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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.
The Passover in the Holy Family: Gathering Bitter Herbs - Dante Gabriel Rossetti
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
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Description
A detailed watercolour by Dante Gabriel Rossetti depicting the Holy Family preparing for the Passover, showcasing the artist's characteristic Pre-Raphaelite style.
This watercolour by Dante Gabriel Rossetti depicts a domestic scene from the life of the Holy Family, specifically focusing on the preparation for the Passover. The composition shows the Virgin Mary gathering bitter herbs, while the young Christ child assists in the task. Zacharias stands in the background, and a young John the Baptist is positioned near the foreground. The work reflects the Pre-Raphaelite interest in medievalism and the humanisation of biblical figures through everyday activities.
Rossetti employs a muted palette, dominated by the deep blue of the Virgin's mantle and the earthy tones of the setting. The figures are rendered with a focus on linear clarity, a hallmark of the early Pre-Raphaelite style. The scene is set within a rustic structure, with the unfinished areas of the paper visible on the left side, providing insight into the artist's working process. The inclusion of the cross in the lower left serves as a symbolic foreshadowing of the Passion, a common device in religious art of this period.
Unlike the highly polished oil paintings of the era, this watercolour retains a sense of immediacy and sketch-like quality. The figures are arranged in a tight, vertical composition that emphasises their interaction within the confined space. The attention to detail in the drapery and the naturalistic depiction of the plants demonstrates Rossetti's technical precision. This piece remains a significant example of his mid-career output, illustrating his ability to blend theological narrative with intimate, human-centred observation. The work is currently held in the collection of the Tate Gallery, London, and is often studied for its thematic connection to other works in the artist's religious series.
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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.
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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
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- Dust gently with a soft, dry cloth
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- Keep in a dry, room-temperature space
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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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The Passover in the Holy Family: Gathering Bitter Herbs - Dante Gabriel Rossetti
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
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
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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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