In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an ar...In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an artist. After Elizabeth＇s death, Rossetti seemed to have been preoccupied with the ＂Lilith＂ theme in his painting and poetry and somehow he could not free himself from the haunting memory of the ＂wronged wife＂, the muse. This often found manifestation in his portrayal of the ＂femme fatale＂ images. Applying psychoanalysis to art-criticism and literary appreciation, this paper is an attempt to explore the relationship between a model and an artist, which both psychologically and aesthetically, seemed to be working beyond the former＇s death. Through a detailed analysis of the ＂Lilith＂ image in D. G. Rossetti＇s art, this paper has shown the coplexities of the artist＇s agony and anxiety over the image of a muse, a homely beloved--turned into a threatening ＂femme fatale＂, now distant, unknown, frightening yet fascinating, and mystified by death.展开更多
文摘In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an artist. After Elizabeth＇s death, Rossetti seemed to have been preoccupied with the ＂Lilith＂ theme in his painting and poetry and somehow he could not free himself from the haunting memory of the ＂wronged wife＂, the muse. This often found manifestation in his portrayal of the ＂femme fatale＂ images. Applying psychoanalysis to art-criticism and literary appreciation, this paper is an attempt to explore the relationship between a model and an artist, which both psychologically and aesthetically, seemed to be working beyond the former＇s death. Through a detailed analysis of the ＂Lilith＂ image in D. G. Rossetti＇s art, this paper has shown the coplexities of the artist＇s agony and anxiety over the image of a muse, a homely beloved--turned into a threatening ＂femme fatale＂, now distant, unknown, frightening yet fascinating, and mystified by death.
