Pre-Raphaelite Sisterhood

Sitemap About Unexpected Pre-Raphaelite Sitings

Celebrate Earth Day with a Pre-Raphaelite Flair

What do the Pre-Raphaelites have to do with our modern Earth Day? Nothing, really. But I think that the principles they followed and the love of nature they embraced can inspire us to slow down and appreciate natural beauty. Prior to the Pre-Raphaelites, if an artist painted a flower in a picture it would have been highly stylized. But the Pre-Raphaelites, who tried to adhere to the maxim “truth to nature”, painted flowers and plants with botanical precision. All natural elements were painted with breathtaking and painstaking detail.  I’m not encouraging each of you to set up easels outside and paint a precise portrait of your back yard.  I’m saying that we should notice with a Pre-Raphaelite eye the beauty that exists naturally in our world, to cultivate it and care for it in a way that fits nicely into your life and cliche it may be, but take time to smell the roses.  Appreciate our planet!


John Ruskin and Pre-Raphaelite art on OvationTV tonight

If you get the Ovation TV channel, there is a wonderful program on tonight that takes a look at John Ruskin and the Pre-Raphaelites. Check your local listings!

A look at non-Western art traditions and the ways in which they have shaped Western civilization. On an epic journey through stunning locations in Greece, Turkey, France, Italy, Switzerland, Britain, Germany, Spain, Egypt, China and the United States, this series explores how art reflects the fantastic leaps that civilization has made.Each episode of the series tells a self-contained story about how the art of the past has given us new ways of thinking and feeling that still inform our lives today. This episode focuses on the effect industrialization has had in the art world. Matthew Collings and fellow art critic John Ruskin travel through Venice, the Swiss Alps and Britain’s resplendent Lake District as they show us the ways that art is able to reconnect us with nature, which has been tarnished by man’s journey through the industrial age


Helen of Troy by Evelyn De Morgan

I have a weakness for art inspired by literary and mythological themes, so I can not resist comparing Evelyn De Morgan’s Helen of Troy with the Pre-Raphaelite artists that came before her.   I’ve written a bit about Eveylyn De Morgan before in this post.  She was heavily influenced by Burne-Jones and was inspired by artists such as Botticelli due to the amount of time she spent in Florence with her uncle, artist John Roddam Spencer Stanhope.

De Morgan’s Helen of Troy seems more conventionally pretty than Dante Gabriel Rossetti’s.  Doves flock around her, apparently drawn to her goodness and beauty.  Oddly, this reminds me of birds and woodland creatures who are always drawn to Disney heroines in Cinderella, Snow White, and Sleeping Beauty and I wonder if there is some sort of a connection.  Of course, this could just be my subconscious desire to see relationships between modern culture and Pre-Raphaelite art.

Helen of Troy by Dante Gabriel Rossetti

While we see De Morgan’s Helen of Troy in full figure and gazing in a mirror, Rossetti’s Helen fills the canvas and, like many of Rossetti’s women, is apparently doing nothing.  Rossetti has a tendency to portray beautiful women lost in thought and looking off into the imaginary distance.  Rossetti used model Annie Miller for his Helen in 1863 - I’ve written a longer post about Rossetti’s Helen of Troy here.

Four years after Rossetti painted his Helen, Frederick Sandys painted this depiction of Helen of Troy. Tensions rose between Rossetti and Sandys – Rossetti believed that Sandys’ version was too similar to his own. Elizabeth Prettejon discussed this in her book Rossetti and His Circle saying, “The rippling hair and full lips functioned as talismans in much the same way as the hair ornaments or pieces of china. They were symbols, in a general sense, of the group’s shared artistic project; more specifically they were symbols of the group’s compelling shared image of woman. The Rossettian image of woman has been criticised for its repetitiveness; but repetition was precisely its hallmark.”


Social Media 17th Century Style


A reading of Scapegoats

Via our Facebook page:

An unusual Pre-Raphalite double bill! March 13th 2 pm. Manchester Art Gallery. Illustrated talk by Mira Meshulam about William Holman`s Hunt`s house in Jerusalem – built 1876. Then Act One of `Scapegoats,` new play by Deborah Freeman in rehearsed reading. Director Ariella Eshed. Tickets – 0161 235 8888. Same event… on March 15th in London. For info go to www.tik-sho-ret.co.uk


Winter Reading

The weather has been unusually cold and yesterday’s snow made my little neighborhood look like a different and more enchanting place.   I loved yesterday.  It was a day filled with exhilarating romping in the snow with my children until night fell and we literally tumbled indoors feeling exhausted and content.   Then the night became one of those glorious winter nights where everything is so cold and beautiful outside while I was cozy and comfortable within.  Cuddled in my favorite quilt (made by my grandmother) I read some of Rossetti’s poetry.  I’ve decided to share some of my favorites:

Sudden Light

I have been here before,
But when or how I cannot tell:
I know the grass beyond the door,
The sweet keen smell,
The sighing sound, the lights around the shore.

