Lizzie Siddall was the model for the painting of the drowning of Ophelia by which Pre-Raphaelite?
"work. Among many other exhibitions, there was another large show at Tate Britain in 2012–13. Many members of the ‘inner’ Pre-Raphaelite circle (Dante Gabriel Rossetti, John Everett Millais, William Holman Hunt, Ford Madox Brown, Edward Burne-Jones) and ‘outer’ circle (Frederick Sandys, Arthur Hughes, Simeon Solomon, Henry Hugh Armstead, Joseph Noel Paton, Frederic Shields, Matthew James Lawless) were working concurrently in painting, illustration, and sometimes poetry. Victorian morality judged literature as superior to painting, because of its “noble grounds for noble emotion.” Robert Buchanan (a writer and opponent of the Pre-Raphaelite Brotherhood) felt so strongly about this artistic hierarchy that he"
"Pre-Rapaelite compositions illustrating Arthurian legend and other idealized medieval themes. During this period Siddall began to write poetry, often with dark themes about lost love or the impossibility of true love. ""Her verses were as simple and moving as ancient ballads; her drawings were as genuine in their medieval spirit as much more highly finished and competent works of Pre-Raphaelite art,"" wrote critic William Gaunt. Both Rossetti and Ford Madox Brown supported and admired her work. An exhibition, entitled 'Beyond Ophelia', of 12 artworks created by Siddal and owned by the National Trust are on display at Wightwick Manor during"
"girl who could dress as a boy. This was the first painting Siddall ever sat for. While posing for Millais' ""Ophelia"" in 1852, Siddall floated in a bathtub full of water to represent the drowning Ophelia. Millais painted daily into the winter putting lamps under the tub to warm the water. On one occasion the lamps went out and the water became icy cold. Millais, absorbed by his painting, did not notice and Siddall did not complain. After this she became very ill with a severe cold or pneumonia. Her father held Millais responsible and, under the threat of legal"
"She was employed as a model by Deverell and through him was introduced to the Pre-Raphaelites. Though she was later touted for her beauty, Siddall was originally chosen as a model because of her plainness. At the time, Deverell was working on a large oil painting depicting a scene from ""Twelfth Night"", showing Orsino, Feste, and Viola as Cesario. Like the rest of the Pre-Raphaelites, Deverell took his inspiration and forms from life rather than from an idealized or antique figure. He based his Orsino on himself, Feste on his friend Dante Rossetti. All that remained was to find a"
"locations. It was once featured in an oversize advertisement in the San Antonio International Airport. Mary Magdalene (Sandys) Mary Magdalene is a Pre-Raphaelite 1858-1860 painting by Frederick Sandys. Mary Magdalene was the only figure from the Bible that Sandys ever painted. Having sharp features reminiscent of Lizzie Siddal (though the model is unknown), Mary is depicted in front of a patterned forest-green damask. She holds an alabaster ointment cup, a traditional attribute which associates her with the unnamed sinful woman who anointed Jesus' feet in . Like other Pre-Raphaelite painters, Frederick Sandys gave Magdalene a sensual look. Dante Rossetti accused"
"Lace Jabot"" (1900), ""Night and Her Daughter Sleep"" (1903), and ""Memory Comforting Sorrow"" (1905). She also worked as a poet and published a book of her poetry in 1914. Much of her work was lost during a fire in her studio in 1903. She died at the Back Bay Hospital in Boston in 1916, at the age of 54. Her paintings are held in the Smithsonian and the Museum of Fine Arts, Boston. Mary Lizzie Macomber Mary Lizzie Macomber (August 21, 1861 – February 4, 1916) was an American artist who painted in the Pre-Raphaelite style. Macomber was born in"
"Mary Magdalene (Sandys) Mary Magdalene is a Pre-Raphaelite 1858-1860 painting by Frederick Sandys. Mary Magdalene was the only figure from the Bible that Sandys ever painted. Having sharp features reminiscent of Lizzie Siddal (though the model is unknown), Mary is depicted in front of a patterned forest-green damask. She holds an alabaster ointment cup, a traditional attribute which associates her with the unnamed sinful woman who anointed Jesus' feet in . Like other Pre-Raphaelite painters, Frederick Sandys gave Magdalene a sensual look. Dante Rossetti accused Sandys of plagiarism, because of the resemblance to his ""Mary Magdalene Leaving the House of"
