Dante Gabriel Rossetti

File:rossetti selbst.jpg

File:Autumn Song, Dante Gabriel Rossetti.jpg]]

File:1904P484 - Portrait of Frances Gabriele Rossetti the Artist's Mother (cropped).jpg{{Quote frame|Born in London, May 1828, he was given the name of Gabriel Charles Dante Rossetti, which he shortened into the familiar Dante Rossetti. His father was an Italian, his mother a Tuscan, but of Greek descent; and to this mixture of warm southern blood are the children indebted for their intense natures and wealth of emotion which broke into color and song.|N. Hudson Moore|4={{Cite book |last=Moore |first=N. Hudson |url=https://babel.hathitrust.org/cgi/pt?id=wu.89094358496&seq=11 |title=Dante Gabriel Rossetti, and Edward Burne-Jones |date=1900 |publisher=Modern Culture |pages=1}}}}

The son of émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Mary Lavinia Polidori, daughter of Tuscan scholar of Greek descent Gaetano Polidori, Gabriel Charles Dante Rossetti was born in London, on 12 May 1828. His family and friends called him Gabriel, but in publications he put the name Dante first in honour of Dante Alighieri. He was the brother of poet Christina Rossetti, critic William Michael Rossetti, and author Maria Francesca Rossetti.Treuherz et al. (2003), pp. 15–18. His father was a Roman Catholic, at least prior to his marriage, and his mother was an Anglican; ostensibly Gabriel was baptised as and was a practising Anglican. John William Polidori, who had died seven years before his birth, was Rossetti's maternal uncle. During his childhood, Rossetti was home educated and later attended King's College School,{{Cite web|url=http://www.rossettiarchive.org/racs/chronology.rac.html|title=Rossetti Archive Chronology Exhibit|website=www.rossettiarchive.org|access-date=1 February 2018}} and often read the Bible, along with the works of Shakespeare, Dickens, Sir Walter Scott, and Lord Byron.{{cite web|title=Dante Gabriel Rossetti|url=http://www.poetryfoundation.org/bio/dante-gabriel-rossetti|website=Poetry Foundation|access-date=15 June 2014}}

The youthful Rossetti is described as "self-possessed, articulate, passionate and charismatic"Treuherz et al. (2003), p. 19. but also "ardent, poetic and feckless".Hilton (1970), p. 26. Like all his siblings, he aspired to be a poet and attended King's College School, in its original location near the Strand in London. He also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass' Drawing Academy from 1841 to 1845, when he enrolled in the Antique School of the Royal Academy, which he left in 1848. After leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he retained a close relationship throughout his life.Treuherz et al. (2003), pp. 15.

File:William Holman Hunt - Portrait of Dante Gabriel Rossetti at 22 years of Age - Google Art Project.jpg]]

Following the exhibition of William Holman Hunt's painting The Eve of St. Agnes, Rossetti sought out Hunt's friendship. The painting illustrated a poem by John Keats. Rossetti's own poem, "The Blessed Damozel", was an imitation of Keats, and he believed Hunt might share his artistic and literary ideals. Together they developed the philosophy of the Pre-Raphaelite Brotherhood which they founded along with John Everett Millais.

The group's intention was to reform English art by rejecting what they considered to be the mechanistic approach first adopted by the Mannerist artists who succeeded Raphael and Michelangelo and the formal training regime introduced by Sir Joshua Reynolds. Their approach was to return to the abundant detail, intense colours, and complex compositions of Quattrocento Italian and Flemish art.Treuherz et al. (2003), p. 22.Hilton (1970), pp. 31–35. The eminent critic John Ruskin wrote:

{{blockquote|Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a true portrait of some living person.Quoted in Marsh (1996), p. 21.}}

For the first issue of the brotherhood's magazine, The Germ, published early in 1850, Rossetti contributed a poem, "The Blessed Damozel", and a story about a fictional early Italian artist inspired by a vision of a woman who bids him combine the human and the divine in his art.Marsh (1996), p. 21. Rossetti was always more interested in the medieval than in the modern side of the movement, working on translations of Dante and other medieval Italian poets, and adopting the stylistic characteristics of the early Italians.

File:Dante Gabriel Rossetti - The Girlhood of Mary Virgin.jpg (1849). The models were the artist's mother for Saint Anne and his sister Christina for the Virgin.Marsh (1996), p. 16.]]

Rossetti's first major paintings in oil display the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary Virgin (1849) and Ecce Ancilla Domini (1850) portray Mary as a teenage girl. William Bell Scott saw Girlhood in progress in Hunt's studio and remarked on young Rossetti's technique:

{{blockquote|He was painting in oils with water-colour brushes, as thinly as in water-colour, on canvas which he had primed with white till the surface was a smooth as cardboard, and every tint remained transparent. I saw at once that he was not an orthodox boy, but acting purely from the aesthetic motive. The mixture of genius and dilettantism of both men [Rossetti and Hunt] shut me up for the moment, and whetted my curiosity.Marsh (1996), p. 17.}}

Stung by criticism of his second major painting, Ecce Ancilla Domini, exhibited in 1850, and the "increasingly hysterical critical reaction that greeted Pre-Raphaelitism" that year, Rossetti turned to watercolours, which could be sold privately. Although his work subsequently won support from John Ruskin, Rossetti only rarely exhibited thereafter.

In 1850, Rossetti met Elizabeth Siddal, an important model for the Pre-Raphaelite painters. Over the next decade, she became his muse, his pupil, and his passion. They were married in 1860.Treuherz et al. (2003), p. 33. Rossetti's incomplete picture Found, begun in 1853 and unfinished at his death, was his only major modern-life subject. It depicted a prostitute, lifted from the street by a country drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones.Treuherz et al. (2003), pp. 19, 24–25.

