Lucrezia Borgia - Dante Gabriel Rossetti
Archival giclée
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Description
A detailed watercolour by Dante Gabriel Rossetti, depicting the historical figure of Lucrezia Borgia in a tense, atmospheric interior scene.
Dante Gabriel Rossetti produced this watercolour in 1860, depicting the infamous Lucrezia Borgia. The composition presents a domestic scene that contrasts with the historical reputation of the subject. Lucrezia is shown washing her hands, a gesture that carries symbolic weight regarding her alleged involvement in poisoning. She is surrounded by figures who appear to be members of her court, creating a sense of claustrophobic luxury. The figures are rendered with the characteristic attention to period costume and psychological tension associated with the Pre-Raphaelite movement. Rossetti employs a muted palette, relying on deep tones and soft light to define the interior space. The figures are arranged in a manner that suggests a staged narrative, common in his literary and historical subjects. The focus remains on the central figure of Lucrezia, whose expression is enigmatic. Her attire, featuring detailed patterns and textures, demonstrates the artist's interest in historical accuracy and decorative elements. The background includes architectural details that ground the scene in a Renaissance setting, while the overall handling of the medium reflects the artist's skill in layering washes to build depth and atmosphere. This work is part of a series of studies and finished pieces where Rossetti explored the lives of historical women. By choosing Lucrezia Borgia, he engaged with the Victorian fascination for the Italian Renaissance and the moral ambiguity of its figures. The print captures the specific texture of the original watercolour, preserving the delicate brushwork and the interplay of shadow and light that defines the piece. It offers a view into the artist's method of combining historical research with his own imaginative interpretation of character.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Lucrezia Borgia - Dante Gabriel Rossetti
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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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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