You have been mine before,—
How long ago I may not know:
But just when at that swallow’s soar
Your neck turned so,
Some veil did fall,—I knew it all of yore.

Has this been thus before?
And shall not thus time’s eddying flight
Still with our lives our love restore
In death’s despite,
And day and night yield one delight once more?

The Card-Dealer

Could you not drink her gaze like wine?
Yet though its splendour swoon
Into the silence languidly
As a tune into a tune,
Those eyes unravel the coiled night
And know the stars at noon.

The gold that’s heaped beside her hand,
In truth rich prize it were;
And rich the dreams that wreathe her brows
With magic stillness there;
And he were rich who should unwind
That woven golden hair.

Around her, where she sits, the dance
Now breathes its eager heat;
And not more lightly or more true
Fall there the dancers’ feet
Than fall her cards on the bright board
As ’twere an heart that beat.

Her fingers let them softly through,
Smooth polished silent things;
And each one as it falls reflects
In swift light-shadowings,
Blood-red and purple, green and blue,
The great eyes of her rings.

Whom plays she with? With thee, who lov’st
Those gems upon her hand;
With me, who search her secret brows;
With all men, bless’d or bann’d.
We play together, she and we,
Within a vain strange land:

A land without any order,—
Day even as night, (one saith,)—
Where who lieth down ariseth not
Nor the sleeper awakeneth;
A land of darkness as darkness itself
And of the shadow of death.

What be her cards, you ask? Even these:—
The heart, that doth but crave
More, having fed; the diamond,
Skilled to make base seem brave;
The club, for smiting in the dark;
The spade, to dig a grave.

And do you ask what game she plays?
With me ’tis lost or won;
With thee it is playing still; with him
It is not well begun;
But ’tis a game she plays with all
Beneath the sway o’ the sun.

Thou seest the card that falls,—she knows
The card that followeth:
Her game in thy tongue is called Life,
As ebbs thy daily breath:
When she shall speak, thou’lt learn her tongue
And know she calls it Death.

The Dark Glass
Not I myself know all my love for thee:
How should I reach so far, who cannot weigh
To-morrow’s dower by gage of yesterday?
Shall birth and death, and all dark names that be
As doors and windows bared to some loud sea,
Lash deaf mine ears and blind my face with spray;
And shall my sense pierce love,—the last relay
And ultimate outpost of eternity?

Lo! what am I to Love, the lord of all?
One murmuring shell he gathers from the sand,—
One little heart-flame sheltered in his hand.
Yet through thine eyes he grants me clearest call
And veriest touch of powers primordial
That any hour-girt life may understand.


On this day in 1862

Elizabeth Siddal, drawb by Dante Gabriel Rossetti

On February 11, 1862, Elizabeth Siddal died of an overdose of Laudanum.   This was a tragic end to a very sad period of her life.   She and her husband, Dante Gabriel Rossetti,  had suffered the birth of a stillborn daughter and Lizzie was in the throes of grief and depression.  She was also in the grip of addiction.

Her death set in motion another series of events that has helped to make Elizabeth Siddal a famous Pre-Raphaelite legend.  Rossetti was distraught with grief and guilt.  So he made the decision to bury his only manuscript of his poems with Lizzie, laying the volume against the famous red locks that he and others  had painted repeatedly.   Seven years later, Rossetti was a tortured soul.  He suffered from bouts of depression and insomnia.  He became a heavy drinker and also used Chloral.  Those poems haunted him.

His unscrupulous agent,  Charles Augustus Howell, suggested retrieving the manuscript.  Lizzie was exhumed from her grave in Highgate Cemetery and the manuscript was disinfected and returned to Rossetti.  He was not present at the exhumation and the story that Lizzie remained pristine and that her hair had continued to grow after death was most likely a fabrication on Howell’s part, meant to silence any grief or Rossetti had about the ghastly business.

Beata Beatrix is a posthumous tribute Rossetti painted to his wife.  Once again, he has cast her in the role of Dante’s Beatrice, his unattainable love.  At LizzieSiddal.com, you’ll find discussions on more than one version of this work:  Beata Beatrix part I, Beata Beatrix part II.

Timeline of Lizzie’s life

Elizabeth Siddal’s Inquest


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