Sandro Botticelli map of hell high resolution. Dante Gabriel Rossetti

Dante Gabriel Rossetti (12 May 1828 - 9 April 1882) - English poet, translator, illustrator and artist.

Biography of Dante Gabriel Rossetti

Most of Rossetti's other poems date from the 60s and 70s; they were published under the general title Ballads and Sonnets in 1881. Gabriela's sister, Christina Rossetti, was also a famous poet.

In 1848, at an exhibition at the Royal Academy of Arts, Rossetti met William Holman Hunt, Hunt helped Rossetti complete the painting “The Childhood of the Virgin Mary,” which was exhibited in 1849, and he also introduced Rossetti to J. E. Millais. Together they found the Pre-Raphaelite Brotherhood. Hunt, Millet and Rossetti consciously challenged conventional wisdom; they created their manifesto and published it in their own publication, Rostock.

Subsequently, Rossetti moved away from Pre-Raphaelitism.

From 1854 to 1862 he also taught drawing and painting at England's first educational institution for the lower classes. At the same time, he turned out to be an excellent teacher, and the students idolized him.

The works of Dante Gabriel Rossetti

The most famous are Rossetti's paintings of the late period. Their main features are aestheticism, stylization of forms, eroticism, the cult of beauty and artistic genius.

Almost all of these works feature the same model - Rossetti's beloved Jane Burden, wife of William Morris.

With deterioration mental health Rossetti's dependence on Jane increased, he became obsessed with her and devoted himself to her huge amount paintings, immortalizing her name as well as the name of Elizabeth Siddal.

Among his most famous works are “Day Dream”, “Proserpina” (1877). In addition, he worked a lot as an illustrator and book designer, made (collaborating with W. Morris) sketches for stained glass windows and panels, and turned to photography and monumental and decorative painting.

In 1857, Rossetti, together with other masters (including Morris), painted the walls of one of the new buildings in Oxford with scenes from the book Le Morte d'Arthur by Thomas Malory.

Influenced by this work, Morris painted the canvas “Queen Guinevere”, depicting his future wife Jane Burden as the wife of King Arthur. Morris and Rossetti painted this woman many times, finding in her features of the romantic medieval beauty that they both admired so much. Other Rossetti models are also known - Fanny Cornforth, whose relationship lasted for many years, Alexa Wilding.

In 1852, Rossetti attended an exhibition of photographs.

In subsequent years he used photographs as landscape backgrounds or as posthumous portraits. He often photographed his paintings himself, and once even painted a photograph.

His passion found expression in a series of photographs of Jane Morris taken at Rossetti's house in Chelsea in July 1865. The photographer himself is unknown, but each photograph bears the imprint of the artistic inspiration of Dante Gabriel, who himself sat the model.

Famous works of the artist

Self-Portrait (1847), National Portrait Gallery (London).
“The Girlhood of Mary Virgin”, 1848, Tate Gallery, London.
“The Annunciation” (lat. Ecce Ancilla Domini), 1850, Tate Gallery, London.
Two Mothers, 1852, Art gallery Walker, Liverpool.
Carlisle Wall or The Lovers (1853), Tate Gallery, London.
“The First Anniversary of the Death of Beatrice” or “Dante drawing an angel” (1853)
Elizabeth Siddal (1854), Delaware Museum.
Found (1854), Wilmington Society fine arts, Delaware.
Arthur's Tomb or The last meeting of Launcelot and Guenevere (1855), Tate Gallery, London.
Dante's Vision of Rachel and Leah (1855), Tate Gallery, London.

The Passover in the Holy Family: Gathering Bitter Herbs (1855-56), Tate Gallery, London.
Dante's Dream at the Time of the Death of Beatrice, 1856, Tate Gallery, London.
Writing on the Sand, 1857-58, British Museum, London.
Sir Galahad at the Ruined Chapel (1859), Birmingham Museum and Art Gallery.
Dantis Amor (1860), Tate Gallery, London.
Bocca Baciata (1860), Museum of Fine Arts, Boston.
Lucrezia Borgia, 1860-61, 1868, Tate Gallery, London.
"Blessed Beatrice" (Beata Beatrix) (1864), Tate Gallery, London.

Dante Gabriel Rossetti

English poet, translator, illustrator and artist.

