Tag Archives: Rossetti

Bocca Bacciata by Dante Gabriel Rossetti

18 May

Dante Gabriel Rossetti spent 1850s in a mood of indolence and love; he was infatuated with Elizabeth Siddal, the beautiful red-haired Pre-Raphaelite model who famously posed for Millais’ Ophelia, and he mainly painted pencil drawings of Siddal and watercolours of idealised Medieval scenes. He wasn’t as productive in the early years of Pre-Raphaelite as he was in his later years when he filled his canvases with seductive, dreamy women with luscious full lips and voluminous hair; “Bocca Baciata” is the painting that started it all.

Dante Gabriel Rossetti, Bocca Baciata, 1859

The half-length portrait shows a woman dressed in an unbuttoned black garment with gold details, while the white undergarments coyly peek through. Her neck is long and strong, her head slightly tilted, lips full and closed, eyes heavy-lidded and gazing in the distance. On her left is an apple, and she’s holding a small pot marigold in her hand. She is full, voluptuous, strong, possessing none of Siddal’s delicate, melancholic, laudanum-chic beauty, but one thing they have in common: beautiful hair. Model for the painting was Fanny Cornforth who was described as having “harvest yellow” hair colour, but here Rossetti painted it as a warm, rich coppery colour which goes beautifully with the orange marigolds and gold jewellery around her neck and in her hair. Rossetti must have borrowed the brush of Veronese himself when he painted those masses of lascivious wild hair that flows and flows, seemingly endless, ready to wrap itself around the neck of its victims. Gazing at Pre-Raphaelite paintings has taught me that the famous Victorian saying which goes: “hair is the crown of woman’s beauty” is wrong. Hair is not the crown, but the weapon, ready to seduce a man, ready to suffocate him in a matter of seconds.

What lures me about this painting are the beautiful autumnal colours and pot marigolds that grace the background; they are the flowers which fascinate me the most at the moment. They are the birth flowers for October, appropriate because their orange colour matched that of the falling leaves, and in the Victorian language of flowers they are seen as the symbols of love and jealousy, pain and grief, but this symbolism saddens me. Why bestow such a negative meaning to such an innocent, bright, whimsical flower? Marigolds are known as “summer brides” because they love the sun and I love them; they are so modest and unassuming, you’d fail to notice them in the company of extroverted roses and overwhelming sunflowers, but they hide so much beauty in their small orange petals.

The white rose in her hair symbolises innocence, and this portrait, although sensual, is indeed innocent compared to those which followed. As if the long, flowing fiery hair wasn’t enough, the title, Bocca Baciata, meaning “the mouth that has been kissed”, gives off a sensual mood. The beautiful expression comes from an Italian proverb from Boccaccio’s Decameron which Rossetti wrote on the back of the painting: “The mouth that has been kissed does not lose its savour, indeed it renews itself just as the moon does.” The line is a reference to a story from Decameron told on the second day, about a Saracen princess who, despite having numerous lovers, managed to persuade the King of Algarve that she was a virgin bride.

“Bocca Baciata” is both stylistically and technically a transitional work. It is Rossetti’s first oil painting in years, the previous one being “Ecce Ancilla Domini” from 1850. The luxurious, sensuous mood is a reference to High Italian Renaissance, more specifically, the art of Titian and Veronese and their long-haired women. The main characteristic of Venetian art is the beautiful colour; space, volume is built with colour, not with line, and Rossetti used this principle hear, using soft shadings on the skin of her neck and in building the hair, stroke by stroke. Also, inspired by Titian, he used red colour as a base of his canvas, not the usual white. “Bocca Baciata” is not just a beautiful harmony of warm colours, but it also set a pattern of a style of painting typical for the art of late Pre-Raphaelite Movement and Symbolism, where a beautiful woman occupies a canvas, exuding sensuality, vanity and indolence, dressed in luxurious fabrics and surrounded by other objects of beauty such as flowers, mirrors, fans and jewellery. These types of paintings are not portraits with individual characteristics of a person, but a never ending series of visual representations of female sexual allure.

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Aesthetic Movement: Oriental Lyricism vs Sumptuousness of Renaissance

19 Feb

L’art pour l’art, art for art’s sake; welcome to the world of Aestheticism!

James Abbott McNeill Whistler, Symphony in White, No. 3, 1865-67

“Now at last the spring

draws swiftly to its finish.

How alone I am.”

