Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
A Vision of Fiammetta - Dante Gabriel Rossetti
Prezzo originale
£28.00 GBP
Prezzo scontato
£28.00 GBP
Prezzo originale
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A Vision of Fiammetta by Dante Gabriel Rossetti, featuring a central female figure surrounded by apple blossoms in a classic Pre-Raphaelite style.
A Vision of Fiammetta depicts a central female figure, modelled by Marie Spartali Stillman, surrounded by apple blossoms. The subject is Fiammetta, a figure from the writings of Giovanni Boccaccio. Rossetti portrays her in a flowing red garment, which contrasts with the dark background and the pale pinks of the surrounding flowers. A bird, often interpreted as a dove or a symbol of the spirit, rests above her head, while a golden halo-like circle frames her face. This composition reflects the artist's later period, where he focused on single, iconic female figures often associated with literary or mythological themes.
The painting demonstrates the characteristic Pre-Raphaelite attention to detail, particularly in the rendering of the apple blossoms and the texture of the fabric. The pose is deliberate, with one arm raised to hold a branch and the other resting against her body, creating a sense of stillness. The inclusion of a heart-shaped charm on her bracelet adds a personal, symbolic layer to the work, a common feature in Rossetti's portraiture. The lighting is focused on the subject, drawing the viewer's eye to her expression and the delicate features of her face.
Rossetti completed this work in 1878, during a time when his health was in decline, yet his output remained focused on these highly stylised, romanticised figures. The painting is a clear example of his move away from the narrative complexity of his earlier works towards a more singular, atmospheric approach. The use of colour is controlled, with the deep red of the dress acting as the primary visual anchor against the muted tones of the foliage. This print captures the specific tonal qualities of the original oil painting, allowing for a close examination of the brushwork and the subtle gradations of light across the subject's features.
Politica di reso
Poiché ogni stampa è realizzata su ordinazione, non offriamo resi, rimborsi o cambi in caso di ripensamento. Se il tuo ordine dovesse arrivare difettoso, danneggiato o errato, lo sostituiremo gratuitamente: ti basterà contattarci entro 48 ore dalla consegna. Consulta la nostra pagina sui rimborsi per tutti i dettagli.
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Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
Per mantenere la tua opera d'arte al meglio:
- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Completa il Look
A Vision of Fiammetta - Dante Gabriel Rossetti
Prezzo originale
Da £28.00 GBP
Prezzo scontato
Da £28.00 GBP
Prezzo originale
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Dante Gabriel Rossetti
Rossetti was the engine of the Pre-Raphaelite Brotherhood. He co-founded it in 1848 with Holman Hunt and John Everett Millais, writing the manifesto, recruiting members, and generating the intensity that held the group together. He was nineteen. The name was deliberately provocative: they wanted to reject everything after Raphael, which was most of Western art.
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.
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.
Made to order
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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