The aim of the article is to give an overview of the text, concentrating on aspects that characterize it as a novel that simultaneously courts death and defies it, by annulling the divide between past and present, thus replicating the gesture of the pair of lovers at the centre of its story who see themselves as doubles of Dante and Beatrice. To conclude, the article assesses the societal restrictions which pervade the works of Rossetti and Siddal, how they attempt to bend or bypass them, and in which ways these shaped their well-being and artistic recognition.Īdoecer (2010), Hélia Correia's latest novel, is her first of a truly biographical genre, based on the life of the famous Pre-Raphaelite model, Elizabeth Siddal. This task is achieved through an analysis of selected works which display some of the artists’ central motifs. The article ponder on why Siddal’s artistic output lingers in the shadows, while recognizing the influence of the class system and of gender roles on the lives of these women. The accuracy of various reports of frailty and poor health regarding the artists is inspected. In bringing them forth, the article aims to shed light on how Victorian society may have impacted their life and work. Although they are remembered quite differently, the former as a celebrated poet, the latter as the eternal model, both women share common sufferings and artistic themes. This article explores the connections between two Pre-Raphaelite women: Christina Rossetti and Elizabeth Siddal.
0 Comments
Leave a Reply. |