For many years, Rossetti worked on English translations of Italian poetry including Dante Alighieri's La Vita Nuova (published as The Early Italian Poets in 1861). These and Sir Thomas Malory's Le Morte d'Arthur inspired his art of the 1850s. He created a method of painting in watercolours, using thick pigments mixed with gum to give rich effects similar to medieval illuminations. He also developed a novel drawing technique in pen-and-ink. His first published illustration was "The Maids of Elfen-Mere" (1855), for a poem by his friend William Allingham, and he contributed two illustrations to Edward Moxon's 1857 edition of Alfred, Lord Tennyson's Poems and illustrations for works by his sister Christina Rossetti.Treuherz et al. (2003), pp. 175–76.

His visions of Arthurian romance and medieval design also inspired William Morris and Edward Burne-Jones.Treuherz et al. (2003), pp. 39–41. Neither Burne-Jones nor Morris knew Rossetti, but were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Morris founded in 1856 to promote his ideas about art and poetry.{{cite DNBSupp|wstitle=Burne-Jones, Edward Coley|volume=3}}{{cite DNBSupp|wstitle=Morris, William (1834-1896) |display=Morris, William (1834–1896)|volume=3}}

File:Dante Gabriel Rossetti - Ecce Ancilla Domini! - Google Art Project.jpg, 1850, a depiction of the Annunciation]]

In February 1857, Rossetti wrote to William Bell Scott:

{{blockquote|Two young men, projectors of the Oxford and Cambridge Magazine, have recently come up to town from Oxford, and are now very intimate friends of mine. Their names are Morris and Jones. They have turned artists instead of taking up any other career to which the university generally leads, and both are men of real genius. Jones's designs are marvels of finish and imaginative detail, unequalled by anything unless perhaps Albert Dürer's finest works.}}

That summer Morris and Rossetti visited Oxford and finding the Oxford Union debating-hall under construction, pursued a commission to paint the upper walls with scenes from Le Morte d'Arthur and to decorate the roof between the open timbers. Seven artists were recruited, among them Valentine Prinsep and Arthur Hughes,Watkinson, Ray, "Painting" in Parry (1996), p. 93. and the work was hastily begun. The frescoes, done too soon and too fast, began to fade at once and now are barely decipherable. Rossetti recruited two sisters, Bessie and Jane Burden, as models for the Oxford Union murals, and Jane became Morris's wife in 1859.Parry, William Morris, pp. 14–16.

Literature was integrated into the Pre-Raphaelite Brotherhood's artistic practice from the beginning (including that of Rossetti), with many paintings making direct literary references. For example, John Everett Millais' early work, Isabella (1849), depicts an episode from John Keats' Isabella, or, the Pot of Basil (1818). Rossetti was particularly critical of the gaudy ornamentation of Victorian gift books and sought to refine bindings and illustrations to align with the principles of the Aesthetic Movement.{{Cite web|url=https://delartlibrary.omeka.net/exhibits/show/-the-cover-sells-the-book---tr/dante-gabriel-rossetti|title=The Cover Sells the Book|website=Delaware Art Museum}} Rossetti's key bindings were designed between 1861 and 1871.{{Cite web|url=http://www.rossettiarchive.org/racs/binding.rac.html|title=Dante Gabriel Rossetti Material Design|website=Rossetti Archive}} He collaborated as a designer/illustrator with his sister, poet Christina Rossetti, on the first edition of Goblin Market (1862) and The Prince's Progress (1866).

File:Dante Gabriel Rossetti - Sir Galahad at the ruined Chapel - Google Art Project.jpg

One of Rossetti's most prominent contributions to illustration was the collaborative book, Poems by Alfred, Lord Tennyson (published by Edward Moxon in 1857 and known colloquially as the 'Moxon Tennyson'). Moxon envisioned Royal Academicians as the illustrators for the ambitious project, but this vision was quickly disrupted once Millais, a founding member of the Pre-Raphaelite Brotherhood, became involved in the project.{{Cite book|title=Poetry, Pictures, and Popular Publishing: The Illustrated Gift Book and Victorian Visual Culture 1855–1875|last=Janzen Kooistra|first=Lorraine|author-link1=Lorraine Janzen Kooistra|publisher=Ohio University Press|year=2011|location=Athens, Ohio|pages=43}} Millais recruited William Holman Hunt and Rossetti for the project, and the involvement of these artists reshaped the entire production of the book. In reference to the Pre-Raphaelite illustrations, Laurence Housman wrote "[...] The illustrations of the Pre-Raphaelites were personal and intellectual readings of the poems to which they belonged, not merely echoes in line of the words of the text."{{Cite book|title=Arthur Boyd Houghton: A Selection from his Work in Black and White|last=Housman|first=Laurence|publisher=Trubner and Co.|year=1896|location=London, England|pages=13}} The Pre-Raphaelites' visualization of Tennyson's poems indicated the range of possibilities in interpreting written works, as did their unique approach to visualizing narrative on the canvas.

Pre-Raphaelite illustrations do not simply refer to the text in which they appear; rather, they are part of a bigger program of art: the book as a whole. Rossetti's philosophy about the role of illustration was revealed in an 1855 letter to poet William Allingham, when he wrote, in reference to his work on the Moxon Tennyson:

"I have not begun even designing for them yet, but fancy I shall try the Vision of Sin, and Palace of Art etc.—those where one can allegorize on one's own hook, without killing for oneself and everyone a distinct idea of the poet's."{{Cite book|title=The Pre-Raphaelites in Literature and Art|last=Welland|first=Dennis|publisher=George G. Harrap & Co. Ltd.|year=1953|location=London|page=17}}

This passage makes apparent Rossetti's desire not to just support the poet's narrative, but to create an allegorical illustration that functions separately from the text as well. In this respect, Pre-Raphaelite illustrations go beyond depicting an episode from a poem, but rather function like subject paintings within a text. Illustration is not subservient to text and vice versa. Careful and conscientious craftsmanship is practiced in every aspect of production, and each element, though qualifiedly artistic in its own right, contributes to a unified art object (the book).

