Found

Artist	Dante Gabriel Rossetti
Year	1854–55, 1859–81
Type	oil on canvas
Dimensions	91.4 cm × 80 cm (36.0 in × 31 in)
Location	Delaware Art Museum, Wilmington, Delaware

Found is an unfinished oil painting by Dante Gabriel Rossetti, now in the Delaware Art Museum. The painting is Rossetti's only treatment in oil of a contemporary moral subject, urban prostitution, and although the work remained incomplete at Rossetti's death in 1882, he always considered it one of his most important works, returning to it many times from the mid-1850s until the year before his death.^[1]

History[link]

Unlike the majority of Rossetti's work of the 1850s, which were small-scale drawings and watercolours characterised by medieval and early Renaissance revivalism, Found was Rossetti's only attempt at a contemporary subject, prostitution, that was done in oils.^[1][2]

The Gate of Memory, c. 1854

Rossetti had addressed the topic of prostitution as early as 1847 in letters to his friend William Bell Scott, who wrote the poem Rosabell in 1846 (later known as Maryanne) on the topic. In 1848 Rossetti wrote a sympathetic poem about a prostitute, Jenny. The Gate of Memory, a drawing Rossetti made c. 1854, shows a scene from Rosabell where a prostitute is beginning her evening of work, and views a group of innocent girls "still at play" dancing. The drawing may have been intended to illustrate the poem in a book, but was painted as a larger watercolour in 1857, which was repainted in 1864.^[3]

The artist Alexander Munro's maid Ellen Frazer may have posed for an early head-study for the fallen country girl of Found ^[4], and an ink-and-wash study of the composition (now in the British Museum) is dated 1853. Rossetti began work on the painting in the autumn of 1854; this is probably the unfinished version now in Carlisle.^[1]

On September 30, 1853 Rossetti wrote to his mother and sister describing the type of wall, cart and calf that he wished for them to find as models so that he could begin the painting. The unfinished Carlisle version consists only of these three elements, plus the head of Fanny Cornforth, apparently added later. Ford Madox Brown noted in his diary Rossetti's difficulties in painting the calf in November, 1854, "he paints it in all like Albert Durer (sic) hair by hair & seems incapable of any breadth ... From want of habit I see nature bothers him—but it is sweetly drawn & felt."^[5]

The calf's role in the painting is two-fold. First, it explains why the farmer has come to the city. But more importantly, its situation as "an innocent animal trapped and on its way to be sold" parallels the woman's and raises questions on the woman's state of mind. "Is the prostitute rejecting salvation or is she accepting it; or is she repentant but unable to escape her fate, like the calf?"^[6]

In 1855, Rossetti described his work-in-progress in a letter to William Holman Hunt:

I can tell you, on my own side, of only one picture fairly begun—indeed, I may say, all things considered, rather advanced; but it is only a small one. The subject had been sometime designed before you left England and will be thought, by any one who sees it when (and if) finished, to follow in the wake of your "Awakened Conscience," but not by yourself, as you know I had long had in view subjects taking the same direction as my present one. The picture represents a London street at dawn, with the lamps still lighted along a bridge which forms the distant background. A drover has left his cart standing in the middle of the road (in which, i. e. the cart, stands baa-ing a calf tied on its way to market), and has run a little way after a girl who has passed him, wandering in the streets. He has just come up with her and she, recognising him, has sunk under her shame upon her knees, against the wall of a raised churchyard in the foreground, while he stands holding her hands as he seized them, half in bewilderment and half guarding her from doing herself a hurt. These are the chief things in the picture which is to be called "Found," and for which my sister Maria has found me a most lovely motto from Jeremiah ... The calf, a white one, will be a beautiful and suggestive part of the thing, though I am far from having painted him as well as I hoped to do.^[7]

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

The motto from Jeremiah 2:2 reads "I remember Thee; the kindness of thy youth, the love of thy betrothal." and appears on two early compositional studies. Rossetti replaced the word "espousal" in the motto as he found it with "betrothal", which he felt better translated the sense of the original Hebrew.^[1][7]

In 1858, Rossetti met Fanny Cornforth, who soon became his mistress. She later described how he invited her to his studio and "put my head against the wall and drew it for the head of the calf picture".^[8] He made several pen and ink drawings about this time of the heads of both the male and female subjects.^[9] A version in oils was commissioned in 1859 by James Leathart, and this version, with the face of Fanny Cornforth, is the painting now in the Delaware Art Museum. Rossetti struggled with Found, abandoning and returning to it intermittently until at least 1881, and leaving it unfinished at his death. His assistants Henry Treffry Dunn and Frederic Shields both helped with the painting, and Dunn and Edward Burne-Jones may have worked on it after Rossetti's death.^[1][4]

Rossetti published a poem, also titled Found, as a companion to the painting in 1881 in the volume Ballads and Sonnets.

