Detail
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He's late...
There is much debate about the sitter of this painting. Some believe it to be a portrait of Effie Gray, Ruskin's wife at the time who later married Millais. Others believe it to be Annie Miller, who modelled for Millais.
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Preparation...
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Dressed and decorated...
Created during a summer holiday of 1853, Millais and the Ruskins spent together at Glenfinlas in the Scottish Highlands. This proved to be a fateful trip, as Millais fell in love with Ruskin's unhappy wife Effie. After an annulment of her marriage to Ruskin, she and Millais married in 1855.
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The models were Matilda Proudfoot as the blind girl and Isabella Nichol as her younger sister. Millais had first used his wife Effie but then replaced her with Matilda.
I wonder how she felt about that?
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This painting was unfinished at the time of Rossetti's death and the background was completed by Ford Madox Brown. The painting is a personal expression of Rossetti's love for his deceased wife, Elizabeth Siddal.
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The term stunner was in use earlier than one might imagine...really.
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The wood block for this engraving was cut by Lucy Faulkner
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An engraved proof after a now lost drawing by Rossetti used for the title page of Christina Rossetti's 'Goblin Market and other Poems' (1862). Recent research suggests that Lucy Faulkner engraved the wood block for this image.
Christina was Dante Gabriel Rossetti's sister, possibly one woman who was safe from his advances!
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The figure of the Virgin may have originally been based on Jane Morris, but the face, as finally realised, was most likely modelled on the artist's fiance, Georgiana Macdonald.
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Burne-Jones's wife, Georgiana, whom he had recently married, her appearance belies her age of just twenty-two.
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A very early profile study of Maria Zambaco, with whom Burne-Jones became involved romantically in June 1868.
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A design for a wood-engraving to illustrate Christina Rossetti's poem 'If' published in 'The Argosy,' 1866 (vo. 1, no. 4, March, p. 336). The poem reflects on the theme of melancholy love and was later re-titled 'Hope against Hope'. In this illustration Sandys sets a lone female figure against a landscape, brooding on the absence of her lover.
She looks a little more than melancholy.
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And a romantic wedding....
A design for a stained glass window. It depicts Christina Rossetti, Wiliam Michael Rossttie, Elizabeth Siddal and William Morris.
Discuss this collection
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