File:Dante Gabriel Rossetti by George Wylie Hutchinson.png]]

England began to see a revival of religious beliefs and practices starting in 1833 and moving onward to about 1845.{{cite web|last1=Barry|first1=William|title=The Oxford Movement (1833–1845)|url=http://www.newadvent.org/cathen/11370a.htm|website=New Advent|publisher=Robert Appleton Company|access-date=15 June 2014}} The Oxford Movement, also known as the Tractarian Movement, had recently begun a push toward the restoration of Christian traditions that had been lost in the Church of England.{{citation needed|date=December 2021}} Rossetti and his family had been attending Christ Church, Albany Street since 1843. His brother, William Michael Rossetti recorded that services had begun changing in the church since the start of the "High Anglican movement". Rev. William Dodsworth was responsible for these changes, including the addition of the Catholic practice of placing flowers and candles by the altar. Rossetti and his family, along with two of his colleagues (one of which cofounded the Pre-Raphaelite Brotherhood) had also attended St. Andrew's on Wells Street, a High Anglican church. It is noted that the Anglo-Catholic revival very much affected Rossetti in the late 1840s and early 1850s. The spiritual expressions of his painting The Girlhood of Mary Virgin, finished in 1849, are evident of this claim. The painting's altar is decorated very similarly to that of a Catholic altar, proving his familiarity with the Anglo-Catholic revival. The subject of the painting, the Blessed Virgin, is sewing a red cloth, a significant part of the Oxford Movement that emphasized the embroidering of altar cloths by women.{{cite book|last1=Bentley|first1=D.M.R.|title=Rossetti's "Ave" and Related Pictures|year=1977|publisher=West Virginia University Press|pages=21–35|volume=15 }} Oxford Reformers identified two major aspects to their movement, that "the end of all religion must be communion with God," and "that the Church was divinely instituted for the very purpose of bringing about this consummation."{{cite web|last1=Taylor|first1=G.W.|title=John Wesley and the Anglo-Catholic Revival|url=http://anglicanhistory.org/misc/taylor_wesley.html|website=Project Canterbury|publisher=SPCK}}

From the beginning of the Brotherhood's formation in 1848, their pieces of art included subjects of noble or religious disposition. Their aim was to communicate a message of "moral reform" through the style of their works, exhibiting a "truth to nature".{{cite web|last1=Meagher|first1=Jennifer|title=The Pre-Raphelites|url=http://www.metmuseum.org/toah/hd/praf/hd_praf.htm|website=The Metropolitan Museum of Art|date=October 2004 |access-date=15 June 2014}} Specifically in Rossetti's "Hand and Soul", written in 1849, he displays his main character Chiaro as an artist with spiritual inclinations. In the text, Chiaro's spirit appears before him in the form of a woman who instructs him to "set thine hand and thy soul to serve man with God."{{cite web|title=Hand and Soul|url=http://vsfp.byu.edu/index.php/Hand_and_Soul|website=Victorian Short Fiction Project|access-date=6 June 2014|url-status=dead|archive-url=https://web.archive.org/web/20140714163920/http://vsfp.byu.edu/index.php/Hand_and_Soul|archive-date=14 July 2014}} The Rossetti Archive defines this text as "Rossetti's way of constellating his commitments to art, religious devotion, and a thoroughly secular historicism."{{cite web|title=Hand and Soul|url=http://www.rossettiarchive.org/docs/46p-1849.sa76.raw.html|website=The Rossetti Archive|access-date=15 June 2014}} Likewise, in "The Blessed Damozel", written between 1847 and 1870, Rossetti uses biblical language such as "From the gold bar of Heaven" to describe the Damozel looking down to Earth from Heaven.{{cite web|title=The Blessed Damozel|url=http://www.rossettiarchive.org/docs/1-1881.1stedn.rad.html#p3|website=Rossetti Archive|access-date=15 June 2014}} Here we see a connection between body and soul, mortal and supernatural, a common theme in Rossetti's works. In "Ave" (1847), Mary awaits the day that she will meet her son in Heaven, uniting the earthly with the heavenly. The text highlights a strong element in Anglican Marian theology that describes Mary's body and soul having been assumed into Heaven. William Michael Rossetti, his brother, wrote in 1895: "He was never confirmed, professed no religious faith, and practised no regular religious observances; but he had ... sufficient sympathy with the abstract ideas and the venerable forms of Christianity to go occasionally to an Anglican church — very occasionally, and only as the inclination ruled him."

File:Dante Gabriel Rossetti Bocca Baciata 1859.png (1859), modelled by Fanny Cornforth, signalled a new direction in Rossetti's work. (Museum of Fine Arts, Boston)]]

File:Dante Gabriel Rossetti 001.jpg of Dante Gabriel Rossetti by Charles Lutwidge Dodgson (Lewis Carroll; 1863)]]

Around 1860, Rossetti returned to oil painting, abandoning the dense medieval compositions of the 1850s in favour of powerful close-up images of women in flat pictorial spaces characterised by dense colour. These paintings became a major influence on the development of the European Symbolist movement.Treuherz et al. (2003), pp. 52–54. In them, Rossetti's depiction of women became almost obsessively stylised. He portrayed his new lover Fanny Cornforth as the epitome of physical eroticism, while Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess. "As in Rossetti's previous reforms, the new kind of subject appeared in the context of a wholesale reconfiguration of the practice of painting, from the most basic level of materials and techniques up to the most abstract or conceptual level of the meanings and ideas that can be embodied in visual form." These new works were based not on medievalism, but on the Italian High Renaissance artists of Venice, Titian and Veronese.Treuherz et al. (2003), p. 64.

