Identifier: criticismmo00chil (find matches)
Title: Art and criticism : monographs and studies
Year: 1892 (1890s)
Authors: Child, Theodore
Subjects: Art criticism
Publisher: Harper
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council - METRO

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Text Appearing Before Image:
wavy hair, is agreen veil that falls around her neck over the right shoulder.On her neck and bosom are necklaces of coral and pearls.This beautiful blue-eyed maiden is painted against a whitebackground diapered with blue and crossed by a shelf, on whichis a row of brass plates, with, on the wall below, some trailinggreen ivy. This picture is so lovely that even in a simpleblack-and-white reproduction it can speak for itself, and dis-pense with the praise of halting prose. Other pictures by Rossetti are subjects suggested by Dante,by poems of Keats, Coleridge, Tennyson, Robert Browning,the Arthurian cycle, the Bible, Boccaccio, Shakespeare, orGoethe; and various allegorical works bearing sonorous Latinor Italian titles, such as La Donna della Finestra, La bellaMano, Venus Astarte, Le Ghirlandata, Ligeia Siren, Sibylla Palmifera, La Bionda del Balcone, Aspecta Me-dusa, Hesterna Rosa, etc., all of them essentially literary intheir inspiration, many of them virtually illustrations of some
Text Appearing After Image:
ROSSETTIS LOVING-CUP. A PRE-RAPHAELITE MANSION. $$/ particular text, and unintelligible without the help of the pre-cise words referred to, but at the same time remaining suffi-ciently instinct with purely pictorial genius to enable the spec-tator to enjoy and appreciate them without comprehending atithe of the hermetic significations which instigated the artistin his composition. Edward Burne-Jones is more erudite though less intensethan his master, Rossetti. He attaches higher importance tothe material representation of a thought than to the thoughtitself; he is more pagan than Rossetti; he recurs to the mythsof antiquity and the vague symbolism of the Middle Agesrather than to the Christian legend; he is greatly preoccupiedwith beauty of form; and, unlike Rossetti, whose technical de-fects are too evident to need particularizing, Burne-Jones is atonce a draughtsman and a colorist. On the other hand, his in-spiration remains essentially literary and transcendental ratherthan picture

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