Studies[link]

Study for Found, dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

A number of studies for Found have survived. The earliest may be the black and brown ink sketch now in the British Museum, which is signed and dated 1853. The Birmingham Museum and Art Gallery has an compositional sketch in pen and black ink dated to 1854–55^[10] as well as a pen and ink drawing of the head of the girl modeled by Fanny Cornforth.^[11]

Ownership and exhibitions[link]

The painting was first commissioned by Francis McCracken but the commission was dropped because of lack of progress on the painting. Next James Leathart, then William Graham commissioned the work. Graham only took possession of the unfinished work after Rossetti's death. Graham's estate sold the work in 1886, presumably to Frederick Richards Leyland and it was sold again at Leyland's estate sale, held at Christie's on May 28, 1892.^[12]

Samuel Bancroft, a textile mill owner from Wilmington, Delaware, bought the painting at the estate sale. He bought at least four other Rossetti paintings at the same time and later accumulated one of the largest collections of Pre-Raphaelite art outside of the United Kingdom. Found is considered the most important picture in Bancroft's extensive collection and was prominently displayed above Bancroft's desk in his home.^[13] The Bancroft estate donated the collection in 1935 to the Delaware Art Museum in Wilmington.^[14]

The painting was exhibited in London in 1883, at Rossetti's memorial exhibition, and again in 1892. Following the 1883 exhibition at the Royal Academy, Lewis Carroll noted that the farmer's face showed a combination "of pain and pity, condemnation and love, which is one of the most marvellous things I have ever seen done in painting."^[15]

While Bancroft's house in Wilmington was being expanded to hold his new paintings in 1892, Found was exhibited in nearby Philadelphia at the Pennsylvania Academy of the Fine Arts and in New York at the Century Club.^[16] It has also been exhibited in London and Birmingham (1973), New Haven (1976), Richmond, Virginia (1982), and in London, Liverpool and Amsterdam (2003).^[17]

Notes[link]

References[link]

• Hunt, William Holman (1914). Pre-Raphaelitism and the Pre-Raphaelite Brotherhood. 2. Macmillan. http://books.google.com/books?id=wMlLAQAAIAAJ. 
• Marsh, Jan (1994). Pre-Raphaelite women : images of femininity in Pre-Raphaelite art. London: Artus Books. ISBN 1-898799-33-4. 
• Treuherz, Julian; Prettejohn, Elizabeth; Becker, Edwin (2003). Dante Gabriel Rossetti. London New York, N.Y: Thames & Hudson. ISBN 0-500-09316-4. 
• Wildman, Stephen; Laurel Bradley, Deborah Cherry, John Christian, David B. Elliott, Betty Elzea, Margaretta Fredrick, Caroline Hannah, Jan Marsh, Gayle Seymour (2004). Waking Dreams, the Art of the Pre-Raphaelites from the Delaware Art Museum. Art Services International. 

See also[link]

Fallen woman

External links[link]

• Rossetti Archive Found

Found may refer to:

• Found (Rossetti), an unfinished oil painting by Dante Gabriel Rossetti
• Found (band), an experimental pop band from Edinburgh, Scotland
• Found (novel), a young adult science fiction novel by Margaret Peterson Haddix
• "Found", an episode of NCIS: Los Angeles (season 1)
• Found Aircraft, an aircraft manufacturer based in Ontario, Canada

See also[link]

• Founding (disambiguation)
• Foundation (disambiguation)
• Find (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Dante Gabriel Rossetti
Portrait of Dante Gabriel Rossetti c. 1871, by George Frederic Watts
Born	(1828-05-12)12 May 1828 London, England
Died	9 April 1882(1882-04-09) (aged 53) Birchington-on-Sea, Kent, England
Occupation	Poet, Illustrator, Painter
Signature

Dante Gabriel Rossetti (12 May 1828 – 9 April 1882) was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais, and was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement.

Rossetti's art was characterised by its sensuality and its medieval revivalism. His early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence The House of Life. Poetry and image are closely entwined in Rossetti's work; he frequently wrote sonnets to accompany his pictures, spanning from The Girlhood of Mary Virgin (1849) and Astarte Syriaca (1877), while also creating art to illustrate poems such as Goblin Market by Christina Rossetti, his sister and celebrated poet.

Rossetti's personal life was closely linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth, and Jane Morris.

Early life[link]

Self-portrait, 1847

The son of émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Polidori, Rossetti was born in London, England and originally named Gabriel Charles Dante Rossetti. 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, the critic William Michael Rossetti, and author Maria Francesca Rossetti.^[1]

The young Rossetti is described as "self-possessed, articulate, passionate and charismatic"^[2] but also "ardent, poetic and feckless".^[3] Like all his siblings, he aspired to be a poet and attended King's College School, in its original location near the Strand. However, he also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass's Drawing Academy from 1841 to 1845 when he enrolled at the Antique School of the Royal Academy, leaving in 1848. After leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he was to retain a close relationship throughout his life.^[1]

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 the then still little-known John Keats. Rossetti's own poem "The Blessed Damozel" was an imitation of Keats, so he believed that 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.^[4][5] The eminent critic John Ruskin later wrote:

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.^[6]

For the first issue of the Brotherhood's magazine, The Germ, published early in 1850, Rossetti contribute his 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.^[7] 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.