In 1861, Rossetti became a founding partner in the decorative arts firm, Morris, Marshall, Faulkner & Co. with Morris, Burne-Jones, Ford Madox Brown, Philip Webb, Charles Faulkner and Peter Paul Marshall. Rossetti contributed designs for stained glass and other decorative objects.

Rossetti's wife, Elizabeth, died of an overdose of laudanum in 1862, possibly a suicide, shortly after giving birth to a stillborn child.{{Cite web|first=Jan |last=Marsh |date=15 February 2012 |url=https://www.the-tls.co.uk/articles/public/did-rossetti-really-need-to-exhume-his-wife/|title=Did Rossetti really need to exhume his wife?|website=TheTLS|archive-url=https://web.archive.org/web/20120219053039/https://www.the-tls.co.uk/tls/public/article872671.ece|archive-date=19 February 2012|url-status=dead}}{{Cite book|url=https://books.google.com/books?id=tzBZAAAAIAAJ|title=Artists and Writers in Revolt: The Pre-Raphaelites|first=Audrey|last=Williamson|author-link=Audrey Williamson (critic) |year=1976|publisher=David & Charles|via=Google Books |page=46 |isbn=978-0-7153-72-623}} Rossetti became increasingly depressed, and when Elizabeth was buried at Highgate Cemetery, he interred the bulk of his unpublished poems with her, though he later had them dug up. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix.Treuherz et al. (2003), p. 80.

{{More citations needed|section|date=May 2017}}

File:16 Cheyne Walk 04.JPG, London]]

File:Dante Gabriel Rossetti - La viuda romana (Dîs Manibus).jpg (1874), Museo de Arte de Ponce, Puerto Rico]]

File:Henry Treffry Dunn Rossetti and Dunton at 16 Cheyne Walk.jpg, by Henry Treffry Dunn (1882)]]

File:Dante Gabriel Rossetti - The Day Dream - Google Art Project.jpg (1880). The sitter is Jane Morris.{{cite web|url=http://www.artmagick.com/pictures/picture.aspx?id=6197|title=The Day Dream|publisher=www.artmagick.com|access-date=15 August 2016|url-status=dead|archive-url=https://web.archive.org/web/20141218104125/http://www.artmagick.com/pictures/picture.aspx?id=6197|archive-date=18 December 2014}}{{cite web|url=http://www.vam.ac.uk/users/node/1981|title=Dante Gabriel Rossetti, 'The Day Dream'|publisher=www.vam.ac.uk|access-date=15 August 2016}}]]

File:Alexa Wilding (1879) by Dante Gabriel Rossetti.jpg (1879)]]

After the death of his wife, Rossetti leased a Tudor House at 16, Cheyne Walk, in Chelsea,{{cite web |title=Settlement and building: Artists and Chelsea Pages 102-106 A History of the County of Middlesex: Volume 12, Chelsea. |url=https://www.british-history.ac.uk/vch/middx/vol12/pp102-106 |website=British History Online |publisher=Victoria County History, 2004 |access-date=21 December 2022}} where he lived for 20 years surrounded by extravagant furnishings and a parade of exotic birds and animals.Todd (2001), p. 107. Rossetti was fascinated with wombats, asking friends to meet him at the "Wombat's Lair" at the London Zoo in Regent's Park, and spending hours there. In September 1869, he acquired the first of two pet wombats, which he named "Top". It was brought to the dinner table and allowed to sleep in the large centrepiece during meals. Rossetti's fascination with exotic animals continued throughout his life, culminating in the purchase of a llama and a toucan, which he dressed in a cowboy hat and trained to ride the llama round the dining-table for his amusement.{{Cite web |url=http://www.nla.gov.au/grants/haroldwhite/papers/atrumble.html |title=National Library of Australia. |access-date=25 March 2009 |archive-date=6 June 2011 |archive-url=https://web.archive.org/web/20110606012521/http://www.nla.gov.au/grants/haroldwhite/papers/atrumble.html |url-status=dead }}

Rossetti maintained Fanny Cornforth (described delicately by William Allington as Rossetti's "housekeeper")Todd (2001), p. 109. in her own establishment nearby in Chelsea, and painted many voluptuous images of her between 1863 and 1865.Todd (2001), p. 113.

In 1865, he discovered auburn-haired Alexa Wilding, a dressmaker and would-be actress who was engaged to model for him on a full-time basis and sat for Veronica Veronese, The Blessed Damozel, A Sea–Spell, and other paintings.Todd (2001), p. 116.Pedrick (1964), p. 130 She sat for more of his finished works than any other model, but comparatively little is known about her due to the lack of any romantic connection with Rossetti. He spotted her one evening in the Strand in 1865 and was immediately struck by her beauty. She agreed to sit for him the following day, but failed to arrive. He spotted her again weeks later, jumped from the cab he was in and persuaded her to go straight to his studio. He paid her a weekly fee to sit for him exclusively, afraid that other artists might employ her.Dunn, Recollections of Dante Gabriel Rossetti and his circle, ed. Mander, (1984) p. 46. They shared a lasting bond; after Rossetti's death Wilding was said to have travelled regularly to place a wreath on his grave.Spencer-Longhurst, The Blue Bower: Rossetti in the 1860s (2006).

Jane Morris, whom Rossetti had used as a model for the Oxford Union murals he painted with William Morris and Edward Burne-Jones in 1857, also sat for him during these years, she "consumed and obsessed him in paint, poetry, and life". Jane Morris was also photographed by John Robert Parsons, whose photographs were painted by Rossetti. In 1869, Morris and Rossetti rented a country house, Kelmscott Manor at Kelmscott, Oxfordshire, as a summer home, but it became a retreat for Rossetti and Jane Morris to have a long-lasting and complicated liaison. They spent summers there with the Morrises' children, while William Morris travelled to Iceland in 1871 and 1873.Todd (2001), pp. 123–30.

