The Last Kiss of Romeo and Juliet - Francesco Hayez
Archival giclée
Ready to hang
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Description
A classic Romantic depiction of the final parting between Romeo and Juliet, rendered with the precise detail and emotional focus characteristic of Francesco Hayez.
Francesco Hayez, a leading figure of the Italian Romantic movement, produced this interpretation of Shakespeare's tragedy in 1823. The composition captures the final, fleeting moment between the two protagonists before Romeo departs for exile. Hayez focuses on the emotional intensity of the embrace, placing the figures within a structured architectural setting that suggests the interior of a medieval chamber. The artist employs a precise, academic technique, which contrasts with the dramatic subject matter typical of the Romantic period. The lighting is carefully managed to draw attention to the central figures, while the surrounding environment remains somewhat subdued. Romeo is depicted in period-appropriate attire, his posture suggesting a hurried departure, while Juliet is rendered in a simple, flowing gown. The inclusion of subtle details, such as the crucifix in the background and the arched window looking out onto a distant landscape, adds a layer of narrative depth to the scene. Hayez was known for his ability to blend historical accuracy with emotional resonance. This work demonstrates his skill in managing complex compositions while maintaining a clear focus on the human interaction at the centre of the frame. The palette is composed of muted earth tones, punctuated by the warmer hues of the clothing, which helps to ground the figures within the space. By choosing to depict this specific moment of separation, Hayez avoids the more violent aspects of the play, opting instead for a quiet, intimate portrayal of loss. This approach allows the viewer to engage directly with the psychological state of the characters, free from the distraction of broader theatrical action.
Return policy
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.
Shipping
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.
The Last Kiss of Romeo and Juliet - Francesco Hayez
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
Francesco Hayez
Hayez was born in Venice in 1791, the youngest of five sons. His father was a fisherman of French origin; his mother came from Murano. The family was poor enough that the boy was placed with an uncle, the antiquarian Giovanni Binasco, who hoped to train him as a restorer. Instead, Hayez won a scholarship to the Accademia di San Luca in Rome in 1809, where he spent long hours studying Raphael in the Vatican Stanze and visiting the workshop of the sculptor Antonio Canova.
He settled in Milan in 1820 and became the leading figure of Italian Romanticism. His large historical paintings, depicting subjects from medieval Italian history, functioned as allegorical commentary on the Risorgimento, the movement for Italian unification. The use of historical costume allowed him to evade Austrian censorship while communicating patriotic ideas that his Milanese audience decoded without difficulty.
In 1850 he became director of the Brera Academy, a position he held for decades. He rarely signed or dated his works, and often painted the same composition multiple times with minimal variation, which has complicated scholarly assessment. He died in Milan in 1882, at ninety, having witnessed the unification he had painted.
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