very interesting ( )

Prior to reading the book I had some basic knowledge of the PRBs and their associates and lives, but had never read anything in depth. Hawksley does a remarkably good job of vilifying no one while honestly portraying the character flaws of both Lizzie Siddal and Dante Rossetti.

The book is not organized strictly chronologically, so there are some repetitions and some cryptic and confusing statements that don't make sense until you reach a more thorough exploration of the topic later in the book. I would have liked either an author's forward or note that credited the major sources, since she doesn't include in text citations. There are end notes, but they are rather vague and were of limited assistance. There is a bibliography at the end and an index which are nice additions.

Given the lack of citations it is sometimes hard to tell when the author is presenting a commonly accepted premise, a particular author's conclusions, or an original idea or interpretation.

I particularly enjoyed her use of textual and artistic analysis (the poems and artwork of both Siddal and Rossetti) as support for her interpretations. This is, of course, quite subjective, but I think it's valid as long as it's treated as reasonable extrapolation and interpretation as opposed to immutable fact.

While Hawksley touches on the lack of opportunities for women and people of the lower classes, I wouldn't describe it as either a feminist or socialist work. I don't see this as a flaw; this is just a comment.

Given the subtitle of the book, I did wish that Hawksley had elaborated more on the concept of the supermodel or cults of personality. This is mentioned in passing and in conclusion in the work, but is not addressed directly. Because of Lizzie's laudanum addiction, I did draw some parallels with the story of 1980s model Gia Carangi, and with waif-chic/heroin-chic concepts in the modern fashion world. But I would have enjoyed an exploration of this idea, rather than just a bald statement that Lizzie was the first.





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great book, tragic life, complicated love story, gorgeous paintings. ( )

This is a decent, if not a very in-depth biography of Lizzie Siddal and her part in the Pre-Raphaelites movement.
Before reading this I really knew next to nothing about Lizzie Siddal beyond her name and image from the paintings she modeled for and sadly I was not terribly surprised that her life was not the most ideal.

I mentioned that this didn't feel like a very in-depth look at Lizzie Siddal's life, which I suspect has much to do with how little documentation there is about her as women weren't considered very worthy of attention and documentation in the Victorian era, especially when surrounded by the many self-involved men that made up much of the PRB art movement.
I also felt the book romanticized her and her life a bit more than most biographies so but in this case I don't actually consider that a failing since there wasn't much to work with and the author really made her feel real and sympathetic when there wasn't much to work with.

My biggest complaint is one I often have with books that involve artists and their works in that there were not enough images of the works described, they don't always have to be color plates, but if you take the time to describe and art work in detail please include an image of it. Much of the impact of the work in the narrative is lost if you can't see it.

I enjoyed this but would recommend it to fans of art history or people interested in Victorian history as well.

I enjoyed this but would recommend it to fans of art history or people interested in Victorian history as well. ( )

I love and I am fascinated by the sheer beauty and detail of Pre-Raphaelite art.
I abhor self-centered, egotistical men, manipulative, conniving women, and the hypocritical Victorian era.
This book combined a tale of some of the things I love and some of those I detest.

From the poorer socioeconomic scale, the former hat shop girl Lizzie Siddal was hauntingly beautiful. Hers was the face used by many of the Pre-Raphaelite artists. Waif like and mesmerizing, Lizzie captured the hearts of many, but loved only one.

From the higher echelons, Dante Gabriel Rosseti, was talented, handsome and egotistical.

Both were highly creative and self destructive. Enmeshed in a very unhealthy relationship, theirs was a downward spiral of laudanum and alcohol. Victorian norms frowned upon marriage beneath ones social standard. Thus, Rossetti willingly lived with Lizzie, keeping her as a mistress, but hid her from his family.

When philandering Rossetti strayed into the arms of two of his models, namely Jane Burden Morris and Fanny Cornforth, Lizzie cunningly manipulated Rossetti with her self-imposed illness.

While at times the writing seemed to drag, this is a well researched and interesting snap shot of the Victorian era and the incredible art that was produced during the time. ( )