"action, Millais paid her doctor's bills. Elizabeth Siddall was the primary model and muse for Dante Gabriel Rossetti throughout most of his youth. Rossetti met her in 1849, when she was modelling for Deverell. By 1851, she was sitting for Rossetti and he began to paint her to the exclusion of almost all other models. Rossetti also stopped her from modelling for the other Pre-Raphaelites. The number of paintings he did of her are said to number in the thousands. Rossetti's drawings and paintings of Siddall culminated in ""Beata Beatrix"" which shows a praying Beatrice (from Dante Alighieri) painted in"
"Lizzie Siddall, ""Regina Cordium"" and """". According to his close friend, the art critic Frederic George Stephens, ""nothing he drew of her, diverse as the delineations were, seemed less than an exact likeness."" Those by Rossetti include: Drawings by Rossetti include: Alexa Wilding Alexa Wilding (born Alice Wilding, c. 1847 – 25 April 1884) was one of the favourite models of the Pre-Raphaelite artist Dante Gabriel Rossetti, featuring in some of his finest paintings of the later 1860s and 1870s. She sat for more of his finished works than any other of his more well-known muses, including Elizabeth Siddall, Jane"
"Mary Lizzie Macomber Mary Lizzie Macomber (August 21, 1861 – February 4, 1916) was an American artist who painted in the Pre-Raphaelite style. Macomber was born in Fall River, Massachusetts, the daughter of Frederick William and Mary White Poor Macomber. Her father was a jeweler and her family was of Quaker and Pilgrim descent. As a young woman she took painting lessons with Robert S. Dunning, a prominent still life painter. After about three years with Dunning she began studying at the school of the Boston Museum of Fine Arts. In 1883 she had to discontinue her studies due to"
"collector of Pre-Raphaelite art, who died before its completion. A second version, smaller at 684 × 990 mm, was commissioned in 1859 and completed in 1863. This is now in the Birmingham Museum and Art Gallery. It is closely similar, though for the lady with a blue parasol the face of Maria Leathart, the commissioner's wife, replaces that of Mrs Brown in the Manchester version. The picture depicts a group of so-called ""navvies"" digging up the road to build an underground tunnel. It is typically assumed that this was part of the extensions of London's sewerage system, which were being"
"Charles Robert Leslie. It was Deverell who ""discovered"" Elizabeth Siddal, the Pre-Raphaelites' most important early model. However, despite his attraction to her, she later married Rossetti. Rossetti's assistant Henry Treffry Dunn was recommended for the position by Deverell. After the resignation of James Collinson from the PRB, Rossetti proposed that Deverell should replace him, but no decision was ever made. Deverell completed very few important works, exhibiting only four paintings at the R.A. before his early death from Bright's disease at the age of twenty-seven. He lived in Kew, now part of London, where one of his paintings, ""A Pet"","
"Lucretia (Raphael) Lucretia is a 1500s (Julian) drawing by Raphael. It is in the collection of the Metropolitan Museum of Art. William Russell (died 1884) was the drawing's first recorded owner. Russell was the first to attribute the work to Raphael. Sir James Knowles purchased the drawing in 1908. The work depicts Lucretia in the moment before she commits suicide by putting a dagger into her chest. In its time printers would display images of Lucretia with Dido. Copies of the image have a Greek language inscription with it. The image is part of a contemporary style to depict females"
"of Aphrodite. The original sculpture has been lost, but written descriptions of it as well several depictions of it on coins are still extant and over sixty copies, small-scale models, and fragments of it have been identified. The Greek painter Apelles of Kos, a contemporary of Praxiteles, produced the panel painting ""Aphrodite Anadyomene"" (""Aphrodite Rising from the Sea""). According to Athenaeus, Apelles was inspired to paint the painting after watching the courtesan Phryne take off her clothes, untie her hair, and bathe naked in the sea at Eleusis. The painting was displayed in the Asclepeion on the island of Kos."
