Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti
In the gallery of Dante Gabriel Rossetti’s so-called “double works of art”, Proserpina has often been singled out as the artist’s masterpiece. The aim of this article is to question or reassert this view by uncovering the Dantean subtext that informs the 1874 version of the painting and deciphering...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Presses Universitaires de la Méditerranée
2006-12-01
|
| Series: | Cahiers Victoriens et Edouardiens |
| Online Access: | https://journals.openedition.org/cve/13554 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1832581283693199360 |
|---|---|
| author | Laurence Roussillon-Constanty |
| author_facet | Laurence Roussillon-Constanty |
| author_sort | Laurence Roussillon-Constanty |
| collection | DOAJ |
| description | In the gallery of Dante Gabriel Rossetti’s so-called “double works of art”, Proserpina has often been singled out as the artist’s masterpiece. The aim of this article is to question or reassert this view by uncovering the Dantean subtext that informs the 1874 version of the painting and deciphering the coded message it contains. The point is to show that beyond the personal context of its creation and through the model of Dante’s Divine Comedy, Rossetti is pushing the limits of both forms of art—painting and poetry—thereby creating a new aesthetics where text and image merge into a musical form, where the work of art is an endless dialogue of the soul with itself. |
| format | Article |
| id | doaj-art-13e2626c31f64709a8f29b566ecdff8b |
| institution | Kabale University |
| issn | 0220-5610 2271-6149 |
| language | English |
| publishDate | 2006-12-01 |
| publisher | Presses Universitaires de la Méditerranée |
| record_format | Article |
| series | Cahiers Victoriens et Edouardiens |
| spelling | doaj-art-13e2626c31f64709a8f29b566ecdff8b2025-01-30T10:21:06ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492006-12-016310.4000/cve.13554Texte, trame, signe : les ficelles de l’art selon Dante Gabriel RossettiLaurence Roussillon-ConstantyIn the gallery of Dante Gabriel Rossetti’s so-called “double works of art”, Proserpina has often been singled out as the artist’s masterpiece. The aim of this article is to question or reassert this view by uncovering the Dantean subtext that informs the 1874 version of the painting and deciphering the coded message it contains. The point is to show that beyond the personal context of its creation and through the model of Dante’s Divine Comedy, Rossetti is pushing the limits of both forms of art—painting and poetry—thereby creating a new aesthetics where text and image merge into a musical form, where the work of art is an endless dialogue of the soul with itself.https://journals.openedition.org/cve/13554 |
| spellingShingle | Laurence Roussillon-Constanty Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti Cahiers Victoriens et Edouardiens |
| title | Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti |
| title_full | Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti |
| title_fullStr | Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti |
| title_full_unstemmed | Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti |
| title_short | Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti |
| title_sort | texte trame signe les ficelles de l art selon dante gabriel rossetti |
| url | https://journals.openedition.org/cve/13554 |
| work_keys_str_mv | AT laurenceroussillonconstanty textetramesignelesficellesdelartselondantegabrielrossetti |