During these years, Rossetti was prevailed upon by friends, in particular Charles Augustus Howell, to exhume his poems from his wife's grave which he did, collating and publishing them in 1870 in the volume Poems by D. G. Rossetti. They created controversy when they were attacked as the epitome of the "fleshly school of poetry". Their eroticism and sensuality caused offence. One poem, "Nuptial Sleep", described a couple falling asleep after sex. It was part of Rossetti's sonnet sequence The House of Life, a complex series of poems tracing the physical and spiritual development of an intimate relationship. Rossetti described the sonnet form as a "moment's monument", implying that it sought to contain the feelings of a fleeting moment, and reflect on their meaning. The House of Life was a series of interacting monuments to these moments – an elaborate whole made from a mosaic of intensely described fragments. It was Rossetti's most substantial literary achievement.

The 1870 collection Poems included some translations, such as his "Ballad Of Dead Ladies", an 1869 translation of François Villon's poem "Ballade des dames du temps jadis".{{Cite book |last=Rossetti |first=Dante Gabriel |title=Poems |publisher=F. S. Ellis |year=1870 |edition=1st |location=London |pages=177–8}} (The word "yesteryear" is credited to Rossetti as a neologism used for the first time in this translation.)

In 1881, Rossetti published a second volume of poems, Ballads and Sonnets, which included the remaining sonnets from The House of Life sequence.

File:The grave of Dante Gabriel Rossetti in the churchyard of All Saints, Birchington-on-Sea.jpg

The savage reaction of critics to Rossetti's first collection of poetry contributed to a mental breakdown in June 1872, and although he joined Jane Morris at Kelmscott that September, he "spent his days in a haze of chloral and whisky".Todd (2001), pp. 128–129. The next summer he was much improved, and both Alexa Wilding and Jane sat for him at Kelmscott, where he created a soulful series of dream-like portraits. In 1874, Morris reorganised his decorative arts firm, cutting Rossetti out of the business, and the polite fiction that both men were in residence with Jane at Kelmscott could not be maintained. Rossetti abruptly left Kelmscott in July 1874 and never returned. Toward the end of his life, he sank into a morbid state, darkened by his drug addiction to chloral hydrate and increasing mental instability. He spent his last years as a recluse at Cheyne Walk.

On Easter Sunday, 1882, he died at the country house of a friend,{{cite web |last1=Orpwood |first1=Pat |title=The Rossetti Bungalow |url=http://www.birchingtonheritage.org.uk/articles/rossetti.htm |website=Birchington Heritage Trust - Newsletter |publisher=Birchington Heritage Trust |access-date=7 July 2023 |date=May 2004}} where he had gone in a vain attempt to recover his health, which had been destroyed by chloral as his wife's had been destroyed by laudanum. He died of Bright's disease, a disease of the kidneys from which he had been suffering for some time. He had been housebound for some years on account of paralysis of the legs, though his chloral addiction is believed to have been a means of alleviating pain from a botched hydrocele removal. He had been suffering from alcohol psychosis for some time brought on by the excessive amounts of whisky he used to drown the bitter taste of the chloral hydrate. He is buried in the churchyard of All Saints at Birchington-on-Sea, Kent, England.Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed.: 2 (Kindle Location 40729). McFarland & Company, Inc., Publishers. Kindle Edition.

File:16 Cheyne Walk 03.JPG

Tate Britain, Birmingham, Manchester, Salford Museum and Art Galleries and Wightwick Manor National Trust, all contain large collections of Rossetti's work; Salford was bequeathed a number of works following the death of L. S. Lowry in 1976. Lowry was president of the Newcastle-based 'Rossetti Society', which was founded in 1966.Rohde (2000). p. 396. Lowry's private collection of works was chiefly built around Rossetti's paintings and sketches of Elizabeth Siddal and Jane Morris, and notable pieces included Pandora, Proserpine and a drawing of Annie Miller.

In an interview with Mervyn Levy, Lowry explained his fascination with the Rossetti women in relation to his own work: "I don't like his women at all, but they fascinate me, like a snake. That's why I always buy Rossetti whenever I can. His women are really rather horrible. It's like a friend of mine who says he hates my work, although it fascinates him."Rohde (2000), p. 276. The friend Lowry referred to was businessman Monty Bloom, to whom he also explained his obsession with Rossetti's portraits: "They are not real women.[...] They are dreams.[...] He used them for something in his mind caused by the death of his wife. I may be quite wrong there, but significantly they all came after the death of his wife."

The popularity, frequent reproduction, and general availability of Rossetti's later paintings of women have led to this association with "a morbid and languorous sensuality".Treuherz et al. (2003), p. 12. His small-scale early works and drawings are less well known, but it is in these that his originality, technical inventiveness, and significance in the movement away from Academic tradition can best be seen.Treuherz et al. (2003), p. 16. As Roger Fry wrote in 1916, "Rossetti more than any other artist since Blake may be hailed as a forerunner of the new ideas" in English Art.Quoted in Treuherz et al. (2003), p. 12.

Rossetti was played by Oliver Reed in Ken Russell's television film Dante's Inferno (1967). The Pre-Raphaelite Brotherhood has been the subject of two BBC period dramas. The first, The Love School, (1975) features Ben Kingsley as Rossetti. The second was Desperate Romantics, in which Rossetti is played by Aidan Turner. It was broadcast on BBC Two on Tuesday, 21 July 2009.{{cite news |url=http://www.bbc.co.uk/pressoffice/pressreleases/stories/2008/08_august/07/romantics.shtml |title=BBC Desperate Romantics |agency=BBC News }}

The character of Dr. Frasier Crane (Kelsey Grammer) appears in an episode of Cheers as Dante Gabriel Rossetti for his Halloween costume. His wife Dr. Lilith Sternin-Crane appears as Rossetti's sister Christina. Their son Frederick is dressed as Spiderman.In Season 10, Episode 7, "Bar Wars V: The Final Judgment" first broadcast 31 October 1991

Gabriel Rossetti and other members of the Rossetti family are characters in Tim Powers' 2012 novel Hide Me Among the Graves, in which both the Rossettis' uncle John Polidori and Gabriel's wife Elizabeth act as hosts for vampiric beings, and whose influence inspires the artistic genius of the family.

