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Christina Rossetti
Christina Georgina Rossetti was born in London on December 5, 1830. She was one of four children. She had two brothers, William and Dante, and one sister, Maria. All four children became writers, and her brother Dante was also a famous painter. Christina was the youngest of the four children. Her father, Gabriele Rossetti was a poet, and her mother, Frances Polidori Rossetti was deeply religious. It has been said that Christina, “Inherited many of her artistic tendencies from her father,” (Glenn Everett. “The Life of Christina Rossetti”. The Victorian Web. 1988. 25 Feb. 2012. ) and that her, “Religious temperament was closer to her mother’s.” (Everett, “The Life of Christina Rossetti)
Christina Rossetti, her mother, and her sister were all pious members of the Church of England. In her later years, Maria became an Anglican nun. Christina’s religious convictions are apparent in some of her more religious poetic writings such as “Paradise” and “Trust Me”. In her lifetime, she also worked for the Society for Promoting Christian Knowledge. It has been said that she covered the secular parts of Swinburne’s Atalanta in Calydon in order to enjoy it more. (Everett, “The Life of Christina Rossetti”)
Christina never married, despite the fact that she was engaged to James Collinson and courted by Charles Cayley. She broke off the engagement with Collinson because he reverted to Roman Catholicism. She also ended her courtship with Cayley because she discovered that he was not a Christian. Her failed attempts at love would later prove to be a prominent theme in her works.
The latter years of Christina Rossetti’s life were characterized by “slackening lyrical power” in her wor...
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...ian Poetry. West Virginia University Press. 1997. Vol. 35, No. 1. Christian Allegory and Subversive poetics: Christina Rossetti’s “Prince’s Progress” Re-examined. 83-94.
Jan Marsh. “Christina Rossetti and the Pre-Raphaelite Brotherhood”. Penguin Classics. 2011. 27 Feb 2012. .
Julia Touché. “Christina Rossetti’s Biographical Situation in 1872”. The Victorian Web. 15 Mar 2007. 2 Mar 2012. .
Julia Touché. “Contemporary Problems in Christina Rossetti’s Sing-Song”. The Victorian Web. 15 Mar 2007. 2 Mar 2012. .
“Literature: Theme”. Annenberg Learner. 2012. 2 Mar 2012. .
“A Materialistic Aesthetic and a Materialist Hermeneutics”. Ohio University Press and Swallow Press. 2012. 2 Mar 2012. .
Barna di Siena’s Mystic Marriage of Saint Catherine exhibits a highly dramatic style that was not seen in his mentor nor in his fellow student Lippo Memmi’s work. The symmetric composition consists of two main figures, Saint Catherine and the adult Jesus. In the painting, Jesus is seen placing a ring on Saint Catherine’s finger and taking her as his spiritual bride. Both figures appear to be very light and frail and the draperies they wear do not show the human f...
Artemisia Gentileschi (Rome 1593 - Naples 1652/53) was a Roman painter, daughter of the painter Orazio Gentileschi and Prudenza Montone (who died when Artemisia was twelve). First of six children (all males), at a very early age was initiated to painting by her father, a follower of Caravaggio.
The female artist I would like to write my week one journal about is Properzia de' Rossi. De Rossi was born 1490 in Bologna to a notary named Giovanni Rossi. I could not find any information about her mother or her upbringing. De Rossi face addition obstacles pursuing art due to no previous training, unlike her female counterparts whose fathers were artists and guided their hands. Later, she did have the privilege of learning from the Bolognese master engraver and artist Marc Antonio Raimondi, as well as studied at the University of Bologna. Under, Raimondi, De Rossi studied music, painting, poetry, dance, drawing and classical literature. Undecided about how she wanted to express herself through her art, she tried her hand at sculpture
There are no significant women heroes in British literary works up to plenty of duration of Rossetti. Female protagonists are available, of course, like Age in Austen's Pleasure and Tendency, but they have no store for brave activity. They are restricted by the gender-roles into which a male-dominated community has placed them. Age must invest a great cope of her power awaiting Darcy to take action; she herself is hobbled by the cables of decorum
Von Rohr Scaff, S. 2002. The Virgin Annunciate in Italian Art of the Late Middle Ages and Renaissance. College Literature. 29(3):109-123.
Nash, Susan. Oxford History of Art: Norther Renaissance Art. 2nd. New York: Oxford University Press, 2009. 30-65. eBook.
