Poetry in Pre-Raphaelite Paintings by Sophia Andres Brian Donnelly

Author:Sophia Andres,Brian Donnelly
Language: eng
Format: epub
Publisher: Peter Lang AG
Published: 2017-12-21T05:00:00+00:00

Notes

1. W. J. T. Mitchell, Picture Theory: Essays on Verbal and Visual Representation (Chicago: University of Chicago, 1994), 156.

2. Dante Gabriel Rossetti, Dante Gabriel Rossetti: His Family-Letters (Boston: Roberts Brothers, 1895), 133.

3. Rossetti, His Family-Letters, 143.

4. Dante Gabriel Rossetti, “Sonnets for Pictures.” The Germ: Thoughts Towards Nature in Poetry, Literature and Art 4 (1850). The Rossetti Archive includes facsimiles of the original 1850 issue of The Germ. http://www.rossettiarchive.org/docs/ap4.g415.1.4.rad.html#p180. Indicated subsequently as “Sonnets for Pictures.”

5. Dante Gabriel Rossetti, Collected Poetry and Prose, ed. Jerome J. McGann (New Haven: Yale University Press, 2003), 322.

6. Stephen Cheeke, Writing for Art: The Aesthetics of Ekphrasis (Manchester: Manchester University Press, 2008), 64.

7. Vilayath Lance. “Rossetti’s ‘For Our Lady of the Rocks’: An Examination of Pre-Raphaelite Beliefs.” Nines: Nineteenth-century Scholarship Online, accessed April 23, 2014, www.nines.org.

8. Gail Lynn Goldberg, “Rossetti’s Sonnet on ‘A Virgin and Child by Hans Memmeling’: Considering a Counterpart.” Victorian Poetry 24 (1989): 238.

9. The first issue of The Germ sold seventy copies, the second only forty.

10. According to the Rossetti Archive: “So far as this sonnet is concerned, however, while scholars still often see it as an illustration of the left panel of the Hospital of St. John’s altarpiece, it is almost certainly a response to another picture altogether: an outer wing of the Altarpiece of the Baptism of Christ by the Belgian master Gerard David. DGR saw the latter in the museum of the Academy of Bruges, which he also visited in 1849. The painting was commonly attributed to Memling in the nineteenth century. The attribution to David was not made until many years after DGR’s visit to Bruges.” http://www.rossettiarchive.org/docs/41-1849.raw.html.

11. “Songs of the Art Catholic,” Rossetti Archive, accessed July 3, 2015, http://www.rossettiarchive.org/docs/11-1847.raw.html.

12. “Sonnets for Pictures.”

13. Richard L. Stein, The Ritual of Interpretation: The Fine Arts as Literature in Ruskin, Rossetti, and Pater (Cambridge, MA: Harvard University Press, 1975), 134.

14. Jerome J. McGann, Dante Gabriel Rossetti and the Game That Must Be Lost (New Haven: Yale University Press, 2000), 78.

15. Elizabeth K. Helsinger, Poetry and the Pre-Raphaelite Arts: Dante Gabriel Rossetti and William Morris (New Haven: Yale University Press, 2008), 26.

16. Helsinger, Poetry and the Pre-Raphaelite Arts, 29. ← 89 | 90 →

17. “Sonnets for Pictures.”

18. “Sonnets for Pictures.”

19. It should be noted that Rossetti also plays with the structural form of the poem to imitate the action of the scene. The lines of the final sestet cascade as the water being poured by the woman.

20. Helsinger, Poetry and the Pre-Raphaelite Arts, 411.

21. The modified version of this poem included in Poems (1870) concludes: “Life touching lips with immortality” stressing the ephemeral contact between subject and the eternal.

22. Dante Gabriel Rossetti, Collected Poetry and Prose, 83.

23. “Sonnets for Pictures.”

24. Spinozzi Paola and Elisa Bizzotto, The Germ: Origins and Progenies of Pre-Raphaelite Interart Aesthetics (Oxford: Peter Lang, 2012), 172.

25. “Sonnets for Pictures.”

26. Originally seen in the Museé Luxembourg. It hangs now in the Louvre.

27. “Sonnets for Pictures.”

28. Ingres is noted as one of the most important neoclassical painters in French art history. A

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