King René's Honeymoon - Dante Gabriel Rossetti
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Beskrivning
A romantic watercolour by Dante Gabriel Rossetti, depicting King René of Anjou and his wife at a portative organ, originally designed for a cabinet panel.
Dante Gabriel Rossetti produced this work in 1861 as a design for a stained-glass panel. The subject depicts King René of Anjou and his wife, Isabella of Lorraine, sharing a moment of intimacy while seated at a portative organ. The composition reflects the Pre-Raphaelite interest in medieval themes, focusing on the domestic life of historical figures rather than their political or military achievements.
The visual arrangement is dense, with the figures positioned closely together. The woman is shown playing the organ, her hands resting upon the keys, while the king leans in toward her. Rossetti employs a warm, saturated palette, dominated by deep reds and muted greens, which creates a sense of enclosure. The background features a patterned textile, a common device in Rossetti's work to flatten the pictorial space and draw attention to the figures in the foreground. The attention to detail in the clothing and the musical instrument demonstrates the artist's focus on historical accuracy, a hallmark of his approach to decorative arts during this period.
This piece was originally commissioned by the firm Morris, Marshall, Faulkner & Co. for the decoration of a cabinet. It is a clear example of the Pre-Raphaelite desire to integrate fine art into the domestic environment. The work avoids the grand scale of history painting, opting instead for a quiet, personal scene that emphasises the connection between the two figures. The use of watercolour allows for a soft, luminous quality that complements the romantic nature of the subject. The composition remains focused on the interaction between the couple, with the organ acting as a physical bridge between them. The work is a representative example of the aesthetic values held by the circle surrounding Rossetti and William Morris during the mid-nineteenth century.
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Care and materials
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
- Multiple sizes and framing options available
- 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
King René's Honeymoon - 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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