Pre-Raphaelite Women and the Search for Meaning in the Work of Dante Gabriel Rossetti - Essay Example

?Pre-Raphaelite Women and the Search for Meaning in the Work of Dante Gabriel Rossetti: Jane Morris and The Myth of Proserpine Art, the overflow of unrestricted imagination is deeply influenced by an artist’s personal experiences and social characteristics of a particular era. Within this context, Pre-Raphaelite Movement in England can be considered as a revolutionary attempt by a group of British artists to revive and regain the glory of British art in particular and the world of art in general. At the same time, Pre-Raphaelite Brotherhood can be considered as the protest against the materialistic outlook of the Victorian society and a conscious attempt to resist the influence of neo-classical principles on art. The Pre-Raphaelite artists like Dante Gabriel Rossetti, William Morris, and Edward Burne-Jones attempted to unearth the enigmatic feminine scope of Victorian women in art. Jan Marsh notes, ‘The metaphors and fantasies of art are not be identified as the behaviour and feelings of real life, especially where the Pre-Raphaelite women were concerned.’1 Thesis statement: The work Proserpine by Dante Gabriel Rossetti represents the Pre-Raphaelite women within the context of Victorian women, which is the dark and enigmatic feminine, because the work is related to the artist’s personal relationship with the model (Jane Morris), expression of his artistic creativity (painting and poetry), Greek mythology, and the characteristics of Pre-Raphaelite Brotherhood/Movement in general. Pre-Raphaelite Movement and portrayal of women as dark and enigmatic feminine As pointed out, Pre-Raphaelite Movement provided ample importance to the portrayal of women as dark and enigmatic feminine. This is important within the context of the Victorian society because the womenfolk were forced to undergo a number of social restrictions. During this age, women were expected to be loyal to their husbands, and their role in the society was strictly limited to the context of their private domain/family. Kali Israel states that, ‘Moreover, Pre-Raphaelite men and women alike participated in a larger project infused with gendered meanings: Considering the relations between the aesthetic and daily life in an increasingly industrial society.’2 Besides, their duty towards their husband and their family limited their upward mobility to the public domain of the mainstream society. To be specific, women in the Victorian era were expected to live according to the strict rules and regulations formulated by the society. Within this scenario, Rossetti’s portrayal of women in his works as dark and enigmatic feminine is utmost important because it declined the restrictions upon the womenfolk in the society. Rossetti’s works (paintings and poems) represent the protest against the restrictions exerted upon the womenfolk in the Victorian age. To be specific, the third phase in Rossetti’s life as an artist is symbolic of his changed opinion/view on artistic creativity. During this period (say, from 1863 to 1882), he made use of his artistic creativity to portray women as dark and enigmatic feminine. One can argue that Rossetti’s works during this period were based upon his imagination, not upon his models. Still, he made use of his women models as an instrument to gain inspiration and to expose the unexplored characteristics of Victorian women. On the other side, the poems attached to the artworks are symbolic of his attachment to the models. He considered that the poems and the artworks are inseparable like body and soul. During this period, Rossetti reassessed his relationship with art and came to realize the fact that his works must not be mere copies, but must express his creativity as an artist. So, Rossetti’s later works are symbolic of his change in attitude towards art. When this change is superimposed into the context of Victorian women, one can easily identify that Rossetti’s works does not follow the core element of Pre-Raphaelitism, i.e. imitation of nature through art. So, Rossetti and some other Pre-Raphaelites formed another group to express their protest against artificiality in art and to inculcate freshness to the context of art. Fred S. Kleiner states that, ‘The Pre-Raphaelite Brotherhood, organized in 1848, wished to create fresh and sincere art, free from what its members considered the tired and artificial manner propagated in the academies by the successors of Raphael.’3 This deviation from Pre-Raphaelitism helped Rossetti to concentrate on a series of portraits of different models. Rossetti’s later works (paintings) attracted criticism because most of those works rejected the normal physical characteristics of women models. Lucien L. Agosta opines, ‘On the canvas itself he began to depict women whose fleshly qualities, though immediately apparent, are balanced by the spiritual.’4 This exaggeration can be considered as the artist’s conscious attempt to restructure the Victorian restrictions on women. The first work during the last phase in the artist’s life is The Kissed Mouth (1859). This work is symbolic of Rossetti’s concept of the union of body and soul. Some of the other works by Rossetti during this period include: Pandora (in the year 1871), Proserpine (in the year 1872), A Vision of Fiammetta (in the year 1878) etc. One can see that Proserpine is most important because it represents the artist’s journey towards perfection. To be specific, Rossetti’s later works are symbolic of his portrayal of women as dark and enigmatic feminine in its fullness. Visual Analysis: symbolism and deeper