Monna Rosa - Dante Gabriel Rossetti
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Descrizione
A portrait of a woman in a gold-embroidered gown tending to a rose bush, painted by Dante Gabriel Rossetti in 1867.
Monna Rosa, painted by Dante Gabriel Rossetti in 1867, depicts a woman in a heavy, gold-embroidered white gown. She is shown in profile, reaching up to prune a rose bush. The subject is Alexa Wilding, one of Rossetti's frequent models during this period. The composition is notable for its inclusion of specific decorative objects, such as the blue and white porcelain vase and the bamboo-style stand, which reflect the artist's interest in the Aesthetic movement and the influence of Japanese art on Victorian taste.
The painting is characteristic of Rossetti's later work, where the focus shifts from narrative or literary subjects to the depiction of a single, idealized female figure. The gown, with its bold floral motifs, occupies a large portion of the canvas, creating a sense of flatness that contrasts with the three-dimensional rendering of the figure's face and hands. The green background provides a muted foil to the brightness of the dress and the pink blossoms of the roses.
Rossetti's technique here involves careful attention to texture, particularly in the rendering of the fabric and the metallic sheen of the embroidery. The work avoids the moralising tone of earlier Pre-Raphaelite paintings, opting instead for a decorative and sensory experience. The inclusion of the peacock feather fan on the left wall adds another layer of exoticism, a common trope in the art of the 1860s. This piece remains a clear example of the transition toward the more stylised, decorative aesthetic that would define the later years of Rossetti's career.
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Monna Rosa - Dante Gabriel Rossetti
Artist Biography
Dante Gabriel Rossetti
He was born in London to an Italian political exile and named after the author of the Divine Comedy. His father was a professor of Italian at King's College. The household ran on poetry, politics, and argument. Rossetti wrote verse throughout his life and considered himself a poet as much as a painter.
His early paintings are small, bright, and meticulously detailed in the Pre-Raphaelite manner. The Girlhood of Mary Virgin and Ecce Ancilla Domini have the flat, jewelled quality of medieval altarpieces. After 1860 the style changed. The paintings became larger, more sensual, and dominated by the face and figure of Jane Burden, who was William Morris's wife.
The relationship between Rossetti, Morris, and Jane is one of the more uncomfortable triangles in art history. Morris married her. Rossetti painted her obsessively. She modelled for Proserpine, La Pia de' Tolomei, and dozens of other works in which she appears as a mythological woman trapped in an unwanted situation. Whether the affair was physical remains debated. Morris, characteristically, said nothing publicly and channelled his feelings into wallpaper.
Rossetti buried a manuscript of his poems in his wife Lizzie Siddal's coffin when she died of a laudanum overdose in 1862. Seven years later he had the coffin exhumed to retrieve them. He published the poems. He was addicted to chloral hydrate by then and increasingly paranoid. He died in 1882, at fifty-three.
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