Connect with us

DailyArtMagazine.com – Art History Stories

Legend of Proserpine by Dante Gabriel Rossetti

Artists' Stories

Legend of Proserpine by Dante Gabriel Rossetti

Works of the famous Pre-Raphaelite artist Dante Gabriel Rossetti often resonate with his personal experiences in life and love. Especially, the lush portraits of the larger-than-life goddesses were often inspired by the women who had the biggest significance for him: his auburn-haired wife, beautiful and blonde mistress, and the raven-haired muse. The later provided both the meaning and the model for his painting depicting the legend of Proserpine.

Proserpine, 1877, Rossetti Legend of Proserpine

Dante Gabriel Rossetti, Proserpine, 1877, Private Collection

The relationship between Jane and Rossetti was rather a complicated one. Born as Jane Burden (1839-1914), she was noticed by Rossetti and Edward Burne-Jones in Oxford whilst they were working on their notorious Oxford Union mural in 1857. Started off as a model for Rossetti, Jane later married William Morris (1834-1896) in 1859. Even though there was a spark between her and Rossetti, the situation just wasn’t right for them: Rossetti was already involved with Elizabeth Siddal, and Morris was a better provider for Jane. Coming from a working-class background, she would have been a servant girl. But with the help of her husband, she was educated to be an upper-class lady. A few years after Siddal’s death, Jane and Rossetti rekindled their relationship and she started sitting for the artist. Their affair wasn’t much of a secret, even to Jane’s husband.

Jane Morris, posed by Rossetti by John R Parsons, 1865 Legend of Proserpine

Jane Morris, posed by Rossetti by John R Parsons, 1865

Legend of Proserpine

Proserpine, or how Romans would call her ‘Proserpina’ is the queen of the underworld and the wife of Pluto, god and the king of the underworld, also known as Hades. She was a daughter of Ceres, the goddess of agriculture and abundance, and Jupiter, the ruler of all the gods, whose Greek counterpart would be Zeus. The goddess was abducted by Pluto, and her enraged mother Ceres cast a great famine on earth until her daughter will be returned. So Jupiter sent Mercury to the underworld to bring back Proserpine. Unfortunately, she ate the pomegranate, whilst staying with Pluto, which is known as the ‘fruit of the dead’. Anyone who ate the fruit had to stay in the underworld for the rest of their life. But an agreement was made so that only once in a year Pluto would release back Proserpine to her mother. Since then, Proserpine has become a goddess of spring, for earth revived after winter when she returned home from the underworld.

History of the painting

Between 1871-1877, when Jane regularly modeled for Rossetti, eight different paintings were made on the theme of Proserpine. He described his vision of the goddess in a letter:

“The conception of the figure is connected with the legend by which Proserpine was permitted to spend one half the year in the upper light….Proserpine looks yearningly towards the momentary light which strikes into her shadowy palace, and the clinging ivy which strays over the wall further suggests the feeling of memory”.

In many ways, this image of Proserpine summed up Rossetti’s view of Jane Morris as a goddess bound to a husband from whom she was only occasionally released to joy and light. The incense burner on the left denotes a goddess; the pomegranate, Christian symbol of life after death, symbolizes her captivity.

As a token of love Rossetti gifted jewellery from his own collection to Jane, such as the Burmesian gold bracelet in The Beloved (1865-6), the famous gold chain Jane wearing whilst modeling for The Blue Silk Dress (1868) and others, which are now accessible to the public at V&A Museum in London.

Jane Morris, posed by Rossetti by John R Parsons, 1865 Legend of Proserpine

Jane Morris, posed by Rossetti by John R Parsons, 1865

Find out more:

Comments

More in Artists' Stories

  • 19th Century

    Painting of the Week: John William Waterhouse, The Lady of Shallot

    By

    Elaine, the white lady of Shallot’s island, portrayed by John William Waterhouse is locked in a tower where she is only able to see the world through a mirror and recreate life through the weaving of a tapestry. The Lady of Shalott is a lyrical ballad...

  • Company School Company School

    19th Century

    Company School – Transition to Indian Modern Art

    By

    Painting in rich Mughal and Rajput styles, the court painters shifted their renderings to the demanded adjustments of British East India Company thereby having projected a palpable change in the map of Indian art. The shift occurred during the mid 18th century, lasting until modernism developed...

  • dailyart

    Painting of the Week: Sir William Orchardson, The First Cloud

    By

    At first glance, Sir William Orchardson’s The First Cloud is a late Victorian domestic scene that appears to be tranquil, refined, and placid. However, at second view the luxurious elegance exposes the hypocrisy, double-standards, and bankrupted values of the privileged elite. The First Cloud showcases a...

  • 19th Century

    An Ode to Autumn with John Everett Millais

    By

     Autumn weather can be unpredictable. Some days the earth looks cut out of crystal; the sky is a milky blue, and the sunlight is sparkling and golden. Yet the very next morning all might be blanketed in grey. The clouds hang low, mist obscures sight. A...

  • dailyart

    Painting of the Week: Edvard Munch, Madonna

    By

    The Norwegian painter Edvard Munch realized the colored lithograph Madonna in 1895. He is considered the head of Expressionism, therefore his Madonna is imbued with its characteristics. Expressionism, born in the early 20th century, expresses a reality distorted by the subjectivity of the artist. The use...

To Top

Just to let you know, DailyArt Magazine’s website uses cookies to personalise content and adverts, to provide social media features and to analyse traffic. Read cookies policy