(Natsume Soseki, Kusamakura)

I bet that hearing the young Chelsea bohemians and aesthetes, such as Whistler and Rossetti, boasting about their art for art’s sake motto, was like a slap in the face to all that Ruskin had achieved in his writings and life long devotion to art. The English aesthetes continued in their paintings what the French poet and a devotee of Beauty, Théophile Gautier started. Art for art’s sake principle claims that the only purpose of art is to create Beauty; art should be its own purpose, and ought to remain detached from society, politics, philosophy or science. Perfection of execution and harmony of colours were seen as important means of achieving the Beauty. In the preface to his novel Mademoiselle de Maupin (1835) Gautier wrote: “Nothing is truly beautiful except that which can serve for nothing; whatever is useful is ugly.” This view of art having merely an aesthetic value clashed with John Ruskin’s opinion that art should convey the moral truths and influence us on a spiritual level.

Representatives of this wave of aestheticism in England, James Abbott McNeill Whistler, Dante Gabriel Rossetti, Albert Moore, Frederic Leighton and Edward Burne-Jones, filled their canvases, in most cases, with beautiful women in sumptuous surroundings, wearing gorgeous clothes and evoking a mood of languor and sweetness smelling of violets and roses. This obsession with Beauty went in two different directions; the first was the Oriental-inspired musings, while the other went into the past and revisited the luxurious settings of Titian and Giorgione’s paintings.

James Abbott McNeill Whistler, Le Princesse du Pays de la Porcelaine, 1863-65

“The temple bell stops –

but the sound keeps coming

out of the flowers.”

(Basho, translated by Robert Bly)

Whistler is the representative of the first path; inspired by both his fellow painter Albert Moore and Japonism or the madness for all things Japanese, Ukiyo-e prints, porcelain and fabrics that ruined the minds of Parisian artists like plague, he created delicate, serene and lyrical paintings bathed in white and lightness. His famous “Symphonies”, the third one you can see above, were admired by his fellow painters such as James Tissot, Alfred Stevens and Edgar Degas, but also highly criticised too. Model for the girl lounging on the couch was Whistler’s mistress, model and muse Joanna Hiffernan who also posed for the Symphonies in White no. 1 and 2.

A painting needn’t always have a lady dressed in a kimono, white clothes or cherry blossom tree in it, for us to say that it was Japanese-inspired, it’s more about following the principles of Ukiyo-e prints and Japanese design by observing their use of perspective, flat portrayal of space, composition and bold outlines. This is also how Edgar Degas explored Japonism, by incorporating its interesting perspectives into his ballerina scenes, unlike Monet who opted for the simpler way: painting his wife in a colourful kimono.

Dante Gabriel Rossetti, Monna Vanna, 1866

Artists who took the second path, Dante Gabriel Rossetti and Edward Burne-Jones, partly continued the Medieval reveries, but were mostly inspired by the luxurious, richly-coloured paintings of Renaissance ladies by Titian, Veronese and dreamy idyllic world of Giorgione. Ever since he painted “Bocca Bacciata” in 1859, Rossetti continually returns to the subject of a beautiful sensual and vain woman-enchantress with bloody lips of a vampire, clad in luxurious fabrics, surrounded with objects of beauty such as fans, jewellery or flowers. Her long and lustrous hair is ready to smother every man who dares to set his eyes upon her, her eyes are cold and large gemstones. “Monna Vanna” is another beautiful example of the rich-coloured dreamy splendour that Rossetti portrays, using different models but painting the same archetypal face with heavy-lidded eyes, strong neck and large lips.

Edward Burne-Jones, Le Chant d Amour (Song of Love), 1869-77

And at springtide, when the apple-blossoms brush the burnished bosom of the dove,
Two young lovers lying in an orchard would have read the story of our love;
Would have read the legend of my passion, known the bitter secret of my heart,
Kissed as we have kissed, but never parted as we two are fated now to part.
(Oscar Wilde, Flower of Love)

Edward Burne-Jones, a young admirer of Rossetti and a follower of Pre-Raphaelite ideas, also paints idealised worlds with much beauty but little content. In those reveries inspired by the Italian High Renaissance, like the “Song of Love” time stands still and figures are sinking deeper and deeper into the sweet languor that arises from imaginary sounds. Warm glowing colours are melting and draperies are heavy, as if carved from stone. Faces are strong and gazes distant. Claustrophobia and stillness almost painful, rapture captured for eternity, the height of ecstasy, the trembling of sighs, the caressing twilight that flickers in the distant sky, cold stone of the castle, eyelids closed by the intoxicating perfume of the tired tulips in the foreground.

No breeze, no movement, no bird is heard, the hand that lightly touches the keys of an instrument produces no sound, the drapery and the fine hair not dancing in the wind but stopped in the movement, the gaze is forever fixated. The figure on the right dressed in red, seems to be whispering Oscar Wilde’s lines “Had my lips been smitten into music by the kisses that but made them bleed” from “Flower of Love”. The painting itself has a mood of a flower which, unable to bloom or wither, chooses to stay crouching for eternity in the painfully agonizing stage of the bud.

