Astarte Syriaca - Dante Gabriel Rossetti
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Descripción
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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Fabricación
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Cuidado y materiales
Características específicas
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- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
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Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
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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