Career[link]

Beginnings[link]

The Girlhood of Mary Virgin (1849). (Models: the artist's mother for St. Anne and his sister Christina for the Virgin).^[8]

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) both portray Mary as a teenage girl. William Bell Scott saw Girlhood in progress in Hunt's studio and remarked on young Rossetti's technique :

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 shut me up for the moment, and whetted my curiosity.^[9]

Stung by criticism of his second major painting, Ecce Ancilla Domini, exhibited in 1850, and the "increasingly hysterical critical reaction that greeted Pre-Raphaelitism"^[4] in 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.^[4]

Dante and Medievalism[link]

Original manuscript of "Autumn Song" by Rossetti, 1848, in the Ashley Library.

In 1850, Rossetti met Elizabeth Siddal, an important early model for the Pre-Raphaelite painters. Over the next decade, she became his muse, his pupil, and his passion. They were finally married in 1860.^[10]

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,^[2]

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 his own 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 as well as illustrations for works by his sister Christina Rossetti.^[11]

His visions of Arthurian romance and medieval design also inspired William Morris and Edward Burne-Jones.^[12] Neither Burne-Jones nor Morris knew Rossetti personally, but both 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 their ideas about art and poetry.^[13][14]

In February 1857, Rossetti wrote to William Bell Scott:

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.^[13]

That summer Morris and Rossetti visited Oxford and finding the new 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,^[15] 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.^[16]

A new direction[link]

Bocca Baciata (1859) signalled a new direction on Rossetti's work. (Model: Fanny Cornforth)

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 were to be a major influence on the development of the European Symbolist movement.^[17] In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst 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."^[17] These new works were based not on medievalism, but on the Italian High Renaissance artists of Venice, Titian and Veronese.^[17][18]

In 1861, Rossetti became a founding partner in the decorative arts firm of Morris, Marshall, Faulkner & Co. with Morris, Burne-Jones, Ford Madox Brown, Philip Webb, Charles Faulkner and Peter Paul Marshall.^[14] Rossetti contributed designs for stained glass and other decorative objects.

Rossetti's wife Elizabeth Siddal died of an overdose of laudanum in 1862, shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and upon the death of his beloved Lizzie, buried the bulk of his unpublished poems with her at Highgate Cemetery, though he would later have them dug back up. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix.^[19]

Cheyne Walk years[link]

Rossetti reading proofs of Ballads and Sonnets at 16 Cheyne Walk, by Henry Treffry Dunn (1882)

After the death of his wife in 1862, Rossetti leased Tudor House at number 16 Cheyne Walk, in Chelsea where he lived for the next twenty years surrounded by extravagant furnishings and a parade of exotic birds and animals.^[20] Rossetti was fascinated with wombats, frequently asking friends to meet him at the "Wombat's Lair" at the London Zoo in Regent's Park, and spending hours there himself. Finally, in September 1869, he was to acquire the first of two pet wombats. This short-lived wombat, named "Top," was often brought to the dinner table and allowed to sleep in the large centrepiece during meals. This fascination with exotic animals continued throughout Rossetti's life, finally culminating in the purchase of a llama and a toucan which Rossetti would dress in a cowboy hat and persuade to ride the llama round the dining table for his amusement.^[21]

Rossetti maintained Fanny Cornforth (described delicately by William Allington as Rossetti's "housekeeper")^[22] in her own establishment nearby in Chelsea, and painted many voluptuous images of her between 1863 and 1865.^[23]

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 The Blessed Damozel and other paintings of the period.^[24] In fact she sat for more of his finished works than any other of his models, but comparatively little is known about her due to the lack of any similar romantic connection with Rossetti. He first 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 as planned. He spotted her again weeks later, jumped from the cab he was in and persuaded her to be led straight back to his studio. He paid her a weekly fee to sit for him exclusively, afraid that other artists might also employ her.^[25] The two shared a lasting bond; after Rossetti's death Wilding was said to have travelled regularly to place a wreath on his grave.^[26]

Jane Morris, whom Rossetti had found 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, and she soon "consumed and obsessed him in paint, poetry, and life".^[24] In 1869, Morris and Rossetti rented a country house, Kelmscott Manor at Kelmscott, Oxfordshire, as a summer home, but it soon became a retreat for Rossetti and Jane Morris to have a long-lasting and complicated liaison. The two spent summers there, with the Morris children, while Morris himself travelled to Iceland in 1871 and 1873.^[27]

During these years, Rossetti was prevailed upon by friends, in particular Charles Augustus Howell, to exhume his poems from his wife's grave. This he did, collating and publishing them in 1870 in the volume Poems by D. G. Rossetti. They created a controversy when they were attacked as the epitome of the "fleshly school of poetry". The eroticism and sensuality of the poems caused offence. One poem, "Nuptial Sleep", described a couple falling asleep after sex. This 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 to reflect upon 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. This was Rossetti's most substantial literary achievement. In 1881, Rossetti published a second volume of poems, Ballads and Sonnets, which included the remaining sonnets from The House of Life sequence.

Decline and death[link]

Alexa Wilding (1879)

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 at Kelmscott that September, he "spent his days in a haze of chloral and whisky".^[28] The next summer he was much improved, and both Alexa Wilding and Jane Morris sat to him at Kelmscott, where he created a soulful series of dream-like portraits.^[28] 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, where he had gone in yet another vain attempt to recover his health, which had been destroyed by chloral as his wife's had been destroyed by laudanum. He died of 'Brights Disease', a disease of the kidneys of which he had been suffering for some time. He is buried at Birchington-on-Sea, Kent, England. His grave is visited regularly by admirers of his life's work and achievements and this can be seen by fresh flowers placed there regularly.