Rossetti's poem "The Blessed Damozel" was the inspiration for Claude Debussy's cantata La Damoiselle élue (1888).

John Ireland (1879{{ndash}}1962) set to music as one of his Three Songs (1926), 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. One song in that cycle, "Silent Noon", is one of Vaughan Williams's best known and most frequently performed songs.

In 1904, Phoebe Anna Traquair painted The Awakening, inspired by a sonnet from Rossetti's The House of Life.{{Cite web|url=https://www.nationalgalleries.org/collection/artists-a-z/t/artist/phoebe-anna-traquair/object/the-awakening-ng-2655|title=The Awakening − Phoebe Anna Traquair − t − Artists A-Z − Online Collection − Collection − National Galleries of Scotland|last=Scotland|first=National Galleries of|website=www.nationalgalleries.org|access-date=15 March 2016}}

Some paintings by Paula Modersohn-Becker (1876–1907) may have been influenced by the Pre-Raphaelite painter Dante Rossetti.Rebecca Jelbert: "Paula Modersohn-Becker’s self-portraits and the influence of Dante Gabriel Rossetti." The Burlington Magazine, vol.159, no.1373 (2017): 617-22.

The 1990s grunge band Hole used lines from Rossetti's "Superscription", from House of Life, in their song "Celebrity Skin" from their album Celebrity Skin: while Rossetti's line read "Look in my face; my name is Might-have-been" the Hole lyric is "Look at my face; my name is Might-have-been."

The British release cover for the 1970 David Bowie album The Man Who Sold the World was described by Bowie as a parody of a Rossetti painting.{{cite book |title=David Bowie and Romanticism |date=2022 |publisher=Springer International Publishing |page=74}}

{{further|List of paintings by Dante Gabriel Rossetti}}

File:Dante Gabriel Rossetti The Tune of Seven Towers.jpg|The Tune of the Seven Towers (1857), watercolour, Tate Britain

File:Helen Dante Gabriel Rossett.jpg|Helen of Troy, 1863, Kunsthalle Hamburg, Hamburg, Germany

File:Dante Gabriel Rossetti - How Sir Galahad, Sir Bors and Sir Percival Were Fed with the Sanct Grael.jpg|How Sir Galahad. Sir Bors, and Sir Percival were fed with the Sanc Grael; But Sir Percival's Sister Died Along the Way (1864), watercolour, Tate Britain, London

File:Die Geliebte.jpg|The Beloved (1865–1866) (Models:Marie Ford, Ellen Smith, Fanny Eaton, Keomi), Tate

File:Found rossetti.jpg|Found (1865–1869, unfinished), Delaware Art Museum

File:Dante Gabriel Rossetti The Blessed Damozel.jpg|The Blessed Damozel (1871–1878; model: Alexa Wilding)

File:Rossetti lady lilith 1867.jpg|Lady Lilith (1867), Metropolitan Museum of Art (model: Fanny Cornforth)

File:Lady-Lilith.jpg|Lady Lilith (1868), Delaware Art Museum (Fanny Cornforth, overpainted at Kelsmcott 1872–73 with the face of Alexa Wilding){{cite web|url=http://www.rossettiarchive.org/docs/s205.rap.html|title=Lady Lilith, Dante Gabriel Rossetti, 1868|access-date =21 August 2010}}

Image:Dante Gabriel Rossetti - Beata Beatrix, 1864-1870.jpg|Beata Beatrix (1864–1870), Tate Britain (model: Elizabeth Siddal)

File:Dante Gabriel Rossetti - Jane Morris (The Blue Silk Dress).jpg|Jane Morris (The Blue Silk Dress) (1868), Kelmscott Manor

File:Rossetti - Pia de Tolomei.JPG|Pia de' Tolomei (1868–1880), Spencer Museum of Art, University of Kansas, Lawrence (model: Jane Morris)

File:Mariana by Dante Gabriel Rossetti - Dante Gabriel Rossetti - ABDAG002900.jpg|Mariana (1870; model: Jane Morris), Aberdeen Art Gallery

Image:Dante Gabriel Rossetti - Proserpine.JPG|Proserpine (1874; model: Jane Morris) Tate Britain, London

Image:A Vision of Fiammetta by Dante Gabriel Rossetti.jpg|A Vision of Fiammetta (1878), one of Rossetti's last paintings, now in the collection of Andrew Lloyd Webber (model: Marie Spartali Stillman)

File:Dante Gabriel Rossetti - La Belle Dame sans Merci, 1848.jpg|La Belle Dame sans Merci (1848), pen and sepia with some pencil

File:Dante Gabriel Rossetti drawing of Elizabeth Siddal reading.jpg|Drawing of Elizabeth Siddal reading (1854)

File:Dante Gabriel Rossetti - Hamlet and Ophelia.JPG|Hamlet and Ophelia (1858), pen and ink drawing

File:Dante Gabriel Rossetti - Annie Miller.jpg|Drawing of Annie Miller (1860)

File:Dante Gabriel Rossetti - Marie Spartali Stillman.jpg|Portrait of Marie Spartali Stillman (1869)

File:Dante Gabriel Rossetti - 'Fanny Cornforth', graphite on paper, 1869.jpg|Drawing of Fanny Cornforth, graphite on paper (1869)

File:Dante Gabriel Rossetti The Roseleaf.jpg|The Roseleaf (Portrait of Jane Morris; 1870), graphite on wove paper

File:Ligeia Siren by Dante Gabriel Rossetti (1873).jpg|Ligeia Siren (1873), colored chalk