Bography

Dante Gabriel Rossetti was born into a petty-bourgeois intellectual family. His father Gabriel Rossetti, a Carbonari who fled Italy in 1821, became professor of Italian at King's College; his mother was Frances Polidori. In 1850, Rossetti published his first poem, The Blessed Damozel, inspired by Poe's The Raven. Most of Rossetti's other poems date from the 1860s and 1870s; they were published under the general title Ballads and Sonnets in 1881. Gabriela's sister, Christina Rossetti, was also a famous poet.

In 1848, he, together with artists William Holman Hunt and John Everett Millais, created the Pre-Raphaelite Brotherhood.

To disseminate their ideas, a small group began to publish the magazine Microbe, edited by Dante Gabriel's brother, William Michael Rossetti (1829-1919).

"Bocca Baciata" - first single woman portrait, written by Rossetti, which became a turning point in his creative biography. The model for the painting was Fanny Cornforth. One possible source of inspiration may have been the portrait of Sophie Gray painted by John Everett Millais two years earlier. distinctive feature which is to convey the sensuality of the model. The title of the painting literally means “lips that have been kissed,” the words are taken from an Italian proverb, which is indicated on the back of the painting: “Bocca baciata non perde ventura, anzi rinnova come fa la luna” - “lips after a kiss do not lose their taste, on the contrary, it renewed like the moon." Rossetti, being a recognized translator of medieval Italian literature, most likely took this line from Giovanni Boccaccio's Decameron.

L Izzie Siddal

In 1850, Rossetti met Lizzie Siddal, who became his student, model, lover and his main source of inspiration.

When they met, Lizzie was already sick with tuberculosis. She was his student, model and lover. Rossetti made many sketches of Elizabeth, some of which later served as sketches for his paintings. They lived together for almost ten years, but only got married on May 23, 1860. After the stillbirth of a child in May 1861, her health completely declined. She began taking laudanum in large quantities.

Melancholy and suffering from tuberculosis, Lizzie died two years after her marriage (02/11/1862) from an overdose of laudanum, an alcoholic tincture of opium. One of Rossetti's best paintings is dedicated to her - “Beata Beatrix, 1864-1870”. Beatrice is depicted sitting, half asleep, similar to death, while the bird, the messenger of Death, places a poppy flower in her palm.

Rossetti, in a fit of grief, tormented by a feeling of guilt that he devoted too much time to work, buried manuscripts with a large number of his poems with Elizabeth. In 1870, he obtained permission to exhume the corpse and obtained poems to publish in his first collected works. The collection appeared in 1870.

New love

In 1871, Rossetti fell in love again. This was the wife of his friend William Morris. They became lovers, and Jane posed for Rossetti a lot.

Over time, the poet's lifestyle became secluded, and only his closest friends saw him. Later years Rossetti was marked by an increasingly morbid mood, he became addicted to alcohol and chloral hydrate, and lived the life of a recluse.

In June 1872, Rossetti attempted suicide by drinking an entire bottle of tincture of opium. He survived, but began to suffer from persecution delusions and was considered insane for some time. Despite this, Rossetti continued to work and write, he had many followers both in artistic arts, and in poetry.

One of many portraits of Jane Morris. "A Waking Dream", 1880, Victoria and Albert Museum, London
In 1879, Rossetti painted a portrait of one of his patrons, philanthropist and art collector Frederick Richards Leyland.

From 1881 he began to suffer from hallucinations and attacks of paralysis. He was taken to the seaside resort of Birchington-on-Sea and left in the care of a carer. There he died on April 9, 1882.

Poet

Although Rossetti made his living as a painter, he is best known as a poet. However, poetry and painting in his work complement each other: his most famous paintings are inspired by literature, while the best poems are distinguished by figurativeness. Often, as was the case with “The Blessed Youth,” he developed the same theme in verse and on canvas, and sonnets were often voiced by his portraits and paintings. In poetry, as in painting, Rossetti remains a Pre-Raphaelite: medieval flavor and a predilection for symbolism are common in it, and every stroke is carefully selected. Rossetti almost did not touch upon the pressing problems of his time - social, political, religious. The main theme of his poems is love.

The cycle of 101 sonnets, The House of Life, where the prevailing motifs of youth, love, fragility, doom, and death are one of his most characteristic works. Strong feeling to his wife, who was also his model, determined the nature of the image of the majority female figures on the canvases created before her death, there is a long line of the neck, long hair, languid beauty. Only later did he begin to give preference to more sensual and curvy female forms. However, in essence, Rossetti’s art belongs to the new time, and in his paintings, images of saints are modernized to such an extent that the author incurred attacks from public opinion. Rossetti Dante Gabriel died in 1882.