Collections and critical assessment[link]

Albumen print of Dante Gabriel Rossetti by Charles Lutwidge Dodgson (Lewis Carroll) (1863)

Tate Britain, Birmingham, Manchester and Salford Museum and Art Galleries all contain large collections of Rossetti's work; the latter 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.^[29] Lowry's private collection of works was chiefly built around Rossetti's paintings and sketches of Lizzie 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."^[30] 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."^[31]

The popularity, frequent reproduction, and general availability of Rossetti's later paintings of women have led to this association with "a morbid and langourous sensuality".^[32] 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.^[33] 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.^[34]

Media[link]

Rossetti was played by Oliver Reed in Ken Russell's film Dante's Inferno (1967). The Pre-Raphaelite Brotherhood as a whole have been the subjects of two BBC period dramas. The first, The Love School, was shown in 1975, starring Ben Kingsley as Rossetti. The second was Desperate Romantics, in which Rossetti is played by Aidan Turner. It was first broadcast on BBC 2 Tuesday, 21 July 2009.^[35]

Selected works[link]

Paintings[link]

• 

  Ecce Ancilla Domini (1850), Tate Britain, London

• 

  The Tune of the Seven Towers (1857), watercolour, Tate Britain

• 

  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

• 

  Found (1865–1869, unfinished), Delaware Art Museum

• 

  The Blessed Damozel (model: Alexa Wilding)

• 

  Lady Lilith (1867), Metropolitan Museum of Art (model: Fanny Cornforth).

• 

  Lady Lilith (1868), Delaware Art Museum (Fanny Cornforth, overpainted at Kelsmcott 1872–73 with the face of Alexa Wilding).^[36]

• 

  Beata Beatrix (1864–1870), Tate Britain (model: Elizabeth Siddal)

• 

  Jane Morris (The Blue Silk Dress) (1868), oil on canvas, Kelmscott Manor

• 

  Pia de' Tolomei (1868–1880), Spencer Museum of Art, University of Kansas, Lawrence (model: Jane Morris)

• 

  Proserpine (1874) (model: Jane Morris)

• 

  A Vision of Fiammetta (1878), one of Rossetti's last paintings, now in the collection of Andrew Lloyd Webber (model: Marie Spartali Stillman)

Drawings[link]

• 

  La Belle Dame sans Merci (1848), pen and sepia with some pencil

• 

  Drawing of Elizabeth Siddal reading (1854)

• 

  Hamlet and Ophelia (1858), pen and ink drawing

• 

  Drawing of Annie Miller (1860)

• 

  Portrait of Marie Spartali Stillman (1869)

• 

  Drawing of Fanny Cornforth, graphite on paper (1869)

• 

  The Roseleaf (Portrait of Jane Morris) (1870), graphite on wove paper

Woodcut illustrations[link]

• 

  The Maids of Elphen-Mere, Rossetti's first published woodcut illustration (1855)

• 

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

• 

  Golden Head by Golden Head, illustration for Christina Rossetti's Goblin Market and Other Poems (1862)

Decorative arts[link]

• 

  Sir Tristram and la Belle Ysoude drink the potion, stained glass panel by Morris, Marshall, Faulkner & Co., design by Rossetti (1862–63)

Caricatures and sketches[link]

• 

  Death of a Wombat (1869)

• 

  William Morris reading to Jane Morris while she takes the waters at Bad Ems (1869)

• 

  Mrs. Morris and the Wombat (1869)

See also[link]

Poetry portal

• English art
• List of paintings by Dante Gabriel Rossetti
• Rossetti and His Circle by Max Beerbohm
• Rossetti-Polidori family tree
• James Smetham

References[link]

Bibliography[link]

• Ash, Russell. (1995) Dante Gabriel Rossetti. London: Pavilion Books ISBN 978-1-85793-412-0; New York: Abrams ISBN 978-1-85793-950-7.
• Doughty, Oswald (1949) A Victorian Romantic: Dante Gabriel Rossetti London: Frederick Muller
• 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.) (2002–8) The correspondence of Dante Gabriel Rossetti. 7 Vols. Brewer, Cambridge.
• Hilto, Timoth (1970). The Pre-Raphelites. London: Thames and Hudson, New York: Abrams.
• 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.
• Dinah Roe: The Rossettis in Wonderland. A Victorian Family History. Haus Publishing, London 2011, ISBN 978-1-907822-01-8.
• Rohde, Shelley, (2000) L.S. Lowry: A Biography; Lowry Press, Salford Quays
• Rossetti, D. G. The House Of Life
• Rossetti, D. G., & Marsh, J. (2000). Collected writings of Dante Gabriel Rossetti. Chicago: New Amsterdam Books.
• 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.

