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Sources for the "Early Christian" Style and Content in the Art of Dante Gabriel Rossetti.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sources for the "Early Christian" Style and Content in the Art of Dante Gabriel Rossetti./
Author:	Ludley, David Arthur.
Description:	1 online resource (260 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 42-07, Section: A.
Contained By:	Dissertations Abstracts International42-07A.
Subject:	British and Irish literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8211337click for full text (PQDT)
ISBN:	9798205257985

Sources for the "Early Christian" Style and Content in the Art of Dante Gabriel Rossetti.
Ludley, David Arthur.

Sources for the "Early Christian" Style and Content in the Art of Dante Gabriel Rossetti. - 1 online resource (260 pages)

Source: Dissertations Abstracts International, Volume: 42-07, Section: A.

Thesis (Ph.D.)--Emory University, 1981.

Includes bibliographical references

As its name would suggest, Pre-Raphaelitism was a movement that harkened back to the "early Christian" style of artists before Raphael. The Pre-Raphaelites revered those artists of the word, of poetry, as well as the masters of the figural arts. Integral to this movement, therefore, was a reverence for poets such as Dante, and for artists such as Ghiberti, Gozzoli, and Giotto. Foremost in his admiration for these masters was Dante Gabriel Rossetti. Their influence on him is identifiable, and is much more substantial, than critics have ever realized, much less documented. Rossetti's sources ranged from the teachings of Madox Brown, to studies of casts, "prints," engravings and tracings--whether acquired directly, as with the so-called "Giotto" portrait of Dante, or through published sources, as through Anna Jameson. Although Holman Hunt's name for the Brotherhood--"Pre-Raphaelite"--prevailed over Rossetti's choice--"Early Christian," the former is a bit of a misnomer. Whereas "pre-Raphaelite" suggests sources that are exclusively Italian and certainly no later than the Quattrocento, Rossetti turned as well, through Jameson, to a French manuscript painter, to Albrecht Durer, and to Lucas van Leyden. Further, we note the significant influence of the German Nazarenes on Dante Rossetti and his mentor, Madox Brown. It was the late Raphael--the Raphael of The Transfiguration--that the Pre-Raphaelites disdained. It was Rubens--the Rubens of "contemptible colouring" and "physical grossness" that they abhorred; this conviction was reinforced in Rossetti by a succession of writers, from William Blake to Anna Jameson. Ruskin, too, helped Rossetti focus his attention on the "vital tree" of "early Christian" art, and away from the "Dead Sea fruit" of Mannerism. In Ghiberti's north or "New Testament" door, Rossetti found a notable source of inspiration. Ghiberti's Annunciation relief inspired much of the design, composition, and detail of Rossetti's Ecce Ancilla Domini!. For what remained--the unique conception of the Annunciate Virgin in bed, Rossetti turned to Anna Jameson, a writer who much influenced Rossetti's work. Another of the early Renaissance masters whom Rossetti revered was Benozzo Gozzoli. Gozzoli was for Rossetti the foremost representative of the Campo Santo fresco painters. Through Lasinio's engravings, the early Renaissance masters of these frescoes exerted a remarkable influence on Rossetti and his colleagues. They provided a key source for the formation of Rossetti's "early Christian" style. Finally, we come to the artist whom Rossetti linked so closely with his revered Dante--Giotto di Bondone. Through the British Museum, through the Arundel Society, through Ruskin and several other writers, Rossetti studied Giotto's achievements at Assisi and Padua. Rossetti looked to Giotto's Annunciation to St. Anne, his Funeral of St. Francis, and other works for ideas in composition, style, and subject matter. Then, too, he looked to Giotto for the same quality he sought in Dante--the "real incident," the spiritual drama that might inspire his own work. Rossetti honored Dante, Giotto, and the other masters of the early Renaissance; often as not, however, Rossetti would "allegorize on his own hook," rather than attempt any faithful "re-creation" of their work. For, his purpose was not to serve up stock reproductions after Giotto or impersonal illustrations after Dante. His purpose, after all, was to "revolutionize" contemporary art, not abandon it. As any good revolutionary would, Rossetti turned for guidance to the last true masters, in his eyes, of revolution in art and literature--Giotto, Dante, and the other original "pre-Raphaelites." The influence of these "early Christian" masters can be documented, and can be seen within Rossetti's art. This dissertation explores Rossetti's specific sources of influence, his "conduits" to the "pre-Raphaelite," and brings them to light.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798205257985Subjects--Topical Terms:

