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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2013.2
- 수록면
- 53 - 82 (30page)
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초록· 키워드
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Elizabeth Siddall was the model for most of Dante Gabriel Rossetti"s paintings in the early and mid-1850s.After Siddall was unable to sit for Rossetti due to her illness, he began to draw voluptuous women with long blond hair, bare shoulder, and angular chin in the elaborately decorated background. Not only Siddall but also sensual models were signifiers showing Rossetti"s genius. Rossetti is always the signified and the origin of meaning. Siddall is a sign for pure virgin whereas the later voluptuous models are signs for tainted fallen women.
Rossetti high lights the model"s beautiful face and voluptuous body even when he portrays female artists. In Veronica Veronese, he captures the soul of a composer at the mysterious moment of creation. Listening to the bird with her hand laid on the strings of the violin, Lady Veronica tries to find out the perfect note for the inspiration that has just struck her. However, in Rossetti"s painting, Veronica, the composer, is seen as the erotic object of the male gaze since her beautiful face occupies most of the canvas and the paper on which she composes music is thrust aside in the corner.
As Rossetti’s muse Siddall is always idealized in his drawings. What Rossetti drew was the imagined face of Beatrice, Dante Alighieri’s muse, not the face of Siddall herself, as he fancied that he himself was Dante. In Rossetti’s drawings of Siddall at the moment of artistic creation, she is the object of male gaze since Rossetti focuses on her face and figure. Unlike Rossetti’s portraits of Siddall, she depicted herself as a weary and unbeautiful woman with coarse complexion. Her self-portrait indicates that Siddall’s idealized image in the paintings of Rossetti and other Pre-Raphaelte artists is the production of male artists’ imagination.
Siddall tried to liberate herself from Rossetti’s imagination and create her own artistic world. In her poems, the heroine laments the loss of lover with her fading beauty and the impossibility of true love. Siddall knew that she was the signifier for male artists. Using the strategy of silence and feigned death of the female narrator in her poems, Siddall defies the Western art convention which exploits the face of beautiful women in the name of muse for male artists. Her artistic creations serve to prove that she was a creative artist on her own right.
Rossetti high lights the model"s beautiful face and voluptuous body even when he portrays female artists. In Veronica Veronese, he captures the soul of a composer at the mysterious moment of creation. Listening to the bird with her hand laid on the strings of the violin, Lady Veronica tries to find out the perfect note for the inspiration that has just struck her. However, in Rossetti"s painting, Veronica, the composer, is seen as the erotic object of the male gaze since her beautiful face occupies most of the canvas and the paper on which she composes music is thrust aside in the corner.
As Rossetti’s muse Siddall is always idealized in his drawings. What Rossetti drew was the imagined face of Beatrice, Dante Alighieri’s muse, not the face of Siddall herself, as he fancied that he himself was Dante. In Rossetti’s drawings of Siddall at the moment of artistic creation, she is the object of male gaze since Rossetti focuses on her face and figure. Unlike Rossetti’s portraits of Siddall, she depicted herself as a weary and unbeautiful woman with coarse complexion. Her self-portrait indicates that Siddall’s idealized image in the paintings of Rossetti and other Pre-Raphaelte artists is the production of male artists’ imagination.
Siddall tried to liberate herself from Rossetti’s imagination and create her own artistic world. In her poems, the heroine laments the loss of lover with her fading beauty and the impossibility of true love. Siddall knew that she was the signifier for male artists. Using the strategy of silence and feigned death of the female narrator in her poems, Siddall defies the Western art convention which exploits the face of beautiful women in the name of muse for male artists. Her artistic creations serve to prove that she was a creative artist on her own right.
목차
I. 들어가는 말
II. 로제티의 뮤즈 시덜
III. 라파엘 전파 회화 속의 시덜과 시덜의 회화
IV. 빅토리아 시대 성적 이데올로기의 비판: 시덜과 크리스티나 로제티의 시
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