Ecce Ancilla Domini! - Dante Gabriel Rossetti
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Beschreibung
A seminal Pre-Raphaelite work, this painting offers a stark, unconventional interpretation of the Annunciation, focusing on the human reaction to the divine.
Dante Gabriel Rossetti painted Ecce Ancilla Domini! (The Annunciation) during the early years of the Pre-Raphaelite Brotherhood. The work departs from traditional Victorian depictions of the subject, which often favoured theatricality and heavy ornamentation. Instead, Rossetti presents a stark, claustrophobic scene. The Virgin Mary is shown huddled on a low bed, her expression one of trepidation rather than serene acceptance. The angel Gabriel stands before her, offering a lily, while a dove representing the Holy Spirit descends towards her.
The colour palette is deliberately restricted. White dominates the composition, symbolising purity, while the blue curtain and the red embroidery on the frame provide the only significant chromatic contrast. This choice reflects the artist's desire to return to the simplicity and directness of early Italian art, moving away from the dark, muddy tones common in the Royal Academy at the time. The composition is compressed, pushing the figures into the foreground and creating a sense of immediate, personal encounter.
Rossetti used his sister, Christina Rossetti, as the model for the Virgin Mary, and his friend, the painter Walter Deverell, for the angel. The painting was initially met with harsh criticism upon its exhibition in 1850, as viewers found the unconventional treatment of the sacred subject unsettling. The work remains a primary example of the early Pre-Raphaelite aesthetic, which prioritised linear clarity and a rejection of established academic conventions in favour of a more raw, honest approach to narrative painting.
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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
Ecce Ancilla Domini! - 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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