Beata Beatrix by Dante Gabriel Rossetti
Rossetti was dispatched by William Graham to paint for him a version of Beata Beatrix, which Rosetti from the start stood up to. In the wake of halting and beginning the work, he developed to appreciate returning to the topic, and changed the suffusion of light from the first, expanding foundation definition, and maybe the admiration of the subject.
The image is a portrait of Elizabeth Siddall in the character of Beatrice. It has a murky, supernatural quality, giving the vibe of a dream or vision, and is loaded up with representative references. Rossetti proposed to speak to her, not right now of death, however, changed by an 'abrupt otherworldly transfiguration' (Rossetti, in a letter of 1873, cited in Wilson, p.86). She is presented in a frame of mind of delight, with her hands before her and her lips separated as though she is going to get Communion. As indicated by Rossetti's companion F.G. Stephens, the dark and green of her dress connote 'the colors of expectation and distress just as of love and life' ('Beata Beatrix by Dante Gabriel Rossetti', Portfolio, vol.22, 1891, p.46).
Out of sight of the image, the shadowy figure of Dante looks crosswise over at Love, depicted as a holy messenger and holding in her palm the glimmering fire of Beatrice's life. Out yonder, the Ponte Vecchio means the city of Florence, the setting for Dante's story. Beatrice's looming death is evoked by the dove - an image of the Essence of God - which dives towards her, an opium poppy in its nose. This is likewise a reference to the death of Elizabeth Siddall, referred to tenderly by Rossetti as 'The Dove', and who ended her very own existence with an overdose of laudanum. Both the dove and the figure of Love are red, the shade of passion, yet Rossetti imagined the winged creature as an emissary, not of love, yet of death.
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Beata Beatrix by Dante Gabriel Rossetti | Canvas Fine Arts
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