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Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p.
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Oswald Doughty, A Victorian Romantic: Dante Gabriel Rossetti (London, 1960), pp.Arnold Palmer, “English Survey in Pittsburgh: An Introduction to British Painting at the Carnegie,” Art News 36, part 2, (May 28, 1938), p.Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), pp.Frank Jewett Mather, Modern Paintings (New York, 1927), pp.Hutchinson Bequest,” Bulletin of the Art Institute of Chicago, 19, 9, (December 1925), pp. Bulletin of the Art Institute of Chicago, 13, 7, (October 1919), p.Ernestine Mills, The Life and Letters of Frederic Shields (London, 1912), p.Knight, Six Lectures on Some Nineteenth Century Artists, English and French (Chicago, 1909), p. Buffalo Fine Arts Academy, “The Inaugural Loan Exhibition: Albright Art Gallery,” Academy Notes 1, 1 (June 1905), pp.Louisiana Purchase Exposition, Illustrations of Selected Works in the Various National Sections of the Department of Art (St.Helen Rossetti Angeli, “The Life and Work of Dante Gabriel Rossetti” (London, Art Journal, Easter Annual, 1902), pp.Marillier, Dante Gabriel Rossetti: An Illustrated Memorial of His Art and Life (London, 1899), pp. William Michael Rossetti, ed., Dante Gabriel Rossetti: His Family Letters with a Memoir by William Michael Rossetti (London, 1895), vol.William Michael Rossetti, Dante Gabriel Rossetti as Designer and Writer, (London, 1889), pp.Hutchinson Collection Reference Number 1925.722 IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Predella: 26.5 × 69.2 cm Credit Line Charles L. Status On View, Gallery 223 Department Painting and Sculpture of Europe Artist Dante Gabriel Rossetti Title Beata Beatrix Origin England Date 1871–1872 Medium Oil on canvas Inscriptions Inscribed top left on frame: JUN: DIE 9 ANNO 1290 top right on frame: QUOMODO SEDET SOLA CIVITAS! and bottom of frame: With this addition, Rossetti provides the medieval love story with a happy conclusion, perhaps suggesting that he, too, had begun to come to terms with his own profound grief. The Art Institute’s painting is this second version, which is the only one to have a predella-the painted scene at the bottom of the frame-depicting Beatrice and Dante’s reunion in paradise. Given the deeply personal nature of the work, Rossetti initially refused his patron William Graham’s request to create a replica, although he eventually yielded. Rossetti designed the frame, and at the top right he inscribed, “How doth the city sit solitary.” This quote from La Vita Nuova refers to the city of Florence’s mourning of Beatrice. The sundial shadows the number nine, the age Dante first saw Beatrice as well as the hour and day of her death. To the upper left is the personification of Love and to the right the figure of Dante, who doubles as a representation of Rossetti himself. Above rises the Ponte Vecchio, the Florentine bridge that served as the setting of Dante’s poem. “The Dove” was the artist’s nickname for Siddal, and a haloed dove delivers her a white poppy, a symbol of laudanum-a derivative of opium-which caused her death by overdose. Rossetti’s symbolism combines details from his personal life with those from La Vita Nuova. Rather, the work portrays her as if in a trance or altered spiritual state. While this picture is a tribute to Siddal, Rossetti was adamant that it does not represent her death. Rossetti’s scene draws a parallel between Dante’s love for the late Beatrice and his own affection for his recently deceased wife and muse, Elizabeth Siddal. Named after the thirteenth-century poet Dante Alighieri, Rossetti found inspiration for Beata Beatrix in his namesake’s La vita nuova (The New Life 1295). css-uqx86q.Both a poet and a painter, Dante Gabriel Rossetti was a founder of the Pre-Raphaelite Brotherhood, a circle of Victorian artists who were united in their regard for medieval aesthetics.