"""The Judgement of Daniel"" in oil, and presented it to the Palace years later, in 1880. John Rogers Herbert John Rogers Herbert (23 January 1810 – 17 March 1890) was an English painter who is most notable as a precursor of Pre-Raphaelitism. John Rogers Herbert was born in Maldon, Essex. In 1826, he moved to London to study at the Royal Academy Schools. However, after the death of his father in 1828, Herbert was forced to leave the Academy Schools and began painting professionally — mostly book illustrations and portraiture. He was successful in his early career, even painting a"
"of Aphrodisias and was reinterpreted in sculptures and mosaics in ancient Rome. A black figure vase from about 510–500 BC shows Achilles carrying Penthesilea from the battlefield. The subject of Penthesilea was treated so regularly by the so called Penthesilea Painter, who was active between 470 and 450 BC, that Adolf Furtwängler dubbed him ""The Penthesilea Painter"". A considerable corpus for this innovative and prolific painter, whose work bridged the ""Severe style"" and Classicism and must have had a workshop of his own, was rapidly assembled in part by J.D. Beazley. In the Pseudo-Apollodorus ""Epitome of the Bibliotheke"" she is"
"world. The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–64). He met the Nazarenes while in Italy and his work moved towards their ""early Christian"" art, as can be seen in his ""Madonna and Child"" (1848). Dyce befriended the young Pre-Raphaelites in London and introduced their work to John Ruskin. His later work was Pre-Raphaelite in its spirituality, as can be seen in his ""The Man of Sorrows"" and ""David in the Wilderness"" (both 1860). His ""Pegwell Bay: a Recollection of October 5th 1858"" has been described as ""the archetypal pre-Raphaelite landscape"". Joseph"
"voice-over informs us that Rossetti is a founder of a revolutionary group of artists called the Pre-Raphaelite Brotherhood. The figure of the young Lizzie dressed as Joan of Arc appears above the flames. Lizzie is seen modelling for Millais' ""Ophelia"" and for a painting of Joan by Rossetti. The voice-over states that she eats little and often throws it up. She and Rossetti spend several years together while he paints and draws her, but she spurns his sexual advances, even slashing him with a needle when he presses himself on her. Rossetti turns to the more accommodating Fanny Cornforth. Lizzie"
"artists to paint outdoors and to capture the colours of natural light. In Britain orange became highly popular with the Pre-Raphaelites and with history painters. The flowing red-orange hair of Elizabeth Siddal, a prolific model and the wife of painter Dante Gabriel Rossetti, became a symbol of the Pre-Raphaelite movement, Lord Leighton, the president of the Royal Academy, produced ""Flaming June"", a painting of a sleeping young woman in a bright orange dress, which won wide acclaim. Albert Joseph Moore painted festive scenes of Romans wearing orange cloaks brighter than any the Romans ever likely wore. In the United States,"
"Pre-Raphaelite works of art, managed by the National Trust. Standen in West Sussex, England, was designed by Webb between 1892 and 1894 and decorated with Morris carpets, fabrics and wallpapers. The illustrator Edward Linley Sambourne chose to decorate his London family home 18 Stafford Terrace with many Morris & Co wallpapers, which have been preserved and can still be seen today. Morris's homes Red House and Kelmscott Manor have been preserved. Red House was acquired by the National Trust in 2003 and is open to the public. Kelmscott Manor is owned by the Society of Antiquaries of London and is"
