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.
The Blue Closet - Dante Gabriel Rossetti
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£28.00 GBP
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£28.00 GBP
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Beschrijving
A dreamlike 1857 watercolour by Dante Gabriel Rossetti, featuring four figures playing a medieval instrument against a decorative blue-tiled background.
The Blue Closet is a watercolour painted by Dante Gabriel Rossetti in 1857. It depicts four women playing a musical instrument, often identified as a clavichord or a similar medieval keyboard, within a confined, decorative space. The composition is notable for its flattened perspective and the heavy use of pattern, particularly the blue-tiled wall that gives the work its name. The figures wear medieval-inspired garments, a common trope in Rossetti's work during this period, which reflects his interest in Arthurian legend and romanticised history.
The scene possesses a dreamlike quality, typical of Rossetti's mid-career output. The two central figures focus on the instrument, while the two flanking women stand as observers or participants, holding musical scores. The colour palette is dominated by deep blues, muted greens, and warm ochres, creating a sense of enclosure. The instrument itself is decorated with gold leaf and symbols, adding to the ornamental nature of the piece. The overall effect is one of stillness and quiet intensity, rather than narrative action.
Rossetti's approach to this work demonstrates his departure from the strict naturalism of the early Pre-Raphaelite movement towards a more subjective, symbolic style. The work was created during a period when Rossetti was heavily influenced by the writings of William Morris, who later purchased the painting. The blue tiles in the background are a recurring motif in Rossetti's work, often used to create a sense of shallow, stage-like space. This print captures the delicate texture of the original watercolour, preserving the subtle layering of pigment and the specific tonal qualities that define Rossetti's aesthetic during the late 1850s.
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Productie
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-print van museumkwaliteit voor rijke, kleurvaste kleuren
- Archiefbestendig mat fine-art papier, FSC-gecertificeerd
- Diverse formaten en inlijstopties beschikbaar
- Lijsten in zwart, naturel hout, donker hout of wit
- Ingelijste prints worden klaar om op te hangen geleverd
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- Stof voorzichtig af met een zachte, droge doek
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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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The Blue Closet - 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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