Fine Art Poster
From $120
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.
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A Parable of Love - Dante Gabriel Rossetti
Regular price
$120.00 NZD
Sale price
$120.00 NZD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A detailed pen and ink drawing by Dante Gabriel Rossetti, depicting an artist at work in a domestic setting, characteristic of his early Pre-Raphaelite style.
A Parable of Love, executed by Dante Gabriel Rossetti in 1850, captures a moment of artistic creation within a domestic setting. The composition features a female painter at an easel, focused on a portrait, while a man stands behind her, observing the work. The scene is populated by additional figures, including a woman standing to the right and reflections in a mirror, which add layers to the narrative. Rossetti employs a dense, linear style characteristic of his early work with the Pre-Raphaelite Brotherhood, prioritising clear outlines and a focus on medievalist themes.
The drawing reflects the group's interest in the artist as a subject, often exploring the relationship between the creator and the muse. The clothing and interior details suggest a historical or romanticised setting, typical of the mid-nineteenth-century revival of interest in earlier artistic traditions. The use of pen and ink allows for a high degree of detail in the fabric patterns and the surrounding furniture, creating a sense of texture throughout the image. The mirror, a recurring device in Rossetti's work, provides a secondary perspective, allowing the viewer to see the faces of the figures from a different angle.
This work is a study in composition and character interaction. The figures are arranged to guide the eye across the frame, from the painter's hand on the canvas to the observers in the background. The lack of heavy shading emphasises the graphic quality of the ink lines, making the work appear as a finished illustration rather than a preliminary sketch. It remains a clear example of the early Pre-Raphaelite approach to storytelling through visual art, where every element contributes to the overall theme of affection and artistic endeavour.
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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. 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.
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
Complete The Look
A Parable of Love - Dante Gabriel Rossetti
Fine Art Poster / Small Square (30x30 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
From $250
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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