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但丁 加百利 罗塞蒂 作品画册专辑 |
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但丁 加百利 罗塞蒂 作品画册专辑 |
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但丁 加百利 罗塞蒂 作品画册专辑 |
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但丁 加百利 罗塞蒂 作品画册专辑 |
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但丁 加百利 罗塞蒂 作品画册专辑 |
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但丁 加百利 罗塞蒂 作品画册专辑 | |||||||||||||||
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但丁·加百利·罗塞蒂 ( Dante Gabriel Rossetti 1828─1882 )
罗塞蒂出生于英国维多利亚时期意大利裔的罗塞蒂家族，天资非凡，喜诗爱画，先拉斐尔派画家，有十四行诗集《生命殿堂》。
罗塞蒂生于1828年，在1843年，罗塞蒂开始学习绘画。1846年起，他开始就读于伦敦皇家美术学院，接着他与亨特等一起工作。在1848年，成为拉斐尔前派兄弟社团的创始人之一。
他的大部分作品都绘制于这个时期，有着一种强烈的象征主义的风格。在他的晚年作品中，他致力于富贵的女性题材。
他于1882年去世。
但丁·罗塞蒂的诗意念具体，想象精微，有显著的民谣的影响，韵律均匀平稳，有意大利诗歌的 音乐 节奏感和 宗教 色彩。诗中富有画意，许多诗有他自绘的插图或为题画而作。
其妹克里斯蒂娜·罗塞蒂 （Christina Georgina Rossetti 1830--1894），英国“先拉斐尔派”女诗人，她的抒情诗明净清丽，优美纤巧，音节和谐，感情细腻，衰婉动人，带有神秘的宗教色彩。
作为19世纪英国 拉斐尔前派 重要代表画家的但丁·迦百利·罗塞蒂（1828-1882)显然与同时代的其他几位画家不同。他受维多利亚风格圣人的 罗斯金 风格影响，是拉斐尔前派艺术向后来唯美倾向转变的领导人物，同时也是绘画史上少有的取得独特成就的画家兼诗人。罗塞蒂远离社会问题，不趋向写实画风，执着于象征诗意的表现手法；其深厚的文学修 养、高度的诗的热情以及近乎悲剧性的一生，赋予了作品盎然的诗情、朦胧的画意与浓浓的悲剧情绪。
拉斐尔前派(Pre-Raphaelite)是1848年在 英国 兴起的美术改革运动。这个画派的活动时间虽然不是很长。但是对于19世纪的英国绘画史及方向，带来了很大的影响。因认为真正（宗教）艺术存在于拉斐尔之前，企图发扬拉斐尔以前的艺术来挽救英国绘画而得名。拉斐尔前派得到艺术评论家罗斯金的支持。主张绘画应起宗教道德教育作用 ，题材应以圣经故事及富于 基督教 思想的文学作品为主，忠实地反映主题，描绘对象。 该派画风审慎而细致，用色较清新．反对 学院派 的陈规。有的作品呈现忧郁、浓厚感伤情调。