meaning of Proserpine The work Proserpine by Rossetti is rich in symbolic meaning. Besides, the search for deeper meaning of this work leads the viewers towards Greek mythology, the influence of a poet (Swinburne), Victorian women and the artist’s personal relationship with the model. One can see that Proserpine is one of the famous artworks by Rossetti. From a different angle of view, this work represents the artist’s creativity in it fullness. For instance, the artist completed this work by working hard for seven years. Besides, this hard work did not satisfy him and he completed eight works on the same theme. The woman in the painting a Greek Goddess named as Proserpine or Proserpina. Rossetti amalgamated the physical characteristics of his model (Jane Morris) with the mythical image of Proserpine and produced the artwork. This physical/visual characteristic of the model/goddess (pale skin, long neck, black hair) is a different symbolic representation of Victorian women. Rossetti was influenced by Swinburne's poems like Hymn to Proserpine and The Garden of Proserpine. In the work Hymn to Proserpine, Swinburne mentions about Proserpine at the opening and at the end of the poem. Besides, Swinburne’s portrayal of the mythical character of Proserpina as a deity, as a young lady, and as the queen of the underworld inspired Rossetti. On the other side, Swinburne’s poem, named as The Garden of Proserpine, helped Rossetti to inculcate the themes of death and rebirth in his later works. For instance, Proserpine in Swinburne’s poem is portrayed as an attractive supernatural element which is symbolic of death and rebirth. This deeply influenced Rossetti as an artist. So, one can see that the influence of Swinburne’s poems helped Rossetti to amalgamate certain supernatural elements in his work. In the painting, Proserpina is portrayed as a dull lady, who is eating a pomegranate. Dante Gabriel Rossetti states that, ‘Proserpine, in perfect beauty shadowed with doom, is represented holding the pomegranate of which she had eaten in Hades, thereby unknowingly sentencing herself to the immortality of the nether world.’5 Besides, Rossetti painted the pomegranate and Proserpine’s lips in red. One can see that eating pomegranate is symbolic of the sin committed by her and the related hardships to be suffered. She is totally confined in the underworld, but an inlet in her room allows her to have a momentary sight of the upper world. This is symbolic of her life between two worlds. Her dress, which is flowing through her body, is symbolic of movement or life. Jan Kott makes clear that, ‘In a dress draped like a Grecian tunic, this modernist and Pre-Raphaelite Proserpina, demonic and fallen, is deliberately depicted as a second Eve.’6 On the other side, the sadness that can be seen in Proserpine’s eyes is symbolic of the emotional problems and alienation faced by her. One can easily identify that Rossetti made use of the incense-burner to provide goddess like appearance to Proserpine. The ivy branch in the background of the work is symbolic of the mental turmoil faced by Proserpine. From a different angle of view, the most striking symbolism in the work is that the model (Jane Morris)’s life history is similar to the problems faced by Proserpine. For instance, Jane was in love with Rossetti but she did not try to desert her husband and children. On the other side, Proserpine was abducted by Pluto and she was forced to live with him. This emotional turmoil faced by a mythical character (Proserpine) and a woman model (Jane Morris) was successfully rendered by Rossetti. Poetry analysis of Proserpine: The technique used by Rossetti (inculcation of poems within the paintings) is innovative because it helps the viewers to have deeper understanding of the artist’s aim. Within this context, the relationship between the painting of Proserpine and the attached poem is noteworthy. From a different angle of view, Rossetti’s paintings and the attached poems are interconnected because he made use of the poems as extension of paintings. To be specific, Rossetti’s poem attached to the artwork Proserpine is symbolic of his love towards Jane. The poem connects Proserpine’s myth with the artwork. Rossetti tries to analyze Proserpine’s mind through his poem. Within this context, Rossetti is aware of the fact that Jane’s life is divided between her duty consciousness towards her family and her love towards him. So, he tried to unearth the emotional problems faced by his lover. The poem is written in a melancholic mood, in which the speaker is ready to share the feelings of his lover. Besides, the melancholic mood in the poem, the problems faced by Proserpine, and the problems faced by the Victorian women are similar. The artwork named as Proserpine is not a single work. Instead, Rossetti portrayed this artwork as a series of paintings. This proves that his interest in the theme and love towards Jane is invaluable. As the sonnet attached to Proserpine is in the form of a dramatic monologue, one can see that the same reveals the relationship between the painting and the context (say, the real life situation/the myth behind the painting). The speaker in the sonnet reminds the myth behind Proserpina’s confinement in the underworld and the sin committed by her. Sophia Andres quotes, ‘Afar the flowers of Enna from this dear, Dire fruit, which, tasted once, must thrall me here.’7The speaker’s words create a virtual real world in which the character in the painting is listening to the speaker. Besides, Rossetti does not ignore his role in the problems faced by Jane. To be specific, Rossetti is aware of the fact that he is the