External links[link]

Wikiquote has a collection of quotations related to: Dante Gabriel Rossetti

Wikimedia Commons has media related to: Dante Gabriel Rossetti

Wikisource has original works written by or about: Dante Gabriel Rossetti

• The Rossetti Archive
• Birmingham Museums and Art Gallery's Pre-Raphaelite Online Resource
• Website about Rossetti's wife, Elizabeth Siddal

Christina Rossetti
Born	(1830-12-05)5 December 1830 London, England
Died	29 December 1894(1894-12-29) (aged 64) London, England
Pen name	Ellen Alleyne
Occupation	Poet
Language	English
Citizenship	British
Literary movement	Pre-Raphaelite
Relative(s)	Dante Gabriel Rossetti (brother) Maria Francesca Rossetti (sister) William Michael Rossetti (brother)

Christina Georgina Rossetti (5 December 1830 – 29 December 1894) was an English poet who wrote a variety of romantic, devotional, and children's poems. She is perhaps best known for her long poem Goblin Market, her love poem Remember, and for the words of the Christmas carol In the Bleak Midwinter.

Early life and education[link]

Christina Rossetti was born at 38 Charlotte Street (now 105 Hallam Street), London to Gabriele Rossetti, a poet and a political exile from Vasto, Abruzzo, and Frances Polidori, the sister of Lord Byron's friend and physician, John William Polidori.^[1] She had two brothers and a sister: Dante became an influential artist and poet, and William and Maria both became writers.^[1] Christina, the youngest, was a lively child. She dictated her first story to her mother before she had learned to write.^[2]

Rossetti was educated at home by her mother, who had her study religious works, classics, fairy tales and novels. Rossetti delighted in the works of Keats, Scott, Ann Radcliffe and Monk Lewis.^[3] The influence of the work of Dante Alighieri, Petrarch and other Italian writers filled the home and would have a deep impact on Rossetti's later writing. Their home was open to visiting Italian scholars, artists and revolutionaries.^[4] The family homes in Bloomsbury at 38 and later 50 Charlotte Street were within easy reach of Madam Tussauds, London Zoo and the newly opened Regent's Park, which she visited regularly; in contrast to her parents, Rossetti was very much a London child, and, it seems, a happy one.^{[3] [4]}

Portrait of Christina Rossetti, by her brother Dante Gabriel Rossetti

In the 1840s, her family faced severe financial difficulties due to the deterioration of her father's physical and mental health. In 1843, he was diagnosed with persistent bronchitis, possibly tuberculosis, and faced losing his sight. He gave up his teaching post at King's College and though he lived another 11 years, he suffered from depression and was never physically well again. Rossetti's mother began teaching in order to keep the family out of poverty and Maria became a live-in governess, a prospect that Christina Rossetti dreaded. At this time her brother William was working for the Excise Office and Gabriel was at art school, leading Christina's life at home to become one of increasing isolation.^[5] When she was 14, Rossetti suffered a nervous breakdown and left school. Bouts of depression and related illness followed. During this period she, her mother, and her sister became deeply interested in the Anglo-Catholic movement that developed in the Church of England. Religious devotion came to play a major role in Rossetti's life.

In her late teens, Rossetti became engaged to the painter James Collinson, the first of three suitors. He was, like her brothers Dante and William, one of the founding members of the avant-garde artistic group, the Pre-Raphaelite Brotherhood (founded 1848).^[6] The engagement was broken in 1850 when he reverted to Catholicism. Later she became involved with the linguist Charles Cayley, but declined to marry him, also for religious reasons.^[6] The third offer came from the painter John Brett, whom she also refused.^[4]

Rossetti sat for several of Dante Rossetti's most famous paintings. In 1848, she was the model for the Virgin Mary in his first completed oil painting, The Girlhood of Mary Virgin, which was the first work to be inscribed with the initials 'PRB', later revealed to signify the Pre-Raphaelite Brotherhood.^[7] The following year she modelled again for his depiction of the Annunciation, Ecce Ancilla Domini. In 1849 she became seriously ill again, suffering from depression and sometime around 1857 had a major religious crisis.^[4]

Career[link]

Illustration for the cover of Christina Rossetti's Goblin Market and Other Poems (1862), by her brother Dante Gabriel Rossetti

Rossetti began writing down and dating her poems from 1842, mostly imitating her favoured poets. From 1847 she began experimenting with verse forms such as sonnets, hymns and ballads, drawing narratives from the bible, folk tales and the lives of the saints. Her early pieces often feature meditations on death and loss, in the Romantic tradition.^[3] She published her first two poems ("Death's Chill Between" and "Heart's Chill Between"), which appeared in the Athenaeum, in 1848 when she was 18.^[8][9] Under the pen-name "Ellen Alleyne", she contributed to the literary magazine, The Germ, published by the Pre-Raphaelites from January - April 1850 and edited by her brother William.^[1] This marked the beginning of her public career.^[10]