Dante Gabriel Rosetti has been translated into Russian very little, and even fewer translations of his poems are available on the Internet.

This is how she has always been:
We are surprised that
What mirrors don't tell us
Disappear completely into darkness.
I think she's about to
He sighs, moves his hand,
And from lips that barely opened,
Heartfelt words will fly...
Grass now grows above it.

Alas! a ray of light came through the crack,
And bitter darkness arose in the prison,
Over the night and day I could drop
Give loneliness a language.
That's all that comes from love
What remains is - except for that sorrow,
What keeps the light in the heart,
And secrets that make no sense
Above the skies, below the ground.
(Dante Gabriel Rossetti)

The painting “Beloved” is an illustration of the biblical Song of Solomon, and the title of the work is taken from there. Two lines from this work are carved on the frame: “My beloved is mine, and I am his” (2:16) and “Let him kiss me with the kiss of his lips! For your caresses are better than wine” (1:2). In the picture, the bride lifts the veil of her veil, next to her are four girls and an African page boy.

When working on “Beloved,” Rossetti was inspired by the works of Edouard Manet, in particular “Olympia,” created in the same year (in particular, this work led him to create a strong contrast between bright hair and the features of the bride, the other girls in the picture and the boy), as well as the works of Titian. The model for the image of the “bride” was the model Maria Ford, the model to the left of main character became the model Helen Smith. The decoration on the bride's head is Peruvian, and the dress is Japanese; the veil is also depicted as being made from exotic fabrics. Rossetti completed the painting in 1866, but continued to make some changes to the canvas throughout his life. “The most powerful charms and the most vivid memories are transmitted to the connoisseur of beauty through the female gaze,” noted Frederick Myers in the essay “Rossetti and the Religion of Beauty” (1883).

Rossetti was born in London. His father, an Italian political refugee, was a poet and Dante scholar and from 1831 Professor of Italian at King’s College, London. His mother, who was half Italian and half English, was a private teacher. His sister Christina (1830-94) later became a poet. He entered Sass's Drawing Academy probably in late summer 1841. He joined the Royal Academy Schools as a probationer in 1844, becoming a full student in December 1845. By 1847 he was considering careers in both poetry and painting. He was briefly a pupil of Ford Madox Brown in March 1848.

In August 1848 he moved with William Holman Hunt to a studio in Cleveland Street and around September that year founded, with Holman Hunt and J.E. Millais, the Pre-Raphaelite Brotherhood. He finished his translation of Dante's Vita Nuova in October 1848. He exhibited his first major oil painting, The Girlhood of Mary Virgin (Tate Gallery N04872), at the Free Exhibition in March 1849. In September and October of that year he visited Paris and Flanders with Holman Hunt, and was greatly impressed by mediaeval and Renaissance art. He probably met his future wife and frequent model Elizabeth Siddall late in 1849; they married in 1860. He was largely responsible for the Pre-Raphaelite magazine The Germ, published in 1850. In April 1850 he exhibited Ecce Ancilla Domini! (Tate Gallery N01210) at the National Institution, but rarely showed in public thereafter following the picture’s negative reception.

Sources – Wikipedia, liveinternet.ru, tate.org.uk

To the great Florentine Dante from the great Florentine Botticelli, commissioned by the wealthy Florentine Lorenzo Medici. The “Divine Comedy” of the first inspired the second to create dozens of manuscripts with the money of the third, in more detail illustrating a 14th-century literary masterpiece. The greatest interest is caused by a kind of infographic of Hell - a map following which the heroes “ Divine Comedy“You can consider in detail the torment that sinners are subjected to. The spectacle is not for the faint of heart.

Plot

Botticelli depicted Hell as a funnel. Unbaptized infants and virtuous non-Christians in limbo are given over to painless grief; voluptuous people who fall into the second circle for lust suffer torment and torment by a hurricane; gluttons in the third circle rot in the rain and hail; misers and spendthrifts drag weights from place to place in the fourth circle; the angry and lazy always fight in the swamps of the fifth circle; heretics and false prophets lie in the burning graves of the sixth; all kinds of rapists, depending on the subject of the abuse, suffer in different zones of the seventh circle - boil in a ditch of hot blood, tormented by harpies or languish in the desert under the fiery rain; deceivers of those who did not trust languish in the cracks of the eighth circle: some are stuck in fetid feces, some are boiling in tar, some are chained, some are tormented by reptiles, some are gutted; and the ninth circle is prepared for those who deceived. Among the latter is Lucifer, frozen into ice, who torments in his three jaws the traitors of the majesty of the earth and heaven (Judas, Marcus Junius Brutus and Cassius - traitors of Jesus and Caesar, respectively).