grass root level reason behind the problems faced by Jane in her private circle. But Jane is not ready to desert him. Rossetti considers that amalgamation of myth (say, the myth of Proserpina) and the real life situation (say, love affair between Jane and Rossetti) is helpful to connect the underworld (imagination) and the real world (reality). Margot Kathleen Louis opines that, ‘In Rossetti’s sonnet, not only are light, flowers, and the skies of Enna far off, but Proserpina’s future is irrevocably alienated from her past: “Afar, how far away,/ The nights that shall be from the days that were”.’8 The figure in the painting is symbolic of Proserpina’s status as the empress. One can see that the status as an empress is not enough to satisfy Proserpina. Instead, she is thinking about the sin committed by her and its after-effect. On the other side, Pluto considers her as the embodiment of his love. But he is not ready to let her free forever. So, the melancholic attitude of Proserpine that can be seen in the painting suits the problems faced by Rossetti’s lover. In short, the analysis of the sonnet attached to the painting Proserpine proves that Rossetti attempted to amalgamate the myth of Proserpina, the problems faced by Jane and the social problems faced by the Victorian women, within a single canvas. Dante Gabriel Rossetti and Jane Morris Rossetti’s relationship with Jane Morris can be considered as an artist’s unending search to find out his or her guardian angel. For instance, Rossetti’s artwork, Pandora (1879 version) which belongs to the series of illustrations of goddesses, is based upon Jane as the model. So, the goddess images can be considered as the development of the relationship between the artist and the model. As pointed out, Rossetti initiated his Pandora series in the year 1869. Max F. Schulz opines that, ‘His emotional involvement with Jane Morris, starting up in the late 1860s and continuing through the 1870s, prompted Rossetti to attempt anew to capture “Woman’s budding day-dream dream spirit fann’d” (“The Day-dream”), this time in Jane’s draping earth-heavy figure; but an ait of languor and theme of imprisonment keep intruding into the very posture and visage of his subject.’9 The mythical story of Pandora is related to her box with full of bad things which can harm the world. But the bottom of Pandora’s Box contains hope, which is symbolic of the soothing effect provided by Jane to Rossetti. Besides, Rossetti considered Jane as the source of inspiration and the embodiment of his artistic creativity. The Pandora series can be considered as the visual expression of the beginning of the deep relationship between Jane and Rossetti. Rossetti’s marriage with Elizabeth Siddal did not distract him from continuing his relationship with Jane. From a different angle of view, married life forced Rossetti to consider his relationship with Jane as an inspiration to his artistic creativity. Christine L. Krueger notes, ‘For many years Rossetti had been in love with Jane Morris, the wife of fellow Pre-Raphaelite William Morris.’10 Moreover, he was aware of the fact that Jane’s physical characteristics and attractiveness can be used in a different way to portray Victorian women as dark and enigmatic feminine. The next stage in the relationship between Rossetti and Jane started in the year 1877. During this time, Rossetti started his work on the Greek/Roman mythical figure of Proserpina. Within this context, Rossetti made use of Jane as his model to portray the mythical figure of Proserpina. This work is symbolic of Jane’s relationship with her husband because married life did not satisfy her. At the same time, this work is symbolic of her relationship with Rossetti as an artist. One can see that Jane faced a number of problems in her private domain. So, she was forced to undergo emotional problems. The pale face of the model, which can be seen in the artwork, proves that she is not able to withstand the problems in her private circle. But Rossetti was totally against copying the characteristics of his female model (say, Jane). Instead, he provided ample importance to the inculcation of supernatural elements in his artwork. The boldness that can be seen in Proserpine’s face represents Jane’s character as a bold woman. So, her career as Rossetti’s model was her temporary escapade from her private domain to the freedom of public domain and acceptability. The next stage in the relationship between Rossetti and Jane started in the year 1875, in Sussex. This helped Rossetti to complete his work Astarte Syriaca, in which Jane is portrayed as the deity of love. The final stage in their relationship started in 1881, when Jane is portrayed as Mnemosyne. In the artwork Mnemosyne, Jane is portrayed as the deity of memory. Besides, Rossetti considered Jane as his lover and the delicate personality which helped him to make his art immortal. The myth of Proserpine The myth of Proserpine is interconnected with the mythical story of Proserpina, the daughter of Zeus (father) and Demeter (mother). Once, she decided to gather flowers with her friends. This decision transformed her life from her status as an innocent maiden to a prisoner in the underworld. To be specific, Pluto abducted her and confined her in the underworld. Lisa Dallape Matson states that, ‘In Greek mythology, Proserpine (also known as Persephone or Kore), the daughter of Demeter, was seized by Pluto, god of the underworld, while she was gathering flowers.’11 Pluto loved her so much but she was not ready to enjoy her life as a prisoner in the underworld. Besides, Pluto forced her to eat a pomegranate, which is symbolic of