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| Dante Gabriel Rossetti Head of a young woman ca. 1863-65 drawing Cantor Center, Stanford University |
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| Dante Gabriel Rossetti Jane Morris asleep on a sofa ca. 1869-71 wash drawing Birmingham Museum and Art Gallery |
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| Dante Gabriel Rossetti La Donna della Finestra (Lady of Pity) 1881 oil on canvas Birmingham Museum and Art Gallery |
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| Dante Gabriel Rossetti The Loving Cup ca. 1867 watercolor Art Gallery of South Australia, Adelaide |
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| Dante Gabriel Rossetti The Loving Cup (compositional study) 1867 drawing Birmingham Museum and Art Gallery |
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| Dante Gabriel Rossetti Woman seated at embroidery frame 1870 drawing Birmingham Museum and Art Gallery |
Rossetti was born in 1828 and Degas in 1834. Proceeding from different cultural expectations and different niches within their cultures, both pursued the same fashionable nineteenth-century art-wish for fresh expression and personal distinction. United in that search – united even in the obsession to fulfill it by describing the forms of women – each yet found something quite different. Unalike as they remain, both also remain unmistakably of their day. There is no conspicuous evidence that they took any interest in each other.
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| Edgar Degas Breakfast - After the bath ca. 1895-98 pastel Fondation Beyeler, Switzerland |
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| Edgar Degas After the bath ca. 1895 pastel Phillips Collection, Washington DC |
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| Edgar Degas After the bath 1888-89 pastel Ny Carlsberg Glyptothek, Copenhagen |
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| Edgar Degas After the bath 1885 black chalk and pastel Nelson Atkins Museum of Art, Kansas City |
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| Edgar Degas After the bath ca. 1884-86 pastel Musée d'art moderne André Malraux, Le Havre |
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| Edgar Degas After the bath - woman drying her hair ca. 1895 drawing Kimbell Art Museum, Fort Worth, Texas |
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| Edgar Degas Le petit cabinet de toilette ca. 1878-80 drypoint gift from Degas to Camille Pissarro British Museum |
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| Edgar Degas Woman ironing begun 1876, completed 1887 oil on canvas National Gallery of Art, Washington DC |