File:Dante Gabriel Rossetti - Maids of Elfen-Mere (engraving).jpg|The Maids of Elphen-Mere, Rossetti's first published woodcut illustration (1855)

File:Rossetti King Arthur and the Weeping Queens.jpg|King Arthur and the Weeping Queens, one of two illustrations by Rossetti for Edward Moxon's illustrated edition of Tennyson's Poems (1857)

File:Rossetti-golden head.jpg|Golden Head by Golden Head, illustration for Christina Rossetti's Goblin Market and Other Poems (1862)

File:Dante Gabriel Rossetti Sir Tristram and la Belle Ysoude stained glass.png|Sir Tristram and la Belle Ysoude drink the potion, stained-glass panel by Morris, Marshall, Faulkner & Co., design by Rossetti (1862–63)

Death of A Wombat.jpg|Death of a Wombat (1869), depicting Top

Dante Gabriel Rossetti - The M's at Ems.jpg|William Morris reading to Jane Morris while she takes the waters at Bad Ems (1869)

Mrs. Morris and the Wombat.png|Mrs. Morris and the Wombat (1869)

• The Early Italian Poets (a translation), 1861; republished as Dante and His Circle, 1874
• {{Cite book |last=Rossetti |first=Dante Gabriel |title=Poems |publisher=F. S. Ellis |year=1870 |edition=1st |location=London}} Details and [http://www.rossettiarchive.org/docs/1-1870.1stedn.radheader.html facsimile online] at [http://www.rossettiarchive.org/ Rossetti Archive].
• Poems revised and reissued as Poems. A New Edition, 1881
• Ballads and Sonnets, 1881
• The Collected Works of Dante Gabriel Rossetti, 2 volumes, 1886 (posthumous)
• Ballads and Narrative Poems, 1893 (posthumous)
• Sonnets and Lyrical Poems, 1894 (posthumous)
• The Works of Dante Gabriel Rossetti, 1911 (posthumous){{cite web|title=Rossetti Archive Books|url=http://www.rossettiarchive.org/racs/books.rac.html|access-date=15 June 2014}}
• Poems and Translations 1850–1870, Together with the Prose Story 'Hand and Soul', Oxford University Press, 1913

"Rossetti divided his attention between painting and poetry for the rest of his life" - Poetry Foundation

{{Div col}}

• Aspecta Medusa (1865 October – 1868)
• Astarte Syriaca (for a Picture; 1877 January–February; 1875–1877)
• Beatrice, her Damozels, and Love (1865?)
• Beauty and the Bird (1855; 1858 June 25)
• The Blessed Damozel (1847–1870; 1871–1881)
• Bocca Baciata (1859–1860)
• Body's Beauty (1864–1869; 1866)
• The Bride's Prelude [1848–1870 (circa)]
• Cassandra (for a drawing; September 1869; 1860–1861, 1867, 1869)
• Dante's Dream on the Day of the Death of Beatrice: 9 June 1290 (1875 [?], 1856)
• Dante Alighieri. "Sestina. Of the Lady Pietra degli Scrovigni." (1848 [?], 1861, 1874)
• Dante at Verona [1848–1850; 1852 (circa)]
• The Day-Dream (for a picture; 1878–1880, 1880 September)
• Death of A Wombat (6 November 1869)
• Eden Bower [1863–1864 (circa) or 1869 (circa)]
• Fazio's Mistress (1863; 1873)
• Fiammetta [for a picture; 1878 (circa) 1878]
• "Found" (for a picture; 1854; 1881 February)
• Francesca Da Rimini. Dante (1855; 1862 September)
• Guido Cavalcanti. "Ballata. He reveals, in a Dialogue, his increasing love for Mandetta." (1861)
• Hand and Soul (1849)
• Hero's Lamp (1875)
• Introductory Sonnet ("A Sonnet is a moment's monument"; 1880)
• Joan of Arc [1879 (unfinished), 1863, 1882]
• La Bella Mano (for a picture; 1875)
• La Pia. Dante (1868–1880)
• Lisa ed Elviro (1843)
• Love's Greeting (1850, 1861, 1864)
• Mary's Girlhood [for a picture; 1848 (sonnet I), 1849 (sonnet II)]
• Mary Magdalene at the Door of Simon the Pharisee (for a drawing; 1853–1859; 1869)
• Michael Scott's Wooing (for a drawing; 1853, 1869–1871, 1875–1876)
• Mnemosyne (1880)
• Old and New Art [group of 3 poems; 1849 (text); 1857 (picture, circa)]
• On William Morris (1871 September)
• Pandora (for a picture; 1869; 1868–1871)
• Parody on "Uncle Ned" (1852)
• Parted Love! [1869 September – 1869 November (circa)]
• The Passover in the Holy Family (for a drawing; 1849–1856; 1869 September)
• Perlascura. Twelve Coins for One Queen (1878)
• The Portrait (1869)
• Proserpine (1872; 1871–1882)
• The Question (for a design; 1875, 1882)
• "Retro me, Sathana!" (1847, 1848)
• The Return of Tibullus to Delia (1853–1855, 1867)
• A Sea-Spell (for a Picture; 1870, 1877)
• The Seed of David (for a picture; 1864)
• Silence. For a Design (1870, 1877)
• Sister Helen [1851–1852; 1870 (circa)]
• Sorrentino (1843)
• Soul's Beauty (1866; 1864–1870)
• St. Agnes of Intercession (1850; 1860)
• Troy Town (1863–1864; 1869–1870)
• Venus Verticordia (for a picture; 1868 January 16; 1863–1869)
• William and Marie. A Ballad (1841){{cite web|title=Rossetti Archive Doubleworks|url=http://www.rossettiarchive.org/racs/doubleworks.rac.html|website=The Rossetti Archive|access-date=15 June 2014}}

{{Div col end}}

{{Portal|Poetry}}

• English art
• James Smetham
• List of paintings by Dante Gabriel Rossetti
• Rossetti and His Circle, 1922 book by Max Beerbohm

