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・ Paolo Constabile
・ Paolo Conte
・ Paolo Conti
・ Paolo Contis
・ Paolo Costa
・ Paolo Costoli
・ Paolo Cotta-Ramusino
・ Paolo Cozzi
・ Paolo Cuccia
・ Paolo Cucco
・ Paolo Alboino della Scala
・ Paolo Alboni
・ Paolo Alessandro Maffei
・ Paolo Amodio
・ Paolo and Francesca (Ingres)
Paolo and Francesca da Rimini
・ Paolo and Vittorio Taviani
・ Paolo Andrea Colombo
・ Paolo Andreani
・ Paolo Andreucci
・ Paolo Anesi
・ Paolo Angelo Ballerini
・ Paolo Angioni
・ Paolo Animuccia
・ Paolo Antonio Barbieri
・ Paolo Antonio Boccasanta
・ Paolo Antonio Foscarini
・ Paolo Antonio Paderna
・ Paolo Antonio Rolli
・ Paolo Antonio Soderini


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Paolo and Francesca da Rimini : ウィキペディア英語版
Paolo and Francesca da Rimini

''Paolo and Francesca da Rimini'' is a watercolour by English artist and poet Dante Gabriel Rossetti, painted in 1855 and currently housed at Tate Britain.
==History==
Rossetti's real name was Charles Gabriel Dante Rossetti, but his admiration for the great Florentine poet led him to change it to Dante Gabriel Rossetti, and he proceeded to sign all his work so. In the specific, the very subject of this painting is taken from Dante Aligheri's ''Inferno'', Canto V – it is a small watercolour triptych executed in the archaic, medievalising style of this period in Rossetti's art, and was never painted in oil. Although the artist had been sketching the subject for many years, the watercolour took him just one week to complete. The buyer was the writer and critic John Ruskin.〔The subject was commissioned by Ellen Heaton, but John Ruskin, who had requested five watercolours from Rossetti, bought it for 35 guineas and offered it, along with another picture, to Miss Heaton. He described the picture to her in a letter as 'a most gloomy drawing – very grand – but dreadful – of Dante seeing the soul of Francesca and her lover!' Not surprisingly, Heaton was dissuaded from buying the picture, which Ruskin kept for himself. Cf. V. Surtees, ''The Paintings & Drawings of Dante Gabriel Rossetti (1828–1882): A Catalogue Raisonné'', vol.1, Oxford 1971, p.37. See also the Tate's ref.()〕 The drawing is simple and the colours generally muted. Only Francesca's long golden hair looks forward to the more sensuous creatures of Rossetti's later works. The picture was originally planned as a triptych in oil, with the same scenes as in the watercolour, but with the lovers kissing as the central motif.

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