Her most famous collection, Goblin Market and Other Poems, appeared in 1862, when she was 31. It received widespread critical praise, establishing her as the main female poet of the time. Hopkins, Swinburne and Tennyson lauded her work.^[1][10] and with the death of Elizabeth Barrett Browning in 1861 Rossetti was hailed as her natural successor.^[10]The title poem is one of Rossetti's best known works. Although it is ostensibly about two sisters' misadventures with goblins, critics have interpreted the piece in a variety of ways: seeing it as an allegory about temptation and salvation; a commentary on Victorian gender roles and female agency; and a work about erotic desire and social redemption. Rossetti was a volunteer worker from 1859 to 1870 at the St. Mary Magdalene "house of charity" in Highgate, a refuge for former prostitutes and it is suggested Goblin Market may have been inspired by the "fallen women" she came to know.^[11] There are parallels with Coleridge's The Rime of the Ancient Mariner given both poems' religious themes of temptation, sin and redemption by vicarious suffering.^[12] She was ambivalent about women's suffrage, but many scholars have identified feminist themes in her poetry.^[13] She was opposed to slavery (in the American South), cruelty to animals (in the prevalent practice of animal experimentation), and the exploitation of girls in under-age prostitution.^[14]

        Sing no sad songs for me;

        Nor shady cypress tree:

        With showers and dewdrops wet;

        And if thou wilt, forget.

        I shall not feel the rain;

        Sing on, as if in pain:

        That doth not rise nor set,

        And haply may forget.

Rossetti maintained a very large circle of friends and correspondents and continued to write and publish for the rest of her life, primarily focusing on devotional writing and children's poetry. In 1892, Rossetti wrote The Face of the Deep, a book of devotional prose, and oversaw the production of a new and enlarged edition of Sing-Song, published in 1893.^[16]

In the later decades of her life, Rossetti suffered from Graves Disease, diagnosed in 1872 suffering a nearly fatal attack in the early 1870s.^[1][4]In 1893, she developed breast cancer and though the tumour was removed, she suffered a recurrence in September 1894. She died on 29 December 1894 and was buried in Highgate Cemetery.^[16]

Recognition[link]

Although Rossetti's popularity during her lifetime did not approach that of Elizabeth Barrett Browning, her standing remained strong after her death. In the early 20th century Rossetti's popularity faded in the wake of Modernism. Scholars began to explore Freudian themes in her work, such as religious and sexual repression, reaching for personal, biographical interpretations of her poetry.^[4] In the 1970s academics began to critique her work again, looking beyond the lyrical Romantic sweetness to her mastery of prosody and versification. Feminists held her as symbol of constrained female genius, placed as a leader of 19th century poets.^[1][4] Her work strongly influenced the work of such writers as Ford Madox Ford, Virginia Woolf, Gerard Manley Hopkins, Elizabeth Jennings, and Philip Larkin. Critic Basil de Selincourt stated that she was "all but our greatest woman poet … incomparably our greatest craftswoman … probably in the first twelve of the masters of English verse".^{[4] [17]}

Rossetti's Christmas poem "In the Bleak Midwinter" became widely known after her death when set as a Christmas carol first by Gustav Holst, and then by Harold Darke.^[18] Her poem "Love Came Down at Christmas" (1885) has also been widely arranged as a carol.^[19] Rossetti is honoured with a feast day on the liturgical calendar of the Episcopal Church (USA) on April 27.

Publications[link]

Poetry collections[link]

• Verses. London: private, 1847.^[20]
• Goblin Market and Other Poems. London: Macmillan, 1862.^[20]
  • 1876 Author's revised edition
• The Prince's Progress and Other Poems. London: Macmillan, 1866.^[20]
  • Goblin Market, The Prince's Progress, and other poems. London: Maacmillan, 1879.
• Sing-Song: a Nursery Rhyme Book (1872, 1893)^[21]
• Speaking Likenesses. London: Macmillan, 1874.^[20]
• A Pageant and Other Poems (1881)
• Verses. London: Society for Promoting Christian Knowledge, 1893.,^[20])
• New Poems London: Macmillan, 1896.^[20]
• The Rossetti Birthday Book. London: private, 1896.^[20]
• The Poetical Works of Christina Georgina Rossetti. Edited by William Michael Rossetti. London: Macmillan, 1904.
• The Complete Poems of Christina Rossetti. Edited by Rebecca W Crump. 2 vols. to date. Baton Rouge: Louisiana State University Press, 1979-85.

Fiction[link]

• Commonplace and Other Stories. London: Ellis, 1870.^[20]
• Maude: A Story for Girls. London: Bowden, 1897.^[20]

Non-fiction[link]

• Called to Be Saints. London: Society for Promoting Christian Knowledge, 1881.
• "Dante, an English Classic." Churchman's Shilling Magazine and Family Treasury 2 (1867): 200-205.
• "Dante. The Poet Illustrated out of the Poem." The Century (February 1884): 566-73.
• The Face of the Deep. London: Society for Promoting Christian Knowledge, 1893.
• Seek and Find: A Double Series of Short Studies of the Benedicte. London: Society for Promoting Christian Knowledge, 1879.
• Time Flies: A Reading Diary. London: Society for Promoting Christian Knowledge, 1885.

See also[link]

• Rossetti-Polidori family tree

Sources[link]

• Kathleen Jones. Christina Rossetti: Learning Not To First.
• Clifford, David and Roussillon, Laurence. Outsiders Looking In: The Rossettis Then and Now. London: Anthem, 2004.
• Jones, Kathleen. Learning Not to be First: A Biography of Christina Rossetti. Oxford: Oxford University Press, 1991.
• Marsh, Jan. Introduction. Poems and Prose. By Christina Rossetti. London: Everyman, 1994. xvii – xxxiii.
• Marsh, Jan. Christina Rossetti: A Writer's Life. New York: Viking, 1994.
• Maura Ives, Christina Rossetti A Descriptive Bibliography (2012?)