{{Reflist|30em}}

• Ash, Russell (1995), Dante Gabriel Rossetti. London: Pavilion Books {{ISBN|978-1-85793-412-0}}; New York: Abrams {{ISBN|978-1-85793-950-7}}.
• Boos, Florence S. The Poetry of Dante G. Rossetti. Mouton, 1973.
• Broussine, Sylvie; Christopher Newall (2021). 'Rossetti's Portraits', Pallas Athene, {{ISBN|978-1843682097}}.
• Doughty, Oswald (1949), A Victorian Romantic: Dante Gabriel Rossetti. London: Frederick Muller.
• Drew, Rodger (2006), The Stream's Secret: The Symbolism of Dante Gabriel Rossetti. Cambridge: The Lutterworth Press, {{ISBN|978-0-7188-3057-1}}.
• Fredeman, William E. (1971). Prelude to the Last Decade: Dante Gabriel Rossetti in the summer of 1872. Manchester [Eng.]: The John Rylands Library.
• Fredeman, William E. (ed.) (2002–08), The Correspondence of Dante Gabriel Rossetti. 7 vols. Cambridge: Brewer.
• Hilton, Timothy (1970). The Pre-Raphaelites. London: Thames and Hudson, New York: H. N. Abrams. {{ISBN|0810904241}}.
• Lucas, F. L. (2013), Dante Gabriel Rossetti - an anthology (poems and translations, with introduction). Cambridge University Press {{ISBN|9781107639799}} [http://www.cambridge.org/fr/academic/subjects/literature/english-literature-1830-1900/dante-gabriel-rossetti-anthology]
• Mancoff, Debra N. (2021). 'Dante Gabriel Rossetti: Portraits of Women (Victoria and Albert Museum)', Thames and Hudson Ltd, {{ISBN|978-0500480717}}
• Marsh, Jan (1999). Dante Gabriel Rossetti: Painter and Poet. London: Weidenfeld & Nicolson.
• Marsh, Jan (1996). The Pre-Raphaelites: Their Lives in Letters and Diaries. London: Collins & Brown.
• McGann, J. J. (2000). Dante Gabriel Rossetti and the Game that Must Be Lost. New Haven: Yale University Press.
• Parry, Linda (1996), ed., William Morris. New York: Abrams, {{ISBN|0-8109-4282-8}}.
• Pedrick, G. (1964). Life with Rossetti: or, No peacocks allowed. London:Macdonald. ISBN
• Roe, Dinah: The Rossettis in Wonderland. A Victorian Family History. London: Haus Publishing, 2011.
• [http://onlinebooks.library.upenn.edu/webbin/gutbook/lookup?num=3692 Rossetti, D. G. The House Of Life]
• Rossetti, D. G., & J. Marsh (2000). Collected Writings of Dante Gabriel Rossetti. Chicago: New Amsterdam Books.
• Rossetti, D. G., & W. W. Rossetti, ed. (1911), The Works of Dante Gabriel Rossetti. Ellis, London. ([http://www.rossettiarchive.org/docs/pr5240.f11.radheader.html full text])
• Sharp, Frank C., and Jan Marsh (2012), The Collected Letters of Jane Morris, Boydell & Brewer, London.
• Simons, J. (2008). Rossetti's Wombat: Pre-Raphaelites and Australian animals in Victorian London. London: Middlesex University Press.
• Treuherz, Julian, Prettejohn, Elizabeth, and Becker, Edwin (2003). Dante Gabriel Rossetti. London: Thames & Hudson, {{ISBN|0-500-09316-4}}.
• Todd, Pamela (2001). Pre-Raphaelites at Home. New York: Watson-Giptill Publications, {{ISBN|0-8230-4285-5}}.

{{sister project links|b=no|n=no|v=no|wikt=no|author=yes|commons=Category:Dante Gabriel Rossetti|d=Q186748}}

• {{cite web | url = http://www.rossettiarchive.org/index.html

| title = The Rossetti Archive, a hypermedia archive of the complete writings and pictures of Dante Gabriel Rossetti (and a lot of additional contextual information)

| url-status = live

| archive-url = https://web.archive.org/web/20210415110407/http://www.rossettiarchive.org/

| archive-date = 15 April 2021

}} Developed by Jerome McGann

• {{Gutenberg author | id=1268| name=Dante Gabriel Rossetti}}
• {{Internet Archive author |sname=Dante Gabriel Rossetti}}
• {{Librivox author |id=600}}
• Archival material at {{wikidata|qualifier|property|P485|Q24568958|P856|format=\[%q %p\]}}
• {{Art UK bio}}
• {{cite video | url = https://www.youtube.com/watch?v=2IhxPuek_Tc | title = Paintings of Rossetti }}
• {{cite web | url = http://www.preraphaelites.org/the-collection/artist-biography/dante-gabriel-rossetti/ | title = Birmingham Museums and Art Gallery's | website = preraphaelites.org.org | archive-url = https://web.archive.org/web/20090713200020/http://www.preraphaelites.org/the-collection/artist-biography/dante-gabriel-rossetti/ | archive-date = 13 July 2009 | url-status = live}}
• {{cite web | url = http://www.LizzieSiddal.com | archive-url = https://web.archive.org/web/20040325185140/http://www.lizziesiddal.com/ | url-status = dead | archive-date = 25 March 2004 | title = Website about Rossetti's wife, Elizabeth Siddal | access-date = 16 July 2019 }}
• Dante Gabriel Rossetti Collection. General Collection, Beinecke Rare Book and Manuscript Library.
• [http://www.eng-poetry.ru/english/Poet.php?PoetId=13 Poems by Dante Gabriel Rossetti at English Poetry]

{{Dante Gabriel Rossetti|state=expanded}}

{{Pre-Raphaelite Brotherhood}}

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