Academical contradiction

The contradiction that here I want consider is so evident that nobody has seen, a academic painter that is against the academic tradition; who is? Dante Gabriele Rossetti(1828-1882), that despite his name was British but evidently influenced from his origin, because he was son of a Italian patriot Gabriel Rossetti, banned from Italy and exiled to London after 1821. The contradiction is in his style, because he want outrun the academic style but he uses it always, and the principal of his brotherhood, this is take the style and the spirituality of painter before Raphael(1483-1520) is a failed in painting because he took the academic style, because we must consider that he lived in Victorian British when the form was more important than essence; in fact he repeated same style to face and subjects: same face and subject (Fig.1), is sama face, whilethe posture Rossetti has took from Guido Reni(Fig.2); what is characteristic that bond these painting? The beautiful of drawing, the drafting of colors, the line very perfect; the cloth of model, that is the wife of Rossetti, Elizabeth Siddal(1829-1862), is perfect woman and perfect model, the similarities is due by the same model, but the cloth is different, and the academic culture of Rossetti is evident in treatment of this matter, that is silky may, we can think that this accurate definition of textile matter is due from influence of Beato Angelico(1395-1455)(Fig.3), that Dante could studied very much and take the cloth matter; and may from study of this painting Dante has had the idea of this brotherhood; but an influence certainly radical to cloth of Rossetti is that of Peter Lely(1618-1680), a portraitist painter that in London from 1640 has portrait major part of British aristocracy, and an painting, above all, could influenced the light and formal definition of Dante, this painting is Portrait of young lady(Fig.4) and the portrait of Nell Gwynne(Fig.5), that keep the refulgent light of cloth of Dante; the line and drafting are of Dutch origin; hence the style of Rossetti is a translation of academic model of British, this is he took the model that before and after the Raphael, because Lely lived on 17^th century; thereupon the intent of ideal of the Pre-Raphaelite brotherhood is absolutely failed, because Dante took from after and before Raphael, fro contradictions it is very exemplar.Further is likewise contradictory models that a member of this brotherhood, because Peter von Cornelius(1783-1867), to his The Parable of Wise and Foolish Virgins(Fig.6), dated 1813-1816, he culls the model that changed to posture but, certainly, he took the Virgin in Universal judgment(Fig.7) that is took to central female figure, and Pontormo, this is Jacopo Carucci(1494-1557), is necessary to the female figures on right that embraced one other; and the return to Raphael and Athens school is to male figure on the center of same painting(Fig.11), because it took from other figure of Raphael(Fig.12); the architecture of Athens school was necessary to other building in Joseph Recognised to his Brothers(Figs.13-14)of same von Cornelius. The Raphael now is accompanied to Girolamo Siciolante called Sermoneta(1521-1575), because Friedrich Johann Overbeck, to his Joseph Being Sold by his Brothers, in 1816(Fig.15), to the figure on right from behind(Fig.16) followed two models one is in front of and other from behind, I intend two figures, the first from Siciolante, above mentioned, (Fig.17) and the second is from Raphael in mentioned School of Athens(Fig.18), that has suggested the from behind position.

 Alessandro Lusana 

 

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