Astarte Syriaca - Dante Gabriel Rossetti
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Beschreibung
A monumental 1877 oil painting by Dante Gabriel Rossetti, featuring the goddess Astarte flanked by two attendants in a ritualistic, atmospheric composition.
Astarte Syriaca, painted in 1877, represents the mature phase of Dante Gabriel Rossetti's career. The composition features the goddess Astarte as a monumental figure, flanked by two attendants who hold torches aloft. The central figure is modelled by Jane Morris, whose features appear frequently in Rossetti's later works. Her expression is fixed and enigmatic, gazing directly at the viewer while her hands manipulate a decorative girdle.
The painting is notable for its heavy use of green tones, which drape the figures in flowing, classical-style garments. Behind the central figure, a glowing, circular light source suggests a celestial or divine presence, contrasting with the shadowed, atmospheric background. The two attendants are positioned symmetrically, their heads tilted upwards towards the light, creating a sense of ritualistic movement. Rossetti's technique here relies on layered glazes to achieve the depth of colour seen in the fabric and the skin tones.
This work reflects the artist's interest in mythological subjects and his move away from the strict naturalism of his earlier Pre-Raphaelite period. The scale of the canvas and the deliberate stylisation of the figures align with the aesthetic concerns of the late Victorian era. The painting was commissioned by Clarence Fry and remains one of the most recognisable examples of Rossetti's late-period portraiture. The composition avoids traditional narrative, instead focusing on the symbolic weight of the goddess and the atmospheric quality of the scene. The heavy, velvet-like texture of the robes and the precise rendering of the jewellery demonstrate the attention to material detail that characterises much of Rossetti's output during the 1870s.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Astarte Syriaca - Dante Gabriel Rossetti
Artist Biography
Dante Gabriel Rossetti
He was born in London to an Italian political exile and named after the author of the Divine Comedy. His father was a professor of Italian at King's College. The household ran on poetry, politics, and argument. Rossetti wrote verse throughout his life and considered himself a poet as much as a painter.
His early paintings are small, bright, and meticulously detailed in the Pre-Raphaelite manner. The Girlhood of Mary Virgin and Ecce Ancilla Domini have the flat, jewelled quality of medieval altarpieces. After 1860 the style changed. The paintings became larger, more sensual, and dominated by the face and figure of Jane Burden, who was William Morris's wife.
The relationship between Rossetti, Morris, and Jane is one of the more uncomfortable triangles in art history. Morris married her. Rossetti painted her obsessively. She modelled for Proserpine, La Pia de' Tolomei, and dozens of other works in which she appears as a mythological woman trapped in an unwanted situation. Whether the affair was physical remains debated. Morris, characteristically, said nothing publicly and channelled his feelings into wallpaper.
Rossetti buried a manuscript of his poems in his wife Lizzie Siddal's coffin when she died of a laudanum overdose in 1862. Seven years later he had the coffin exhumed to retrieve them. He published the poems. He was addicted to chloral hydrate by then and increasingly paranoid. He died in 1882, at fifty-three.
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