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The Blessed Damozel is the only one of Rossetti's paired pictures and poems in which the poem was completed first. Friends and patrons repeatedly urged Rossetti to illustrate his most famous poem, [ 3 ] and he finally accepted a commission from William Graham in February 1871.
Claude Debussy was interested in the symbolist movement and later took inspiration from a poem by Stéphane Mallarmé for his Prélude à l'après-midi d'un faune (1894). ). Reading an anthology of English poetry translated by Gabriel Sarrazin, "Poètes modernes d’Angleterre" (1883) gave Debussy the idea of composing a cantata on the poem "The Blessed Damozel" (1850) by Pre-Raphaelite poet ...
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The Blessed Damozel (1875–1878); shows the influence of his next muse Jane Morris's hooded eyes. Drawings by Rossetti include: Portrait of Alexa Wilding (1865) Sibylla Palmifera (Study) (c. 1866) Aspecta Medusa (c. 1867) Mary Magdalene (1867) Rosa Triplex (1867), centre. Venus Verticordia (Study) (1867-68) Study for ′La Pia de′ Tolomei ...
Rossetti's poem "The Blessed Damozel" was the inspiration for Claude Debussy's cantata La Damoiselle élue (1888). John Ireland (1879–1962) set to music as one of his Three Songs, Rossetti's poem "The One Hope" from Poems (1870). In 1904 Ralph Vaughan Williams (1872–1958) created his song cycle The House of Life from six poems by Rossetti ...
She was the author of The Shadow of Dante: Being an essay towards studying himself, his world, and his pilgrimage (published 1871). She also acted as a governess during the years of family hardship brought on by her father's failing health, and tutored a young Lucy Madox Brown, a future sister-in-law.
The Beguiling of Merlin, 1874 by Edward Burne-Jones, at the Lady Lever Art Gallery. This is a list of paintings produced by members of the Pre-Raphaelite Brotherhood and other artists associated with the Pre-Raphaelite style.
The first and only major oil painting featuring a nude to be painted by Rossetti, Venus Verticordia features blatantly erotic symbolism. She is surrounded by a mass of roses and honeysuckles, during the 19th century Victorian period there was a heightened interest in the language of flowers, and these flowers would have been understood in this context as sensual metaphors of women's sexuality ...