拉斐尔前派是以英国画家罗塞蒂(Dante Gabriel Rossetti, 1828-1882)、 米雷斯 与 汉特 (William Holman Hunt, 1827-1910)三人为中心的画派，是当时反抗学院派艺术的一种革新运动。因为英国皇家美术学院的创立者一直把 拉斐尔 的艺术视为典范，鼓励学生追摹古典画风，致使整个画坛缺乏生气。 从1850年开始，拉斐尔前派露出头角，带领英国画坛，走向与学院派不同的风格。
拉斐尔前派做为一个有组织的艺术活动，只持续了六、七年的时间。到了1854年，就各自分道扬镳了。米雷还叛离了先前自己的信仰，投回学院派的怀抱。至于其它的画家，如罗塞提、汉特、瓦士等，则是依旧遵守着拉斐尔前派的创作准则。拉斐尔前派解散之后，仍然对英国的画坛，留下不灭的影响。当然亦影响了欧洲的画坛，十九世纪末抬头的象征主义，可以说深受拉斐尔前派的影响。拉斐尔前派可说是写实主义、自然主义与唯美主义互相结合所诞生的艺术，其中罗塞蒂的作品，表现出无人能抗拒的悲剧式之美。
罗塞蒂诗选：
1、情书 2、白日梦 3、天生丽质 4、情人漫步 5、《帕尔赛福聂》画上题诗 6、心之避风港 7、顿悟 8、三重影
9、青春的傲气 10、记忆的门槛 11、幻灭的路径 12、想念 13、逗留 14、死后 15、歌 16、我的爱人像朵红红的玫瑰 17、别了，爱
情书(但丁·罗塞蒂)
纤手暖之，长发覆之，
靠而近之，倾而吐之，
蹦蹦的心跳配而和之，
流畅的墨汁，把白色的信笺衬托得更纯美──
微颤的信笺，连她的呼吸也可感可知。
啊！请让你无声的乐曲，向我揭示
她的灵魂，她眼波所横，双唇所诉
像爱情的乐章，琴瑟和鸣。
我常幻想，看着她写信，
她胸脯慢慢逼近信笺，
她心中的秘密瞪着她的胸部看；
扬眉瞬目之际，她的灵魂搜寻
我的灵魂，在灵犀相通的剎那
妙手拈来，写下她最可爱的情意。
白日梦(但丁·罗塞蒂)
在梦幻之树四面伸展的荫影中，
梦直到深秋还会萌生，但没一个梦
能象女性的白日梦那样从心灵升华。
看哪！天空的深邃比不上她的眼光，
她梦着，梦着，直到在她忘了的书上
落下了她手中忘了的一朵小花。
天生丽质(但丁·罗塞蒂)
高贵典雅，女王般的气质；此外尚有
某些出自林间神秘的甜美清纯；
眼波闪动，如盈满天际的清河
或自林间洒落如风信子般的光线，
这种慑人的苍白面颊，着实迷惑
人心；其激情的唇姿暗示了
所有的音乐和寂静；
浓密的金发，是她至高无上的后冠；
晨妆 ( 油彩．画布 )
罗塞蒂作 1868年 97.8Ⅹ85.1cm
维明顿．德拉瓦美术馆藏
扬起的圆颈，是爱情圣殿的圆柱
当心灵寻求庇护时，可以将之紧紧拥抱；
双手永远听命于爱情的呼唤指示，
轻移的莲步，依然响应着他的叹息：──
天生丽质，言语无法描尽，
我的灵魂，低唤她的名字；其意非仅如此而已。
情人漫步(但丁·罗塞蒂)
盘旋缠绕的可爱的爬藤花，风不惊动它，
在这六月天里；手牵手：──
静静的林荫地；约会的两张面孔无风吹拂：──
一条柳树芬芳的小河，把天空
拉近到它胸中；并且映照出瞳眼中的瞳眼：──
清新的河水不断地流过充满
阳光和云的夏日大地；两颗心灵逍遥
在充满微笑与叹息的永远的苍穹中：──
在这条爱的路上，彼此依偎
在含情脉脉的可见甜密里：──
根据爱情崇高的法则，两颗多情的心契合
在他的心中，真真确确，
就像云彩多姿的天蓝
依偎在平静的海洋蓝线上。
《帕尔赛福聂》画上题诗(但丁·罗塞蒂)
远远地，有光，带来冷冷的欢欣
在墙边消隐，一闪而不再
终止在深锁我的宫门
远远地，厄娜的花儿开放凄凉
悲伤的果子，一旦品尝，禁梏我终生