Here you can see in detail the torment of sinners. The emotions and feelings of each character are written out in detail

The map of Hell was part of a large commission - the illustration of Dante's Divine Comedy. The exact dates of creation of the manuscripts are unknown. Researchers agree that Botticelli began working on them in the mid-1480s and, with some interruptions, was busy with them until the death of the customer, Lorenzo the Magnificent de' Medici.

Not all pages have been preserved. Presumably, there should be about 100 of them; 92 manuscripts have reached us, four of which are fully colored. Several pages of text or numbers are blank, suggesting that Botticelli did not complete the work. Most are sketches. At that time, paper was expensive, and the artist could not simply throw away a sheet of paper with a failed sketch. Therefore, Botticelli first worked with a silver needle, squeezing out the design. Some manuscripts show how the design changed: from the composition as a whole to the position of individual figures. Only when the artist was satisfied with the sketch did he trace the outlines in ink.

On the reverse side of each illustration, Botticelli indicated Dante's text, which explained the drawing.

Context

"The Divine Comedy" is a kind of response to Dante's events own life. Having suffered a fiasco in the political struggle in Florence and being expelled from hometown, he devoted himself to enlightenment and self-education, including the study of ancient authors. It is no coincidence that the guide in The Divine Comedy is Virgil, the ancient Roman poet.

The dark forest in which the hero got lost is a metaphor for the poet’s sins and quests. Virgil (reason) saves the hero (Dante) from terrible beasts (mortal sins) and leads him through Hell to Purgatory, after which he gives way to Beatrice (divine grace) on the threshold of heaven.

The fate of the artist

Botticelli was from a family of goldsmiths and had to deal with gold and other precious metals. However, the boy liked sketching and drawing much more. Immersed in a world of fantasy, Sandro forgot about his surroundings. He turned life into art, and art became life for him.

"Spring" by Botticelli, 1482

Among his contemporaries, Botticelli was not perceived as a master of genius. Yes, good artist. But that was a period when many masters who later became famous created their work. For the 15th century, Sandro Botticelli was a reliable master who could be trusted with painting frescoes or illustrating books, but not a genius.

“The Birth of Venus” by Botticelli, 1484−1486

Botticelli was patronized by the Medici, famous art connoisseurs. It is believed that while the painter recent years spent his life almost in poverty. however, there is evidence that Botticelli was not as poor as he wanted to appear. Nevertheless, he had neither his own home nor his family. The very idea of marriage frightened him.

After meeting the monk Girolamo Savonarola, who in his sermons convincingly called for repentance and renunciation of the delights of earthly life, Botticelli completely fell into asceticism. The artist died at the age of 66 in Florence, where his ashes still rest today in the cemetery of the Church of All Saints.

Noted only by the life-affirming motifs of “Spring”. “Venus and Mars” and “Birth of Venus”, but also with gloomy, tragic moods. A clear example of them is the drawing “Map of Hell” ( La mappa dell inferno).

There are several celebrated illustrated manuscripts of Dante's Divine Comedy. The most remarkable in this regard is the luxurious manuscript commissioned by Lorenzo di Pierfrancesco de' Medici with magnificent drawings by Sandro Botticelli. A series of drawings by Botticelli remained unfinished, but even in this form it can be recognized as the pinnacle of the art of book illustration of the Italian Quattrocento (15th century).

Botticelli's illustrations on the theme of Hell are especially stunning. “Map of Hell” by Sandro Botticelli is a color drawing on parchment depicting nine circles of the infernal abyss.

Sandro Botticelli. Map of Hell (Circles of Hell - La mappa dell inferno). Illustration for Dante's "Divine Comedy". 1480s

Dante described Hell as an abyss with nine circles, which in turn are divided into various rings. Botticelli, in his “Map of Hell,” presented the kingdom of sinners with such subtlety and accuracy that one can trace the individual stops that, according to the plot of the “Divine Comedy,” Dante and Virgil made as they descended to the center of the earth.