"Exemplary Women of Antiquity Exemplary Women of Antiquity is a set of paintings produced between 1495 and 1500 by Andrea Mantegna. They show the Carthaginian noblewoman Sophonisba poisoning herself to avoid being paraded in a Roman triumph, the Roman Vestal Virgin Tuccia proving her chastity by carrying water in a sieve, Judith with the head of Holofernes and Dido holding Sychaeus's funeral urn. Infrared reflectography has uncovered a signature on the back of ""Judith"" reading ""And.a Mantegnia. P[inxit]."" (Andrea Mantegna painted [it]). ""Sophonisba"" and ""Tuccia"" are egg-tempera on poplar panel, whilst ""Judith"" and ""Holofernes"" are glue-tempera on linen canvas. All"
"the Montreal Museum of Fine Arts in Canada. Exemplary Women of Antiquity Exemplary Women of Antiquity is a set of paintings produced between 1495 and 1500 by Andrea Mantegna. They show the Carthaginian noblewoman Sophonisba poisoning herself to avoid being paraded in a Roman triumph, the Roman Vestal Virgin Tuccia proving her chastity by carrying water in a sieve, Judith with the head of Holofernes and Dido holding Sychaeus's funeral urn. Infrared reflectography has uncovered a signature on the back of ""Judith"" reading ""And.a Mantegnia. P[inxit]."" (Andrea Mantegna painted [it]). ""Sophonisba"" and ""Tuccia"" are egg-tempera on poplar panel, whilst ""Judith"""
"Southern Hemisphere. <BR> Resurrection of Christ (Raphael) The Resurrection of Christ (1499–1502), also called The Kinnaird Resurrection (after a former owner of the painting, Lord Kinnaird), is an oil painting on wood by the Italian High Renaissance master Raphael. The work is one of the earliest known paintings by the artist, executed between 1499 and 1502. It is probably a piece of an unknown predella, though it has been suggested that the painting could be one of the remaining works of the Baronci altarpiece, Raphael's first recorded commission (seriously damaged by an earthquake in 1789, fragments of which are today"
"Dunst's character Justine floats in a slow-moving stream. Christian Death has used this art as a cover of its 1984 EP ""The Wind Kissed Pictures"". In the 2009 video game Brutal Legend, one of the protagonists (and later antagonists) is a young woman named Ophelia who seeks vengeance on the player character Eddie Riggs after drowning in the Sea of Black Tears. ""Ophelia"" was purchased from Millais on 10 December 1851 by the art dealer Henry Farrer for 300 guineas. Farrer sold the painting to B.G. Windus, an avid collector of Pre-Raphaelite art, who sold it on in 1862 for"
"Dodwell Painter The Dodwell Painter was an ancient Corinthian vase painter in the black-figure style; his real name is unknown. He was active during the Middle and Late Corinthian periods (""ca"". 600-550 BC); his works are dated to between 580 and 570 BC. The Dodwell painter was one of the most important Corinthian vase painters of his time. He decorated mainly ""pyxides"" and ""oinochoai"", but also neck amphorae and ""hydriai"". He painted most of his vases with friezes of animals or horsemen. Of exceptional importance is a ""pyxis"" in the Staatliche Antikensammlungen at Munich, known as the Dodwell Pyxis. On"
"artist. His first painting was oil on canvas titled ""Black Boy"", 1844. William Lindsay Windus William Lindsay Windus (1822–1907) was an English painter, part of a group of Liverpool painters who were influenced by the Pre-Raphaelite style. He was born in Liverpool, England, was initially taught art by William Daniels (1813–1880), then went on to study at the Liverpool Academy. On a visit to London in 1850 he became converted to the Pre-Raphaelite style. He exhibited his new style of painting with the work ""Burd Helen"" at the Royal Academy, London in 1856. The picture caught the eye of Dante"
"Meidias Painter The Meidias Painter was an Athenian red-figure vase painter in Ancient Greece, active in the last quarter of the 5th century BCE (fl. c. 420 to c. 400 BCE). He is named after the potter whose signature is found on a large hydria of the Meidias Painter’s decoration (BM E 224), excavated from an Etruscan tomb. Eduard Gerhard first identified this inscription in 1839, and it was he who determined the scene on the vase was the rape of the daughters of Leukippos where previously it was thought to be the race of Hippomenes and Atalanta. The Meidias"