3433225
British and Irish literature.
Index Terms--Genre/Form:

542853
Electronic books.

Sources for the "Early Christian" Style and Content in the Art of Dante Gabriel Rossetti.
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502 $a Thesis (Ph.D.)--Emory University, 1981.
504 $a Includes bibliographical references
520 $a As its name would suggest, Pre-Raphaelitism was a movement that harkened back to the "early Christian" style of artists before Raphael. The Pre-Raphaelites revered those artists of the word, of poetry, as well as the masters of the figural arts. Integral to this movement, therefore, was a reverence for poets such as Dante, and for artists such as Ghiberti, Gozzoli, and Giotto. Foremost in his admiration for these masters was Dante Gabriel Rossetti. Their influence on him is identifiable, and is much more substantial, than critics have ever realized, much less documented. Rossetti's sources ranged from the teachings of Madox Brown, to studies of casts, "prints," engravings and tracings--whether acquired directly, as with the so-called "Giotto" portrait of Dante, or through published sources, as through Anna Jameson. Although Holman Hunt's name for the Brotherhood--"Pre-Raphaelite"--prevailed over Rossetti's choice--"Early Christian," the former is a bit of a misnomer. Whereas "pre-Raphaelite" suggests sources that are exclusively Italian and certainly no later than the Quattrocento, Rossetti turned as well, through Jameson, to a French manuscript painter, to Albrecht Durer, and to Lucas van Leyden. Further, we note the significant influence of the German Nazarenes on Dante Rossetti and his mentor, Madox Brown. It was the late Raphael--the Raphael of The Transfiguration--that the Pre-Raphaelites disdained. It was Rubens--the Rubens of "contemptible colouring" and "physical grossness" that they abhorred; this conviction was reinforced in Rossetti by a succession of writers, from William Blake to Anna Jameson. Ruskin, too, helped Rossetti focus his attention on the "vital tree" of "early Christian" art, and away from the "Dead Sea fruit" of Mannerism. In Ghiberti's north or "New Testament" door, Rossetti found a notable source of inspiration. Ghiberti's Annunciation relief inspired much of the design, composition, and detail of Rossetti's Ecce Ancilla Domini!. For what remained--the unique conception of the Annunciate Virgin in bed, Rossetti turned to Anna Jameson, a writer who much influenced Rossetti's work. Another of the early Renaissance masters whom Rossetti revered was Benozzo Gozzoli. Gozzoli was for Rossetti the foremost representative of the Campo Santo fresco painters. Through Lasinio's engravings, the early Renaissance masters of these frescoes exerted a remarkable influence on Rossetti and his colleagues. They provided a key source for the formation of Rossetti's "early Christian" style. Finally, we come to the artist whom Rossetti linked so closely with his revered Dante--Giotto di Bondone. Through the British Museum, through the Arundel Society, through Ruskin and several other writers, Rossetti studied Giotto's achievements at Assisi and Padua. Rossetti looked to Giotto's Annunciation to St. Anne, his Funeral of St. Francis, and other works for ideas in composition, style, and subject matter. Then, too, he looked to Giotto for the same quality he sought in Dante--the "real incident," the spiritual drama that might inspire his own work. Rossetti honored Dante, Giotto, and the other masters of the early Renaissance; often as not, however, Rossetti would "allegorize on his own hook," rather than attempt any faithful "re-creation" of their work. For, his purpose was not to serve up stock reproductions after Giotto or impersonal illustrations after Dante. His purpose, after all, was to "revolutionize" contemporary art, not abandon it. As any good revolutionary would, Rossetti turned for guidance to the last true masters, in his eyes, of revolution in art and literature--Giotto, Dante, and the other original "pre-Raphaelites." The influence of these "early Christian" masters can be documented, and can be seen within Rossetti's art. This dissertation explores Rossetti's specific sources of influence, his "conduits" to the "pre-Raphaelite," and brings them to light.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a British and Irish literature. $3 3433225
650 4 $a Fine arts. $3 2122690
650 4 $a British & Irish literature. $3 3284317
655 7 $a Electronic books. $2 lcsh $3 542853
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710 2 $a Emory University. $3 1017429
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8211337 $z click for full text (PQDT)