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
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£28.00 GBP
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£28.00 GBP
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Beschrijving
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.
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Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
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A Vision of Fiammetta - Dante Gabriel Rossetti
Normale prijs
Vanaf £28.00 GBP
Actieprijs
Vanaf £28.00 GBP
Normale prijs
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.
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Fine Art Framed
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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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