drug addiction. Similar to his father, Dante suffered from paranoia and grew positive other people conspired against him. On June 8, 1872 Dante Gabriel Rossetti attempted suicide with drinking an overdose of laudanum but his friends been nursed the despondent artist back to health.

In December of 1881 Rossetti had stroke which led him to be mostly paralyzed and also his already declining health degenerated quickly. Dante Gabriel Rossetti passed away on April 9, Easter Sunday, 1882. Rossetti had made apparent that he did not want to be buried side by side with Lizzie in London therefore he was laid to rest in a church yard in Birchington-On-Sea.

Museums: Dante Gabriel Rossetti may be found at the Delaware Art Museum or the Spencer Museum of Art.

- A Christmas Carol 1857-58
- A Sea Spell 1877
- A Vision of Fiammetta 1878
- Arthur's Tomb, detail, 1854
- Astarte Syriaca 1877
- Aurea Catena (Portrait of Mrs. Morris) c. 1868
- Beata Beatrix c. 1864-70
- Dante's Dream at the Time of the Death of Beatrice, 1871
- Fair Rosamund 1861
- Fazio's Mistress 1863
- Found 1853-82
- Joli Coeur 1867
- King Rene's Honeymoon
- La Bella Mano 1875
- La Donna della Finestra 1879
- La Donna Della Finestra, 1879
- La Ghirlandata 1873
- La Pia de' Tolomei, 1868-80
- Lady Lilith 1872-73
- Mariana 1868-70
- Monna Vanna 1866
- Pandora, 1869
- Paolo and Francesca da Rimini, 1855
- Portrait of Algernon Swinburne 1861
- Portrait of Elizabeth Siddal, 1854
- Proserpine, 1874
- Regina Cordium 1866
- Saint Catherine 1857
- Sancta Lilias 1874
- Self Portrait at Age Eighteen 1847
- St. George and the Princess Sabra 1862
- The Annunciation 1850
- The Beloved (The Bride) 1865-66
- The Bower Meadow, 1872
- The Day Dream 1880
- The Girlhood of Mary Virgin 1848-49
- The Meeting of Dante and Beatrice in Paradise, 1852
- The Tune of Seven Towers, 1857
- The Wedding of Saint George and Princess Sabra, 1857
- Venus Verticordia 1864-68
- Veronica Veronese 1872