"Madonna of the Candelabra The Madonna of the Candelabra is a Madonna painting by the Italian renaissance artist Raphael, dating to about 1513 and is in the collection of the Walters Art Museum in Baltimore. Painted during his Roman period, this tondo Madonna of the Virgin and Child employs a rare motif of flanking candelabra that was derived from representations of ancient Roman emperors. Through this reference to the rulers of antiquity, Raphael alludes to Christ's and Mary's roles as the king and queen of Heaven. Raphael was famed for his graceful style. which combined the study of classical sculpture"
"Marie Spartali Stillman, Eleanor Fortescue-Brickdale, and Maria Zambaco were women artists of the Pre-Raphaelite movement. Also influenced by the Pre-Raphaelites were Evelyn De Morgan and the activist and painter Barbara Bodichon. Impressionist painters Berthe Morisot, Marie Bracquemond, and the Americans, Mary Cassatt and Lucy Bacon, became involved in the French Impressionist movement of the 1860s and 1870s. American Impressionist Lilla Cabot Perry was influenced by her studies with Monet and by Japanese art in the late 19th century. Cecilia Beaux was an American portrait painter who also studied in France. Olga Boznańska is considered the best-known of all Polish women"
"first scene painted above the chapel is the ""Tiburtine Sibyl Announces Jesus' Coming"" to Augustus. The Sibyl is probably a portrait of Sassetti's daughter, Sibilla. On the pilaster dividing the Sassetti Chapel from the subsequent one is a painted grisaille statue of ""David"". In the vault of the chapel are the four Sibyls, surrounded by flaming aureoles and holding out banderoles describing their prophetic role as assigned them by Virgil: Only the faces of the Sibyls are attributed to Ghirlandaio; the bodies were probably executed by his workshop. The fresco cycle extends over three walls of the chapels, and includes"
"Saint Eulalia (Waterhouse painting) Saint Eulalia is an oil painting on canvas in the Pre-Raphaelite style, created in 1885 by English artist John William Waterhouse, depicting the aftermath of the death of Eulalia of Mérida. It is currently housed at Tate Britain. A very daring composition, this is one of Waterhouse's most unusual, and consequently most striking, oil paintings. The corpse is dramatically foreshortened, and the snow contrasts with Eulalia’s naked flesh – the 12-year-old girl seems singularly out of place for a Waterhouse picture. His choice of configuration – situating the corpse across the front and leaving so much"
"mainly through his brother William Bell Scott (1811–90), who became a close friend of founding member D. G. Rossetti. The London-based Pre-Raphaelites rejected the formalism of Mannerist painting after Raphael. Bell Scott was patronised by the Pre-Raphaelite collector James Leathart. His most famous work, ""Iron and Coal"" was one of the most popular Victorian images and one of the few to fulfill the Pre-Raphaelite ambition to depict the modern world. The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–64). Dyce befriended the young Pre-Raphaelites in London and introduced their work to John Ruskin."
"Venus of Arles The Venus of Arles is a sculpture of Venus at the Musée du Louvre. It is in Hymettus marble and dates to the end of the 1st century BC. It may be a copy of the Aphrodite of Thespiae by Praxiteles, ordered by the courtesan Phryne. In the 2nd century AD, Pausanias mentioned the existence at Thespiae in Boeotia (central Greece) of a group made up of Cupid, Phryne and Aphrodite. The Praxitelean style may be detected in the head's resemblance to that of the Cnidian Aphrodite, a work of Praxiteles known through copies. In a tentative"