References[link]

	Poetry portal
	Biography portal

	England portal
	London portal

External links[link]

Wikiquote has a collection of quotations related to: Christina Rossetti

Wikisource has original works written by or about: Christina Georgina Rossetti

Wikimedia Commons has media related to: Christina Rossetti

• Works by Christina Rossetti at Project Gutenberg
• Poems and poetry at the Poetry Foundation
• Profile at Poets.org
• Portraits at the National Portrait Gallery, London
• Christina Rossetti on The Victorian Web
• A Guide to the Christina Georgina Rossetti Collection. Archive at the Bryn Mawr College Library
• Archival material relating to Christina Rossetti listed at the UK National Register of Archives
• "Christina Rossetti", In our time, BBC Radio 4 (audio, 45 minutes)
• Free scores by Christina Rossetti in the Choral Public Domain Library (ChoralWiki)
• The British Library - Christina Rossetti read by Nancy Carroll and Joanna David Hear audio recordings of Rossetti's poetry with accompanying biography and discussion

John William Waterhouse
Waterhouse, circa 1886.
Born	(1849-04-06)6 April 1849 Rome, Papal States
Died	10 February 1917(1917-02-10) (aged 67) London, United Kingdom
Nationality	British
Field	Painter
Training	Royal Academy
Movement	Pre-Raphaelite
Works	Hylas and the Nymphs The Lady of Shalott Ophelia
Influenced by	Lawrence Alma-Tadema Frederic Leighton

John William Waterhouse (born 6 April 1849; died 10 February 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading him to have gained the moniker of "the modern Pre-Raphaelite".^[1] Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists,^[1] his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before.

Although not as well known as earlier Pre-Raphaelite artists such as Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, Waterhouse's work is currently displayed at several major British art galleries, and the Royal Academy of Art organised a major retrospective of his work in 2009.

Biography[link]

Early life[link]

Waterhouse was born in the city of Rome to the British painters William and Isabella Waterhouse in 1849, in the same year that the members of the Pre-Raphaelite Brotherhood, including Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, were first causing a stir in the London art scene.^[2] The exact date of his birth is unknown, though he was baptised on 6 April, and the later scholar of Waterhouse's work, Peter Trippi, believed that he was born between 1 and 23 January.^[3] His early life in Italy has been cited as one of the reasons why many of his later paintings were set in ancient Rome or based upon scenes taken from Roman mythology.

Waterhouse working on Lamia, circa 1908-09.

In 1854, the Waterhouses returned to England and moved to a newly built house in South Kensington, London, which was near to the newly founded Victoria and Albert Museum. Waterhouse, or 'Nino' as he was nicknamed, coming from an artistic family, was encouraged to get involved in drawing, and often sketched artworks that he found in the British Museum and the National Gallery.^[4] In 1871 he entered the Royal Academy of Art school, initially to study sculpture, before moving on to painting.

Early career[link]

Waterhouse's early works were not Pre-Raphaelite in nature, but were of classical themes in the spirit of Alma-Tadema and Frederic Leighton. These early works were exhibited at the Dudley Gallery, and the Society of British Artists, and in 1874 his painting Sleep and His Half Brother Death was exhibited at the Royal Academy summer exhibition.^[5] The painting was a success and Waterhouse would exhibit at the annual exhibition every year until 1916, with the exception of 1890 and 1915. He then went from strength to strength in the London art scene, with his 1876 piece After the Dance being given the prime position in that year's summer exhibition. Perhaps due to his success, his paintings typically became larger and larger in size.^[5]

Later career[link]

In 1883 he married Esther Kenworthy, the daughter of an art schoolmaster from Ealing who had exhibited her own flower-paintings at the Royal Academy and elsewhere. They did not have any children. In 1895 Waterhouse was elected to the status of full Academician. He taught at the St. John's Wood Art School, joined the St John's Wood Arts Club, and served on the Royal Academy Council.

Sleep and his Half-brother Death, 1874

One of Waterhouse's most famous paintings is The Lady of Shalott, a study of Elaine of Astolat, who dies of grief when Lancelot will not love her. He actually painted three different versions of this character, in 1888, 1894, and 1916. Another of Waterhouse's favorite subjects was Ophelia; the most famous of his paintings of Ophelia depicts her just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake. Like The Lady of Shalott and other Waterhouse paintings, it deals with a woman dying in or near water. He also may have been inspired by paintings of Ophelia by Dante Gabriel Rossetti and Millais. He submitted his Ophelia painting of 1888 in order to receive his diploma from the Royal Academy. (He had originally wanted to submit a painting titled "A Mermaid", but it was not completed in time.) After this, the painting was lost until the 20th century, and is now displayed in the collection of Lord Lloyd-Webber. Waterhouse would paint Ophelia again in 1894 and 1909 or 1910, and planned another painting in the series, called "Ophelia in the Churchyard".

