Dante Gabriel RossettiInghilterra, 1828–1882Ecce Ancilla Domini
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Sul dipinto
Ecce Ancilla Domini (conosciuto anche come L'Annunciazione) è un dipinto di Dante Gabriel Rossetti, compiuto tra il 1849 ed il 1850 e conservato nella Tate Gallery di Londra.
Scheda
- Numero di inventario
- NG1210
In catalogo
Fonti
- Wikidata
- Immagine: National Gallery — Dante Gabriel Rossetti · Public domain · Wikimedia Commons
Nella vita di Dante Gabriel Rossetti
Tutta la vita1848
Meets Holman Hunt and Millais
In 1848, at the Royal Academy exhibition, Rossetti met William Holman Hunt, who helped him, still insufficiently versed in painting, to finish “The Girlhood of Mary Virgin”; Hunt introduced him to John Everett Millais.
1848
Founding of the Pre-Raphaelite Brotherhood
In 1848 Rossetti, with William Holman Hunt and John Everett Millais, founded the Pre-Raphaelite Brotherhood, aiming to reform English art: to reject the “mechanistic” approach adopted after Raphael and Michelangelo and the formal training introduced by Sir Joshua Reynolds, and to return to the abundant detail, intense colours and complex compositions of Quattrocento Italian and Flemish art. They used pure colours on a white ground and often painted outdoors for maximum authenticity.
after 1848
A pupil of Ford Madox Brown
After leaving the Royal Academy Rossetti studied under Ford Madox Brown, with whom he retained a close relationship throughout his life.
1850
Meets Elizabeth Siddal
In 1850 Rossetti met the poet Elizabeth Siddal, who became the favourite model of the Pre-Raphaelite painters; over the next decade she was his muse, pupil and passion. She was already ill with tuberculosis, and Rossetti made many sketches of her, some of which later served as studies for paintings.
1850
Criticism of “Ecce Ancilla Domini” and a turn to watercolour
Stung by criticism of his second major painting, “Ecce Ancilla Domini,” exhibited in 1850, and by the increasingly hysterical critical reaction that greeted Pre-Raphaelitism that year, Rossetti turned to watercolours, which could be sold privately; his work later won support from John Ruskin, but Rossetti rarely exhibited thereafter.
early 1850
“The Germ”: “The Blessed Damozel” and a story about an artist
In early 1850, in the first issue of the Brotherhood’s magazine The Germ, Rossetti published his poem “The Blessed Damozel” and a story about a fictional early Italian artist inspired by a vision of a woman who bids him combine the human and the divine in his art.