the sins committed by the human beings. Zeus tried his level best to help his daughter to escape from the underworld. At last, Pluto agreed to free Proserpina, but he pointed out that she did commit a sin and she must suffer for the same. So, Proserpina was able to visit the earth as a temporary adjustment. Rossetti made use of this mythical story to portray the social and economical exploitation faced the Victorian women. During the Victorian age, women were not able to enjoy freedom in the male dominated society. They were restricted from entering the public domain of the society. Their role was strictly limited to the context of their families. The society expected certain qualities from the womenfolk. The concept of ‘ideal women’, which prevailed in the Victorian society, was totally against equality and individual freedom. One can see that Proserpina’s imprisonment by Pluto is similar to the injustice faced by the Victorian women. On the other side, some women in the Victorian society were ready to be models. This helped them to have temporary escapade from the strict laws and regulations put forth by the society. The Victorian women’s temporary escapade is similar to Proserpina’s temporary escape to her motherland. Eliza Robbins makes clear that, ‘She was to spend six months with her mother, and the other six months with Pluto.’12 So, Rossetti made use of the myth of Proserpine to connect the same with the real life situation in the Victorian England. Comparison of Proserpine with Rossetti's other paintings within the context of Victorian women As pointed out, Rossetti was not a blind follower of the Pre-Raphaelite Movement. Instead, he attempted to create his own space within the context of Pre-Raphaelite Movement. For instance, Rossetti and other artists formed the Pre-Raphaelite Brotherhood. This group within the Pre-Raphaelite group helped Rossetti to be an independent artist. Rodolphe Louis Megroz opines that, ‘Another effort to attain spiritual harmony through aesthetic expression is represented by the late pictures, ‘Proserpine’, ‘Mnemosyne’, ‘Astarte Syriaca’, where the creative artist again- and more surely- breaks into mystical illumination through the passionate fusion of pleasure and pain, or sensual and spiritual beauty- Betwixt and the sun and moon a mystery, as wrote in the sonnet for ‘Astarte Syriaca’.’13 Rossetti portrayed Proserpine as a femme fatale or a woman with seductive power. Proserpine’s hair (dark), gloomy eyes, lips (red in colour), and unusually long neck are symbolic of her importance beyond a beautiful lady. Here, Rossetti tried to inculcate certain supernatural or serpentine elements to portray the Victorian women in a different but complex way. Comparing with Rossetti’s Proserpine, the artwork named as Lady Lilith does not provide importance to mythology. This work provides importance to physical beauty, not serpentine beauty. In the mythology, Lady Lilith is portrayed as a serpentine lady. But Rossetti portrayed her image as a lady who is combing her hair. Besides, Jane was not the model of this work. Instead, Rossetti made use of Fanny Cornforth and Alexa Wilding as the models. On the other side, the model of the artwork Mnemosyne and Astarte Syriaca is Jane Morris. Besides, Mnemosyne is symbolic of Rossetti’s contemplation on his deep love towards his lover. On the other side, Astarte Syriaca represents Rossetti’s passionate love towards his lover. So, one can see that Rossetti made use of the classical mythology to reveal his love towards Jane. All these works by Rossetti is symbolic of his desire to unleash the hidden energy of protest inherent in the Victorian women. The expression of gloom that can be seen in his artworks can be interpreted as the artist’s protest against the injustices faced by the womenfolk in the Victorian society. Alicia Craig Faxon notes, ‘These icons, especially in Rossetti’s overpowering images, became connected with Victorian fears of powerful women, especially shown in the agitation for independence and women’s suffrage.’14 Besides, Rossetti considered Jane as the embodiment of his love, his guardian angel or the goddess and the individual who can represent the characteristics of the Victorian women in general. Summing, the origin, growth and development of Pre-Raphaelite Movement and Pre-Raphaelite Brotherhood were most helpful to identify the basic problems faced by the womenfolk in the Victorian age. One of the best examples that can be pointed out as an eye-opener within this scenario is the works by Dante Gabriel Rossetti, especially the painting Proserpine. One of the main characteristics of Pre-Raphaelite Movement is the portrayal of women as dark and enigmatic feminine. The visual analysis of Proserpina proves that the same is symbolic of the protest against the injustices faced by the womenfolk in the male dominated society. The sonnet attached to painting is symbolic of the artist’s aim to express his views on art. Rossetti’s relationship with Jane is beyond the relationship between an artist and a female model. Besides, Rossetti amalgamated the myth of Proserpine to the core of the artwork to wash out the concept of copying nature and to establish the concept of supernaturalism in art. Rossetti’s artworks deal with his personal life, but never ignore the problems faced by the womenfolk in the society. So, Rossetti’s Proserpine is symbolic of Victorian women, his personal relationships, his artistic creativity, his interest in mythology, and the role played by Pre-Raphaelite Movement and Pre-Raphaelite Brotherhood in the Victorian society. 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