The Salutation of Beatrice - Dante Gabriel Rossetti
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Description
A detailed diptych by Dante Gabriel Rossetti, depicting the romantic and spiritual encounters between Dante and Beatrice as described in the Vita Nuova.
Dante Gabriel Rossetti painted The Salutation of Beatrice in two parts, reflecting his lifelong fascination with the works of Dante Alighieri. The composition is structured as a diptych, framed by wooden panels that incorporate Latin and Italian inscriptions. These texts draw directly from the Vita Nuova, the autobiographical work in which Dante recounts his spiritual and romantic devotion to Beatrice Portinari.
The left panel depicts the first meeting of the two figures in Florence. Dante, dressed in a red cloak, observes Beatrice as she walks with her companions. The scene captures a moment of quiet observation, typical of the Pre-Raphaelite interest in medieval literature and courtly love. The right panel shows a later, more symbolic encounter within a garden setting, often referred to as the Hortus Eden. Here, the figures are surrounded by dense foliage and floral details, suggesting a transition from earthly reality to a more spiritual or allegorical realm.
Rossetti employs a specific colour palette, favouring deep reds, forest greens, and muted earth tones to evoke a sense of historical authenticity. The figures possess the characteristic features found in much of his work, including elongated necks and expressive, melancholic faces. The inclusion of an angel in the central dividing panel serves to bridge the two narratives, reinforcing the theme of divine intervention in human affection. This work demonstrates the artist's meticulous approach to composition, where every element, from the costumes to the surrounding flora, is designed to support the literary narrative. The painting remains a primary example of the Victorian obsession with medievalism and the romanticisation of the Italian Renaissance, filtered through the specific aesthetic sensibilities of the Pre-Raphaelite circle.
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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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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
The Salutation of Beatrice - 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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