远远地，冥府的天空昏黯
令我颤冷，远远地，究竟有多远
长夜从白昼中降临
远远地，从我内心起了彷徨，扑翅着
异想，噤听着惆怅
心依旧碎，魂依旧断
而我性灵的声音
一声声呢喃
唉，可怜你，不幸的帕尔塞福聂
心之避风港(但丁·罗塞蒂)
有时候，她是个小孩，躲在我的双臂之中，
畏缩在一双爱情必须追捕的黑色羽翼之下，
躲闪的面孔，泪下如雨，
充满了无法解释的余悸；
而我也经常因精神上诸多的挫折伤害
渴望她紧紧拥抱的慰藉，──
她防御坚强的堡垒，足以对抗所有的不幸，
她温馨的胸怀，足以对抗魔咒。
爱情，是我们黑夜里的明灯，晌午时的荫凉，
它以歌声催我们入眠，带我们远离
动荡不安的日子。
爱情的容颜因它的歌声绽放光芒，如月之生长；
又如轻柔的海水对月之鸣唱，
我们共鸣的灵魂合奏起一首叠唱的小调。
顿悟(但丁·罗塞蒂)
我一定到过此地，
何时，何因，却不知祥。
只记得门外芳草依依，
阵阵甜香，
围绕岸边的闪光，海的叹息。
往昔你曾属于我──
只不知距今已有多久，
但刚才你的飞燕穿梭，
蓦地回首，
纱幕落了！──这一切我早就见过。
莫非真有过此情此景？
时间的飞旋会不会再一次
恢复我们的生活与爱情，
超越了死，
日日夜夜再给我们一次欢欣？
三重影(但丁·罗塞蒂)
在你秀发的阴影中我看见你的眼睛，
仿佛旅行者在树木的阴影中看见溪流清清；
我说，"哎！我柔弱的心儿呻吟，要驻停，
并在那甜蜜的寂静中畅饮，沉入梦境。"
在你眼睛的阴影中我看见你的心灵，
仿佛淘金者在溪流的阴影中看见灿灿黄金；
我说，"哎！凭什么技艺才能赢得这不配的奖品？
缺少它，必定使生命寒冷，天堂如梦般凄清。"
在你的心灵的阴影中我看见你的爱情，
仿佛潜水者在海水的阴影中看见珍珠莹莹；
我喃喃絮语，并不高声，还远离一程，──
"啊！真心的姑娘，你能爱，但能爱我不能？"
青春的傲气(但丁·罗塞蒂)
成年人为死者哀悼，但在小孩心中
却不知什么是哀愁，
因他澄明的心中，直觉地认定
成年是会死的，而他自己却只会长大：──
长翼的新欢，笑迎
早曦的晨风，以漩涡般的飞翼，
迎向光明，从不回首看
那为暗夜所掩盖的落难的旧爱。
每一小时的回顾有变迁，
我们在同一天同时看到原野上
垂死的野樱草和初生的罂粟花。
啊！时时刻刻的变化！所有的
爱情，由骄傲的青春手中掉落
一如诵经的念珠。
记忆的门槛(但丁·罗塞蒂)
是何等奇妙的地方，──皑皑白雪
伴随炽炽烈火，
由地球的尽头升起，──是何等奇异的情感
像恒古之前，霜寒冰冻，烈火围绕的景象？
瞧！此刻别无他人，只有我自己；再瞧！
就在这个地方，我看到
尘世流光，企盼永恒，一场徒然，
攘攘俗世，个中原因，惟我独知。
尘世中一扇简单独立的门屝，
因某种新力量而再生，
将是我永恒时空中的生命玄关，
这扇门立在那儿，一如往昔：
嘲弄的风回旋吹过糟糠般的人世，
吹过你，你的岁月，我的话语和我
幻灭的路径(但丁·罗塞蒂)
是那广阔的苍穹
还是大海的涛音
象征着生命本身
又把我的生命从我身边带走
昭示着不可言说的天命
让我屏息凝神
在痛苦的边缘惊恐万分
是生命还是死亡
带着雷的王冠
在汹涌的波涛中
看到了我那独特的一朵浪花
不知匆匆向哪个海洋奔去
啊，谁知道我来时走过的路
火焰翻滚成白云，白云又变为火焰
谁知道我路过的陡峭的岩壁
和途中所见到的一切？
我最终来到了这个和风暖暖的地方
欣喜重新回到了我脸上
掩盖住了暗藏的惊慌
想念（克里斯蒂娜.罗塞蒂）
请想念我吧，当我已经不在──
