Dante G. Rossetti's Regina Cordium analysis

 

Above: Regina Cordium Drawing 1860

Above: Regina Cordium 1860 Oil on Canvas

Above: Regina Cordium 1866 Oil on Canvas

Key comparisons between the above images would be to focus in upon the gaze of the subject:

Initially the 1860 gaze is a general, almost averted gaze, showing some interest in the active male viewers phallic ownership, but offers a non confrontational, almost shying away – an effect further emphasised by the slight turning of the shoulders. In my initial criticism, using an earlier drawn version of the image, (included in fig.3) I noted that no barriers were between the object of desire and that of the viewer, and this gave reason for the non active / phallic response to the viewer: I.e. if the returning gaze was closer to that of the 1866 image, a direct and confrontational meeting of the male viewers eye, the risk of emasculation is great due to the female sexual power symbols (un-kept hair, red flushed lips, flower in bloom.) When considering the 1866 gaze, a direct meeting of the viewer, returning the eye with an equally punctive gaze, Rossetti supports his male viewer by offering him supportive signifiers, ensuring the retention of his phallic power. Managed hair, tamed nature in the form of ground trellis and a physical barrier in the form of a balcony / parapet all ensure that while this creature is clearly sexually powerful (roses in bloom, red full lips and folds of cloth provide this signification) the conventions of order imposed by the artist and the hegemony of societies gender norms, the ‘beast’ of female sexual power is tamed, the male viewer is safe to continue with his consumption. In the later painted version of the Regina cordium of 1860, featuring E.Siddall as the template, Rossetti has provided a safety barrier for his male audience, editing his original image. ‘Siddal’ (with reference to G.Pollock) has now been captured within the picture pane by a parapet, and the infinite background of the initial image has been replaced with an ordered gothic lattice, essentially encaging Siddal, an effect further emphasised by the chain like wrapping of the red necklace, securing her to the canvas.  

This drawing and the completed painting use E. Siddall as the template for the construction of icon, and to borrow from Pollocks hypothesis, the image shows ‘Siddal’ rather than being a portrait of Rossettii’s actual wife.

This lead to the continued hypothesis that the 1866 image included these barriers to allow for voyeuristic scopophilia, non emancipation and yet a direct interaction between icon and viewer. Symbols of phallic power are counteracted by restraining / removing immediacy, idealization of form yet still removes the icon away from any human template.  

Key textual sources:

Pollock.G(1988)Vision and Difference, Feminism, femininity and the histories of art. Routledge. second edition.UK

Gamman.L and Marshment.M(1988) The Female Gaze, Women as Viewers of Popular Culture. The Women's Press. UK