Dante Gabriel RossettiEngeland, 1828–1882Ecce Ancilla Domini
Kan ik het zien?
Onbekend
Waar is „Ecce Ancilla Domini” nu? Collectie: National Gallery, Londen. Onbekend.
Londen, Verenigd Koninkrijk
De eigenaar is bekend; of het werk nu te zien is, is onbekend.
- Ongewijzigd sinds
- Bron
- Het museum
Over het schilderij
Ecce Ancilla Domini!, ook wel getiteld The Annunciation is een schilderij van de prerafaëlitische Engelse kunstschilder Dante Gabriel Rossetti, gedateerd op maart 1850, olieverf op linnen, 72,4 × 41,9 centimeter groot. Letterlijk betekent de titel: "zie de dienstmaagd des heren". Het is een afbeelding van het moment van de annunciatie, waarop Maria de boodschap van de aartsengel Gabriël krijgt, dat ze geboorte zal geven aan de zoon van God. De nadruk ligt op de weergave van een beangstigde Maria-figuur die een vorm van indringing suggereert. Het schilderij bevindt zich thans in de collectie van Tate Britain te Londen.
Gegevens
- Inventarisnummer
- NG1210
In de catalogus
Bronnen
- Wikidata
- Afbeelding: National Gallery — Dante Gabriel Rossetti · Public domain · Wikimedia Commons
In het leven van Dante Gabriel Rossetti
Het hele leven1848
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.
