The Beloved The Bride The King's Daughter Dante Gabriel Rossetti 1 ©Tate Gallery, London 2001 The Beloved The Bride The King's Daughter DGR 1865-1866; 1873 Arundel Club Feb. 21, 1866; R.A., 1883 (no.297); Walker Art Gallery, Liverpool, Grand Loan Exhibition, 1886 (no.843); Manchester, Royal Jubilee Exhibition, 1887 (no.700); R.A., Winter 1906 (no.117); R.A., 1973 (no.319); Tate 1984 (no.133) George Rae £300 Tate Gallery 3053 George Rae; Tate 1916 oil on panel 32 1/2 x 30 in. monogram 1865-66 The monogram and date are inscribed at lower left. Delaware Art Museum print. Mariller, <hi rend="i">DGR: An Illustrated Memorial</hi> , 140. Gowans and Gray, Masterpieces of DGR , 32. Surtees, A Catalogue Raisonné , plate 263. Angeli, DGR con 107 illustrazioni , 135. Marie Ford Marie Ford (wrongly called Miss Mackenzie by WMR) sat for the Bride. Ellen Smith The bridesmaid in the left foreground is Ellen Smith. Gabriel A mulatto girl, who appears in some of the sketches for this work, was eventually replaced by the little negro boy during the painting of the picture. Keomi The model for the figure on the right was Keomi, a gypsy, and paramour of Fredric Sandys. 1873 The painting was retouched in 1873, a repainting operation that including the replacement of the foremost figure, a brown mulatto girl, with a little negro boy. <artist/> <bibl/> <note/> </citnpictorial> <citnmythic> <name/> <culture/> <bibl/> <note/> </citnmythic> <citnhistorical> <event/> <place/> <date/> <bibl/> <note/> </citnhistorical> <citnautobiographical> <name/> <place/> <date/> <bibl/> <note/> </citnautobiographical> <citnscenic> <place/> <date/> <bibl/> <note/> </citnscenic> </listcitn> </source> <commentaries> <head>Commentary</head> <section type="intro"> <head>Introduction</head> <p/> </section> <section type="prodhist"> <head>Production History</head> <p>This is the repainting of the <xref doc="a.sa268.s182.rap">original oil</xref> completed in 1866. Rossetti substantially modified the <xref doc="a.sa268.s182.rap">original oil</xref> in 1873, work that concluded with this finished oil now displayed at the Tate. No reproduction of the original state is known to exist; however, Rossetti commissioned a <xref doc="a.sa266.s182.rap">photograph</xref> of the work while repainting was underway.</p> </section> <section type="recepthist"> <head>Reception</head> <p/> </section> <section type="icon"> <head>Iconograpic</head> <p/> </section> <section type="pictorial"> <head>Pictorial</head> <p>The negro boy is a clear borrowing from Manet's <xref doc="a.op67.rap"> <title level="pic"> <hi rend="i">Olympia</hi> . DGR saw the picture in Manet's studio during his 1864 trip to Paris.

Historical

Literary

The painting represents the bride of the Bible's <hi rend="i">Song of Songs</hi> unveiling for her lover. The pose identifies the viewer with Solomon and thus turns the picture into a study of art's erotic structure and function.

Autobiographical

Bibliographic

Angeli, DGR con 107 illustrazioni , 135. Ash, <hi rend="i">Dante Gabriel Rossetti</hi> . Benedetti, <hi rend="i">Dante Gabriel Rossetti</hi> , 254. Gowans and Gray, Masterpieces of DGR , 32. Marillier, <hi rend="i">DGR: An Illustrated Memorial</hi> , 140. Surtees, <hi rend="i">A Catalogue Raisonné</hi> , vol. 1, 104-105 (no. 182). Surtees, <hi rend="i">A Catalogue Raisonné</hi> , vol. 2, plate 263. Surtees, <hi rend="i">Diaries of George Price Boyce</hi> , 41-42.

My beloved is mine and I am his. Let him kiss me with the kisses of his mouth: For thy love is better than wine.

She shall be brought unto the king in raiment of needlework: the virgins that be her fellows shall bear her company, and shall be brought unto thee.These two Biblical texts are inscribed on the frame below the painting.