不在这里，在远方，寂静的田园；
当你已不能握住了我的手腕，
握住了我的手，我欲去又徘徊。
请想念我吧，当你已不能天天
为我描述我俩的未来的圆梦，
光是想念我吧；再相随相从，
在一起祷告，谈心，已经太晚。
但要是你把我忘怀了片刻，
又重新想起；请也不必叹息，
如果原先属于我的思忆，
被黑暗和腐蚀留下一丝痕迹──
那么，宁愿你忘怀了而欢笑，
不要，不要你记住了而哀悼。
逗留（克里斯蒂娜.罗塞蒂）
用鲜花和绿叶他们使室内芬芳，
馥郁的花香撒满我安息的卧床；
我的灵魂追随着爱的踪迹，四处飘荡。
我从不闻屋檐下鸟儿细语呢喃，
也不闻谷堆边收割人谈笑风生；
唯有我的灵魂每日在守望，
我饥渴的灵魂把别离的人儿盼望：──
我想，也许他爱我，怀念我，为我悲伤。
终于从阶梯上传来了脚步声响，
门把上又重见那以往熟悉的手：
顿时我的心灵仿佛感到天堂的气息
在空中荡漾；那迟缓的流沙 ──
时光也闪现金色；我感到一轮光晕
在我发间辉耀，我的灵魂升华。
死后（克里斯蒂娜.罗塞蒂）
帐幔半掩，洒扫一清的地上
铺着灯芯草蒲席，迷迭香和山楂花
缀满了我的床榻，
那儿，常春藤的影子穿过栅篱，慢慢爬移。
他俯下身来看我，以为我已长眠不起
再也听不到他的声音；可我却听见他说，
"可怜的孩子，可怜的孩子"；当他转过身去
降临的是一片沉默，但我知道他在流泪。
他没碰我的尸衣，也没有掀起
遮住我面庞的摺层，没有握住我的手，
也没有弄皱我枕着的光洁的枕头
我活着时他不爱我；可当我死了
他又怜惜我；这有多甜蜜
知道他温情尚存，尽管我早已僵冷
歌（克里斯蒂娜.罗塞蒂）
当我死去的时候，亲爱的，
你别为我唱悲伤的歌，
我坟上不必安插蔷薇，
也无需浓荫的柏树；
让盖着我的青青草，
淋着雨也沾着露珠，
假如你愿意，请记着我，
要是你甘心，就忘了我。
我再见不到地面的青荫，
觉不到雨露的甜蜜，
我再听不到夜莺的歌喉，
在黑夜里倾诉悲啼 。
在悠久的昏暮中迷惘，
阳光不升起也不消翳；
也许，我还记得你，
也许，我把你忘记。
我的爱人像朵红红的玫瑰（克里斯蒂娜.罗塞蒂）
呵，我的爱人像朵红红的玫瑰，
六月里迎风初开；
呵，我的爱人像支甜甜的曲子，
奏得合拍又和谐。
我的好姑娘，多么美丽的人儿！
请看我，多么深挚的爱情！
亲爱的，我永远爱你，
纵使大海干涸水流尽。
纵使大海干涸水流尽，
太阳将岩石烧作灰尘，
亲爱的，我永远爱你，
只要我一息犹存。
珍重吧，我唯一的爱人，
珍重吧，让我们暂时别离，
但我定要回来，
哪怕千里万里！
别了，爱（克里斯蒂娜.罗塞蒂）
别了，爱，永别了你所有的法则，
你上饵的钩子不再能把我缠绞，
塞内加和柏拉图叫我离开你那套，
并尽我才智把完美的财富获得。
我曾经走入迷途，不知返折，
你严厉的拒绝刺得我心痛难熬，
却教我懂得，小事别看得太重要，
须脱然无累，因自由更捷人欢乐。
别了，去把年轻的心儿搅荡，
在我这里，你不再能自称权威；
对懒散的年轻人把你的本领发挥。
把你的利箭耗费在他们身上。
迄今我虽然失去了全部的时日，
却不再喜欢去爬那柘树烂枝。
Dante Gabriel Rossetti
Born: 12 May 1828
Place of Birth: London, England
Died: 9 April 1882
Place of Death: England
Lazy laughing languid Jenny,
Fond of a kiss and fond of a guinea...
