Woman Combing Her Hair - Dante Gabriel Rossetti
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A portrait by Dante Gabriel Rossetti depicting a woman in a moment of quiet grooming, rendered in the artist's signature Pre-Raphaelite style.
Dante Gabriel Rossetti, a founding member of the Pre-Raphaelite Brotherhood, produced this work during his mature period. The painting displays his characteristic focus on the female figure, often featuring models with flowing, copper-toned hair and a sense of quiet introspection. The subject is captured in a private moment, engaged in the act of grooming, which allows the artist to explore textures and light across the hair and the fabric of the blouse.
Rossetti frequently utilised his models to embody specific aesthetic ideals. The composition is tight, focusing on the upper torso and head, which draws attention to the facial features and the decorative objects placed on the table. The inclusion of these items, such as the small vessels, adds a layer of domestic detail that contrasts with the dreamlike quality of the subject. The colour palette is dominated by warm, golden tones, which Rossetti used to create a sense of physical presence and sensory appeal.
Technically, the work shows the artist's move away from the strict naturalism of his early career toward a more subjective, symbolic style. The brushwork is soft, blending colours to create a smooth transition across the skin and hair. This approach reflects the aesthetic concerns of the mid-Victorian era, where the depiction of beauty and mood took precedence over narrative clarity. The painting remains a clear example of Rossetti's ability to construct a self-contained world within the frame, inviting the viewer to observe a moment of stillness. By focusing on the tactile qualities of the hair and the reflective surface of the mirror, Rossetti creates a composition that is both intimate and carefully staged for visual effect.
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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
Woman Combing Her Hair - 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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