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
Suzanne G. Cusick, who considers herself a speicialist in the life and works of Francesca Caccini, argues that Francesca was a proto-feminist and the music she composed for the Medici court contributed to the career of the Grand Duchess Christine de Lorraine of Tuscany. She therefore claims that through her works, Caccini encourages the sexuality and political aims of women in the early seventeenth century.1
In Rossetti’s poem “In an Artist’s Studio”, she illustrates a man in the art studio surrounded around his canvases. On each of his canvases, he has painted the same woman in different positions, as depicted in, “One selfsame figure sits or walks or leans” (Rossetti 104). This man continuously paints the same women, each time depicting her differently as demonstrated, “A saint, and angel…” (Rossetti 104). Similarly, in McKay’s poem he illustrates for the readers, a dark skinned, half clothed woman dancing. Both of these poems focus on how men view women, and how men idealize women for their beauty, or some other desirable part of them. Both of these poets express that men do not appreciate the wholeness and complexity of both of these women. McKay’s idealized woman is also a woman of colour, which may lead into a discussion of race gender, and sexuality. In Rossetti’s poem, the artist “feeds upon” (Rossetti 104) the object of his affection, “not as she is, but as she fills his dreams” (Rossetti 104). Also, McKay’s narrator idealizes her physical beauty and describes how everyone “devoured” her beauty, even though “her self was not in that strange place” (McKay 18). The main difference is that McKay’s narrator sees his desired woman as having “grown lovelier for passing through a storm” (McKay 18), whereas Rossetti’s artist uses his art to wash away the pain-and by extension, the
Catherine of Siena was born in Italy in 1347 at a time when political and religious changes were affecting the hierarchy of the Catholic Church. Dedicating her life to the Holy Spirit from a very young age, Catherine pursued a life of purity and simplicity that served as a background to her great literary work, The Dialogue of the Divine Providence . Her work focuses on the importance of prayer and its transcendent power in human life.
The development of the style of music during the renaissance can be traced back to the genres of importance to the music composers of that time. Sacred vocal music in the 15th century had two genres known as the Mass and motet the composers of this time cultivated these genres intensely. The ...
The artistic theme in which an artist depicts the Virgin Mary with Jesus Christ as a child is known as the ‘Madonna and Child’. This depiction has its roots in Early Christian art due to the iconic roles that Christ and Mary play in the Christian religion (Dunkerton 37). The ‘Madonna and Child’ has had a place in many of the early periods and traditions of art. Religious themes were able to command such a strong presence in the history of art due to their role as devotional aides in churches and other religious buildings (Dunkerton 27). Religious art was well maintained by religious orders and churches, and many patrons throughout early history were tied to the Catholic Church. In the 1400s, religious artwork continued to play a prominent role, but a revival of the Classical form also started to occur. The period known as the renaissance was marked by a desire to look back on the past and a sense of individualism. The era also brought about the use of new and classical techniques for art such as naturalism, perspective, and proportion. Nonetheless, art during this period remained diverse as several art traditions, influences, and patrons contributed to the outcome of an artist’s work. The National Gallery of Ireland possesses a few of depictions of the Virgin Mary and Child in its collection of Early Italian work. The first work I will discuss is a work by Zanobi di Jacopo Machiavelli known as ‘Virgin and Child Enthroned with Saints’, which was complete in 1470. The second work is known as, ‘The Virgin and Child Enthroned with Saints John the Baptist and Lucy’, and was completed by Marco Palmezzano in 1513 (National Gallery of Ireland: Essential Guide). While created around the same time period and within close geographical proxim...
The reputations of Maria Callas and Madonna as divas have both been earned for different reasons and yet, both can easily place their titles next to each other. All their musical performances have and are adapted to suit the public eye and sheltered by each singer’s creative influence, in order to improve their labels as divas. √ you give your reader a sense of the discussion that will follow, which is good.
Saint Catherine was born in Siena, Italy on March 25, 1347. She was one of twenty-five children, and she had a twin but she died when she was just an infant. Her father, Giacomo di Benincasa, was a cloth dyer and her mother, Lapa Piagenti, was the daughter of a poet. Catherine grew up being a very happy child. It is reported that when she was around 6, she she had a vision of God. When she was 7, she vowed to give her whole life to God.
Christina Rossetti was a very successful poet who had a wide variety of poetry. She grew up just like a normal girl would, who had a talent that was discovered at a young age of eighteen. Rossetti was greatly influenced about the different chapters that happened throughout her life. When readers read her poetry she has an amazing talent by having the readers imagines what she was imagining when she wrote the poetry. Christina based her love life around her family’s religious beliefs and she was not able to express her feelings to those whom she loved. Throughout her life she wrote poems that ranged from love to death. Christina Rossetti expressed feelings in her poems about the absence of love throughout her life.