--D.G. Rossetti "Jenny"
Dante Gabriel Rossetti was born in the same year as Jules Verne, another Utopian novelist like friend William Morris. Like Lord Byron, they loved the medievalism of Walter Scott's writing, and the image of another 'more natural' era, like the world in which Dante Alighieri (1265-1321) populated.
Before moving permanently to England, Rossetti's father worked as composer Rossini's librettist. In England he taught and worked as a Dante scholar, marrying the much younger Frances Polidori, niece of Dr. John Polidori (who later wrote The Vampyre). He was Lord Byron's companion during his exile from England in 1816.
The elder Rossetti was a Dante scholar who raised his children with a high-minded classical sense-- they all went on to become published writers, the most famous being Gabriel and his poet sister Christina.
Though of Italian descent, Rossetti was really more the Englishman and never even visited Italy in his lifetime. Yet later his paintings had a Mediterranean quality that made his illustrations of myths so rich-- the richly symbolic paintings really seemed to come from another period of time, back when Greece and Rome held supreme, before the pan-European cultural advancements of the Renaissance and the Protestant Reformation.
Yet Rossetti was a good Protestant. His one moral painting (Found) was of a whore outside a church yard, huddled and in trouble. A young farmer has come into town to sell his calf and sees her. He recognizes her as his former fiancee' and tries to help her, but she shoos him away. Meanwhile the calf in the back of his wagon is struggling for its life against the net it's bound in.
After college, Rossetti apprenticed himself to Ford Madox Brown, but grew tired of the still life exercises Brown gave him. He next apprenticed himself to the livelier William Holman Hunt, remaining friends with Brown. All three shared a Medieval sensibility.
In 1848 the Pre-Raphaelite Brotherhood was officially founded (Rossetti's paintings possessed the enigmatic PRB initials, which drew both praise and criticism). Through fellow artist Ned Burne-Jones his circle grew to embrace William Morris, who would become the subject for many of his amusing cartoons.
He was quick to parody others, though he was sensitive to criticism. Initially, the Pre-Raphaelite artwork was attacked by critics as pretentious-- what with those cryptic little PRB initials and all. Respected writer John Ruskin came to their defense, and in turn became a Pre-Raphaelite friend for life (and one could say they were a friend to him, since John Everett Millais later 'relieved' him of his burdensome wife, a marriage that hadn't been consummated; so it was annulled and she married Millais, going on to having a brood of children with him).
Rossetti met and eventually married the delicately beautiful Lizzie Siddal, a wonderful, little known artist whose work he encouraged. She was a favorite model for all the Pre-Raphaelites, but soon became exclusively Rossetti's-- and more. Soon they were living and working together, inspiring each other.
Though he'd been seeing Lizzie longer than Morris had been seeing his "stunner" model-girlfriend Jane, it was Morris who first married. Rossetti soon followed suit. The Morris' had two daughters. When Lizzie finally gave birth to a daughter, it was stillborn. Lizzie died soon thereafter of a drug overdose. The grieving husband threw the poems he'd been working on into her casket. Oddly, his sister Christina had already written a poem about this event.