Waterhouse could not finish the series of Ophelia paintings because he was gravely ill with cancer by 1915. He died two years later, and his grave can be found at Kensal Green Cemetery in London.^[6]

Gallery[link]

In total he produced 118 paintings.

1870s[link]

• 

  Undine
  1872

• 

  Gone, But Not Forgotten
  1873

• 

  The Unwelcome Companion--A Street Scene in Cairo
  1873

• 

  La Fileuse
  1874

• 

  In the Peristyle
  1874

• 

  Miranda
  1875

• 

  A Sick Child brought into the Temple of Aesculapius
  1877

• 

  The Remorse of the Emperor Nero after the Murder of his Mother
  1878

1880s[link]

• 

  Dolce far Niente
  1880

• 

  Diogenes
  1882

• 

  The Favorites of the Emperor Honorius
  1883

• 

  Consulting the Oracle
  1884

• 

  Saint Eulalia
  1885

• 

  Magic Circle
  1886

• 

  The Lady of Shalott
  1888

• 

  Cleopatra
  1888

• 

  Ophelia
  1889

1890s[link]

• 

  A Roman Offering
  1890

• 

  Circe Offering the Cup to Odysseus
  1891

• 

  Ulysses and the Sirens
  1891

• 

  Danaë
  1892

• 

  Circe Invidiosa
  1892

• 

  A Naiad or Hylas with a Nymph
  1893

• 

  La Belle Dame sans Merci
  1893

• 

  A Female Study
  1894

• 

  The Lady of Shalott Looking at Lancelot
  1894

• 

  Ophelia
  1894

• 

  The Shrine
  1895

• 

  Saint Cecilia
  1895

• 

  Pandora
  1896

• 

  Hylas and the Nymphs
  1896

• 

  Juliet
  1898

1900s[link]

• 

  The Siren
  circa 1900

• 

  Destiny
  1900

• 

  The Lady Clare
  1900

• 

  Nymphs Finding the Head of Orpheus
  1900

• 

  The Mermaid
  1901

• 

  The Crystal Ball
  1902

• 

  The Missal
  1902

• 

  Windflowers
  1902

• 

  Boreas
  1903

• 

  Echo and Narcissus
  1903

• 

  Psyche Opening the Golden Box
  1903

• 

  Psyche Opening the Door into Cupid's Garden
  1904

• 

  Lamia
  (version 1)
  1905

• 

  Jason and Medea
  1907

• 

  The Bouquet
  (a study)
  1908

• 

  Gather Ye Rosebuds or Ophelia (a study)
  circa 1908

• 

  Gather Ye Rosebuds While Ye May...
  1908

• 

  The Soul of the Rose or My Sweet Rose
  1908

• 

  Gather Ye Rosebuds While Ye May
  1909

• 

  Lamia
  (version 2)
  1909

• 

  Thisbe
  1909

1910s[link]

• 

  Ophelia
  1910

• 

  Spring Spreads One Green Lap of Flowers
  1910

• 

  The Charmer
  1911

• 

  Penelope and the Suitors
  1912

• 

  The Annunciation
  1914

• 

  Beatrice
  Circa 1915

• 

  Dante and Beatrice
  1915

• 

  I am half-sick of shadows, said the Lady of Shalott
  1916

• 

  A Tale from the Decameron
  1916

• 

  Miranda -- The Tempest
  1916

• 

  Tristan and Isolde
  1916

See also[link]

• List of paintings by John William Waterhouse

References[link]

• Benezit, E. (2006). Waterhouse, John William. In Dictionary of Artists (Vol 14, pp 668–669). Paris: Grund.
• Trippi, P. (2002). J.W.Waterhouse. New York, NY: Phaidon Press Limited.

Further reading[link]

• Moyle, Franny (13 June 2009), "Pre-Raphaelite art: the paintings that obsessed the Victorians [print version: Sex and death: The paintings that obsessed the Victorians]", The Daily Telegraph (Review): R2–R3, http://www.telegraph.co.uk/culture/art/art-features/5497198/Pre-Raphaelite-art-the-paintings-that-obsessed-the-Victorians.html .
• Simpson, Eileen (17 June 2009), "Pre-Raphaelites for a new generation: Letters, 17 June: Pre-Raphaelite revival", The Daily Telegraph, http://www.telegraph.co.uk/comment/letters/5552131/Pre-Raphaelites-for-a-new-generation.html .
• Dorment, Richard (29 June 2009), "Waterhouse: The modern Pre-Raphaelite, at the Royal Academy – review", The Daily Telegraph, http://www.telegraph.co.uk/culture/art/art-reviews/5688056/Waterhouse-the-modern-Pre-Raphaelite-at-the-Royal-Academy-review.html .

External links[link]

Wikimedia Commons has media related to: John William Waterhouse

• John William Waterhouse.net
• John William Waterhouse (The Art and Life of JW Waterhouse);
• John William Waterhouse (Comprehensive Painting Gallery)
• John William Waterhouse (1849-1917)
• John William Waterhouse Style and Technique
• Waterhouse at Tate Britain
• Echo and Narcissus (1903)
• Ten Dreams Galleries
• John William Waterhouse in the "History of Art"