Golden Tresses - Dante Gabriel Rossetti
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Beschreibung
A portrait by Dante Gabriel Rossetti from 1866, depicting a woman brushing her long, copper-toned hair amidst various domestic objects.
Dante Gabriel Rossetti painted Golden Tresses in 1866. This work belongs to the later period of his career, when he moved away from the narrative subjects of the early Pre-Raphaelite Brotherhood. Instead, he focused on the depiction of single female figures, often referred to as his stunners. These compositions prioritise mood, colour, and the sensuous qualities of the subject over complex storytelling.
The painting features a woman with voluminous, copper-toned hair, which she brushes with a small comb. Her gaze is directed away from the viewer, creating a sense of private contemplation. Rossetti uses a warm palette to define the texture of her hair, which cascades around her shoulders and frames her face. The figure wears a simple white garment, providing a contrast to the surrounding tones.
On the table in the foreground, Rossetti includes several objects that suggest a domestic setting. A hairbrush, a peacock feather, and blue-and-white porcelain vessels sit near a string of beads. These items serve as decorative elements, reflecting the artist's interest in aestheticism and the collection of curiosities. The background is dark, which pushes the figure forward and emphasises the luminosity of her hair and skin. The composition is tight, focusing the viewer's attention on the tactile nature of the scene. Rossetti's technique here relies on layered glazes to achieve the depth of colour seen in the hair. This piece is characteristic of his mid-Victorian output, where the focus is on the idealised feminine form and the decorative arrangement of objects within a confined space.
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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
Golden Tresses - 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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