Below is another illustration by Sandro Botticelli for The Divine Comedy. This is a drawing for Song 18 of Hell. The main characters, Dante and Virgil, are depicted here several times, as if traveling along the edge of a hellish abyss. They stand out with their vibrantly shining clothes. Following through the gorges of Hell, they first see the souls of pimps and seducers tormented by demons, and then informers and prostitutes who are doomed to suffer thrown into the mud.

Sandro Botticelli. Hell. Illustration for Dante's "Divine Comedy". 1480s

Here Botticelli represents Dante and his guide Virgil in the eighth circle of Hell, which consists of ten deep abysses where swindlers are punished.

Sandro Botticelli. Dante and Virgil in the eighth circle of Hell. Illustration for Dante's "Divine Comedy". 1480s

And here Botticelli painted ancient giants who rebelled against the gods and were chained for it. They symbolize the brute force of nature trapped in the depths of hell.

Sandro Botticelli. Ancient giants in Hell. Illustration for Dante's "Divine Comedy". 1480s

“Map of Hell” by Botticelli (the story of one masterpiece)

To the great Florentine Dante from the great Florentine Botticelli, commissioned by the wealthy Florentine Lorenzo Medici. The “Divine Comedy” of the first inspired the second, with the money of the third, to create dozens of manuscripts illustrating in detail the literary masterpiece of the 14th century. The greatest interest is caused by a kind of infographic of Hell - a map, following which the heroes of the “Divine Comedy” can be seen in detail the torment to which sinners are subjected. The spectacle is not for the faint of heart.

Plot

Botticelli depicted Hell as a funnel. Unbaptized infants and virtuous non-Christians in limbo are given over to painless grief; voluptuous people who fall into the second circle for lust suffer torment and torment by a hurricane; gluttons in the third circle rot in the rain and hail; misers and spendthrifts drag weights from place to place in the fourth circle; the angry and lazy always fight in the swamps of the fifth circle; heretics and false prophets lie in the burning graves of the sixth; all kinds of rapists, depending on the subject of the abuse, suffer in different zones of the seventh circle - boil in a ditch of hot blood, tormented by harpies or languish in the desert under the fiery rain; deceivers of those who did not trust languish in the cracks of the eighth circle: some are stuck in fetid feces, some are boiling in tar, some are chained, some are tormented by reptiles, some are gutted; and the ninth circle is prepared for those who deceived. Among the latter is Lucifer, frozen in ice, who torments in his three mouths the traitors of the majesty of the earth and heaven (Judas, Marcus Junius Brutus and Cassius - traitors of Jesus and Caesar, respectively).

Here you can see in detail the torment of sinners. The emotions and feelings of each of the characters are written out in detail.

The map of Hell was part of a large commission - an illustration of Dante's Divine Comedy. The exact dates of creation of the manuscripts are unknown. Researchers agree that Botticelli began working on them in the mid-1480s and, with some interruptions, was busy with them until the death of the customer, Lorenzo the Magnificent de' Medici.

On the reverse side of each illustration, Botticelli indicated Dante's text, which explained the drawing.

Context

"The Divine Comedy" is a kind of response to Dante to the events of his own life. Having suffered a fiasco in the political struggle in Florence and being expelled from his hometown, he devoted himself to enlightenment and self-education, including the study of ancient authors. It is no coincidence that the guide in The Divine Comedy is Virgil, the ancient Roman poet.

The dark forest in which the hero gets lost is a metaphor for the poet’s sins and quests. Virgil (reason) saves the hero (Dante) from terrible beasts (mortal sins) and leads him through Hell to Purgatory, after which he gives way to Beatrice (divine grace) on the threshold of heaven.

The fate of the artist

Botticelli was from a family of goldsmiths and would have been involved in gold and other precious metals. However, the boy liked sketching and drawing much more. Immersed in a world of fantasy, Sandro forgot about his surroundings. He turned life into art, and art became life for him.

"Spring" by Botticelli, 1482

Among his contemporaries, Botticelli was not perceived as a master of genius. Yes, a good artist. But that was a period when many masters who later became famous created their work. For the 15th century, Sandro Botticelli was a reliable master who could be trusted with painting frescoes or illustrating books, but not a genius.

“The Birth of Venus” by Botticelli, 1484−1486

Botticelli was patronized by the Medici, famous art connoisseurs. It is believed that the painter spent the last years of his life almost in poverty. however, there is evidence that Botticelli was not as poor as he wanted to appear. Nevertheless, he had neither his own home nor his family. The very idea of marriage frightened him.