Ecce Ancilla Domini! - Dante Gabriel Rossetti
Giclée de archivo
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Pago seguro
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Descripción
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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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- 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
- Las impresiones enmarcadas llegan listas para colgar
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- Evite la luz solar directa prolongada
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- Manténgala en un lugar seco y a temperatura ambiente
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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
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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