Joli Coeur - Dante Gabriel Rossetti
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Beschreibung
A portrait by Dante Gabriel Rossetti featuring a woman with auburn hair, painted in 1867 during his mature period.
Joli Coeur, painted in 1867, is a characteristic work by Dante Gabriel Rossetti, a founder of the Pre-Raphaelite Brotherhood. The title, French for 'Pretty Heart', refers to the heart-shaped pendant worn by the subject. The painting features a woman with auburn hair, a recurring aesthetic preference for the artist during this period. She is depicted in a half-length pose, her gaze directed towards the viewer with a sense of quiet contemplation.
Rossetti employs a dark, atmospheric background that pushes the figure forward, drawing attention to the textures of her clothing and the jewellery. The red of her garment complements the warm tones of her skin and hair. The inclusion of the heart-shaped pendant serves as a central visual element, anchoring the composition. The artist's monogram and the date are inscribed in the upper right corner, a common practice in his later works.
This piece reflects the shift in Rossetti's style towards more decorative and romanticised portraiture, moving away from the earlier, more rigid moralising subjects of the Pre-Raphaelite movement. The focus here is on mood, colour, and the idealised female form. The brushwork is controlled, allowing for a smooth finish that emphasises the soft quality of the skin and the sheen of the fabric. The work remains a clear example of the aesthetic concerns that occupied Rossetti in the late 1860s, where the pursuit of beauty and the exploration of romantic themes took precedence over narrative complexity. The painting is part of the collection at the Manchester Art Gallery, where it is preserved as an example of the artist's mature period.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
Joli Coeur - 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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