A study of Mrs Frederick Leyland, bust-length, for ‘Monna Rosa’ 1867

Curator: Rossetti's 1867 pencil study, "A study of Mrs Frederick Leyland, bust-length, for ‘Monna Rosa’", holds a delicate, almost wistful presence, doesn’t it? Editor: It does. The subtle reddish-brown chalk gives her an ethereal, slightly melancholy air. The upward gaze intensifies that mood, almost like she is seeking inspiration from a higher plane. Curator: The Pre-Raphaelites were always invested in romantic idealism, particularly idealizing female beauty. Mrs. Leyland was a significant patron of the arts and society hostess, making her image and its circulation a vital act in itself. She embodied an ideal, one Rossetti tried to capture here. Editor: Certainly. I see her dress is suggested rather than rendered fully, shifting our attention away from wealth or class. Instead, Rossetti draws out this timeless archetype of womanhood, even connecting her to Renaissance ideals if we consider the 'Monna Rosa' reference. The sketchiness contributes to this idealized vision, as if perfection is forever out of reach. Curator: It is crucial to observe Rossetti’s handling of Mrs Leyland’s hair. The elaborate arrangement, precisely detailed, is a direct nod to the Pre-Raphaelite aesthetic, reminiscent of paintings by Jan van Eyck or Botticelli. That detail underscores their pursuit to synthesize both the historical and mythical. Editor: Absolutely, but I can't ignore the power of such limited means, this fragile drawing acting almost like a relic. The simple choice to work with pencil—a medium so easily erased, altered, revised—emphasizes a feeling of ephemerality, how fleeting beauty can be. It almost turns this intimate portrait into a memento mori. Curator: The use of sanguine chalk softens the impact considerably though, I believe. It's intriguing how a preliminary sketch can evoke such layered emotional responses. It speaks volumes about the artistry with which Rossetti captured something deeply resonant in Mrs. Leyland's features. Editor: Agreed. I see the Rossetti’s fascination with archetypes is still accessible today and her haunting gaze really does leave you pondering the image.