Pre-Raphaelitism -- Great Britain; Rossetti, Dante Gabriel, 1828-1882
In 1837, after a short preliminary training at a private school,
Dante Gabriel was admitted to King's College, where his father was
Italian professor. His artistic training did not begin until 1841 or
1842, when he left school, and entered himself at a drawing academy
known in those days as "Sass's," and kept by Mr. F. S. Gary, son of
the translator of Dante. He remained some four years at Gary's
Academy, during which period he seems to have acquired the bare
rudiments of his art and to have made a small reputation for
eccentricity. In July, 1846, having sent in the requisite
probation-drawings, he was admitted to the Antique School of the
Royal Academy. His first appearance is graphically delineated by a
fellow-student, whose observant eye has preserved for us a probably
accurate conception of the fiery young enthusiast:
"Thick, beautiful, and closely-curled masses of rich brown
much-neglected hair fell about an ample brow, and almost to the
wearer's shoulders; strong eyebrows marked with their dark shadows a
pair of rather sunken eyes, in which a sort of fire, instinct with
what may be called proud cynicism, burned with furtive energy. His
rather high cheekbones were the more observable because his cheeks
were roseless and hollow enough to indicate the waste of life and
midnight oil to which the youth was addicted. Close shaving left
bare his very full, not to say sensuous lips, and square-cut
masculine chin. Rather below the middle height, and with a slightly
rolling gait, Rossetti came forward among his fellows with a jerky
step, tossed the falling hair back from his face, and, having both
hands in his pockets, faced the student world with an _insouciant_
air which savoured of thorough self-reliance. A bare throat, a
falling, ill-kept collar, boots not over familiar with brushes, black
and well-worn habiliments, including not the ordinary jacket of the
period, but a loose dress-coat which had once been new--these were
the outward and visible signs of a mood which cared even less for
appearances than the art-student of those days was accustomed to
care, which undoubtedly was little enough."
Public-domain text, read in full here on John Shaqi.
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