Years later, in an event that caused quite a sensation, Rossetti had Lizzie's body exhumed so that he could retrieve the poems. He had his friends perform the dirty deed. The poems were found relatively intact. After they'd been drenched in disinfectant, Rossetti was able to read most of them and could recreate what he couldn't read. His friends also told him, in some sort of appeasement for this ghastly act of selfishness, that Lizzie looked remarkably well.
Rossetti published them together with the ones he'd been working on about Jane, William Morris' wife. Rossetti was madly in love with her, and for a long time she was his muse in both words and on the canvas (though they were said to sit silently, heads huddled together, for hours). Some of his most beautiful, richly colored paintings are inspired by her: La Pia De' Tolomei, Mariana (with Jane's daughter May), La Donna Della Fiamma, and the famous Prosperine. Rossetti moved into the Morris mansion and was there alone with her when her husband took his trips to Iceland (Morris' "holy land").
The book, Poems, was a great success. But it also received the infamous criticism by Robert Buchanan in an essay called "The Fleshly School of Poetry." In the Victorian era, the Freudian ideas of sexuality had just been introduced. Unlike friend Ruskin, who'd been shocked on his wedding night to find out his wife had pubic hair, Rossetti was a man of the world. He counter-attacked with the essay "The Stealthy School of Criticism."
Rossetti moved to feminist Barbara Bodichon's country house where he could escape the scrutiny of the critics in the city. Jane visited him there and remained with her two daughters for months, until his ether abuse became apparent. Concerned for her daughter's welfare, and no doubt tired of the relationship herself, Jane reunited with her husband and the two effectively cut themselves off from Rossetti.
He resumed his relationship with the earthy Fanny Cornforth; she'd been the model for the moral painting (mentioned above). His ether addiction worried even him. In a letter to his brother William, who referred sadly to these as Gabriel's "chloralized years," wrote that he hoped people wouldn't find out about his ether use. He was afraid that then his art would be discredited.
On Easter Sunday, 1882, he died at the country house of a friend, where he'd gone in yet another vain attempt to recover his health, which had been destroyed by the chloral as his wife's had been destroyed by laudanum.
Pandora
by Dante Gabriel Rossetti 45.7 x 61.0 cmDay Dream, 1880
by Dante Gabriel Rossetti 45.7 x 61.0 cmLa Pia De Tolomei, 1868-80
by Dante Gabriel Rossetti 61.0 x 45.7 cmThe Roman Widow, 1874
by Dante Gabriel Rossetti 45.7 x 61.0 cmThe Borgia Family, 1863
by Dante Gabriel Rossetti 61.0 x 45.7 cmPandora, 1871
by Dante Gabriel Rossetti 45.7 x 61.0 cmBeatrice
by Dante Gabriel Rossetti 45.7 x 61.0 cmVenus Verticordia
by Dante Gabriel Rossetti 45.7 x 61.0 cmStudy for a Pall Bearer in Dante's Dream, 1873
by Dante Gabriel Rossetti 45.7 x 61.0 cmReverie
by Dante Gabriel Rossetti 45.7 x 61.0 cmPortrait of Mrs. William J. Stillman, Nee Marie Spartali, Bust Length, 1869
by Dante Gabriel Rossetti 45.7 x 61.0 cmArthur's Tomb: Sir Launcelot Parting from Guenevere, 1854
by Dante Gabriel Rossetti 61.0 x 45.7 cmAspecta Medusa, 1867
by Dante Gabriel Rossetti 45.7 x 61.0 cmPandora, 1869
by Dante Gabriel Rossetti 45.7 x 61.0 cmHelen of Troy, 1863
by Dante Gabriel Rossetti 45.7 x 61.0 cmMay Morris, 1872
by Dante Gabriel Rossetti 45.7 x 61.0 cmHoneymoon of King Rene of Anjou, by Burne-Jones and Dante G. Rossetti, 1862
by Dante Gabriel Rossetti 61.0 x 45.7 cmCalliope Coronio, Dated 1869
by Dante Gabriel Rossetti 45.7 x 61.0 cm