Titian, Sacred and Profane Love, 1514

Just by looking at Titian’s “Sacred and Profane Love” and Giorgione’s “Pastoral Concert”, it is easy to see their influence on both Burne-Jones’s “Song of Love” and Rossetti’s “Monna Vanna”. The same sweet languor pervades the air, the background reveals contours of a castle and a yellowish sky, and the draperies are similar as well. In Giorgione’s “Pastoral Concert”, people are enjoying the music and each others company as warmth and indolence hang over them like a bright soft cloud.

Giorgione, Pastoral Concert (Fête champêtre), 1508-09

So, which direction of Aesthetic movement in painting do you prefer; oriental or Renaissance? It is pretty clear that I am all for the serenity of Whistler’s Symphonies in white influenced by Japanese-influence, but both possess their beauty. Whistler’s paintings can sometimes seem distant and cold, and the intensity of Rossetti and Burne-Jones’s colours and details can sometimes be overwhelming.

Dante Gabriel Rossetti – Bocca Baciata

4 Aug

Dante Gabriel Rossetti spent 1850s in a mood of indolence and love; he was infatuated with Elizabeth Siddal, the beautiful red-haired Pre-Raphaelite model who famously posed for Millais’ Ophelia, and he mainly painted pencil drawings of Siddal and watercolours of idealised Medieval scenes. He wasn’t as productive in the early years of Pre-Raphaelite as he was in his later years when he filled his canvases with seductive, dreamy women with luscious full lips and voluminous hair; “Bocca Baciata” is the painting that started it all.

Dante Gabriel Rossetti, Bocca Baciata, 1859

The half-length portrait shows a woman dressed in an unbuttoned black garment with gold details, while the white undergarments coyly peek through. Her neck is long and strong, her head slightly tilted, lips full and closed, eyes heavy-lidded and gazing in the distance. On her left is an apple, and she’s holding a small pot marigold in her hand. She is full, voluptuous, strong, possessing none of Siddal’s delicate, melancholic, laudanum-chic beauty, but one thing they have in common: beautiful hair. Model for the painting was Fanny Cornforth who was described as having “harvest yellow” hair colour, but here Rossetti painted it as a warm, rich coppery colour which goes beautifully with the orange marigolds and gold jewellery around her neck and in her hair. Rossetti must have borrowed the brush of Veronese himself when he painted those masses of lascivious wild hair that flows and flows, seemingly endless, ready to wrap itself around the neck of its victims. Gazing at Pre-Raphaelite paintings has taught me that the famous Victorian saying which goes: “hair is the crown of woman’s beauty” is wrong. Hair is not the crown, but the weapon, ready to seduce a man, ready to suffocate him in a matter of seconds.

What lures me about this painting are the beautiful autumnal colours and pot marigolds that grace the background; they are the flowers which fascinate me the most at the moment. They are the birth flowers for October, appropriate because their orange colour matched that of the falling leaves, and in the Victorian language of flowers they are seen as the symbols of love and jealousy, pain and grief, but this symbolism saddens me. Why bestow such a negative meaning to such an innocent, bright, whimsical flower? Marigolds are known as “summer brides” because they love the sun and I love them; they are so modest and unassuming, you’d fail to notice them in the company of extroverted roses and overwhelming sunflowers, but they hide so much beauty in their small orange petals.

The white rose in her hair symbolises innocence, and this portrait, although sensual, is indeed innocent compared to those which followed. As if the long, flowing fiery hair wasn’t enough, the title, Bocca Baciata, meaning “the mouth that has been kissed”, gives off a sensual mood. The beautiful expression comes from an Italian proverb from Boccaccio’s Decameron which Rossetti wrote on the back of the painting: “The mouth that has been kissed does not lose its savour, indeed it renews itself just as the moon does.” The line is a reference to a story from Decameron told on the second day, about a Saracen princess who, despite having numerous lovers, managed to persuade the King of Algarve that she was a virgin bride.

“Bocca Baciata” is both stylistically and technically a transitional work. It is Rossetti’s first oil painting in years, the previous one being “Ecce Ancilla Domini” from 1850. The luxurious, sensuous mood is a reference to High Italian Renaissance, more specifically, the art of Titian and Veronese and their long-haired women. The main characteristic of Venetian art is the beautiful colour; space, volume is built with colour, not with line, and Rossetti used this principle hear, using soft shadings on the skin of her neck and in building the hair, stroke by stroke. Also, inspired by Titian, he used red colour as a base of his canvas, not the usual white. “Bocca Baciata” is not just a beautiful harmony of warm colours, but it also set a pattern of a style of painting typical for the art of late Pre-Raphaelite Movement and Symbolism, where a beautiful woman occupies a canvas, exuding sensuality, vanity and indolence, dressed in luxurious fabrics and surrounded by other objects of beauty such as flowers, mirrors, fans and jewellery. These types of paintings are not portraits with individual characteristics of a person, but a never ending series of visual representations of female sexual allure.