These top-quality Fine Art Prints are printed on 100 percent acid free cotton archival Fine Art Paper: fine art velvet or ultrasmooth, depending on paper size. Ultrachrome inks enhance the archival properties of the media ensuring a print life of many generations.
The prints are reproduced as accurately as possible based on the original paintings. The images are not distorted in any way to make them fit standard print sizes. The images are enlarged or reduced proportionally to fit as close to the standard size as possible. This means the images are not cropped and each print will have every detail of the original painting. Consequently most prints will have a white border which can be covered with matte board prior to framing.
All orders are custom printed and shipped flat in boxes for domestic orders. Our largest prints and International orders are shipped on rolls due to shipping size restrictions.
A very important note: Each print is custom made to order and is therefore non-returnable. In the unlikely event that the print has a production defect, it will be replaced with the same size reproduction of the same exact piece of artwork. There are no exceptions to this policy.
About this beautiful image –
Rossetti deliberately used a limited color range for this oil painting. The predominance of white, symbolic of virginity, is complemented by a vibrant blue (a color associated with Mary, though notably not used in The Girlhood of Mary Virgin in 1849) and red, for Christ's blood. Lilies are traditionally the symbol for Mary in Italian Renaissance art, but they are also considered funeral flowers, indicative of Christ's death.
Christina Rossetti posed for Mary but, as with her previous year's modeling, her brother altered her hair color; in this instance making it auburn to continue the red palette. William Rossetti posed for Gabriel.
This picture received mixed reviews. The most obvious break with tradition was Rossetti's choice of placing Mary in bed – her long nightgown suggestive of a newly-wed bride – woken by the angel; who is normally depicted as Mary prays. Also controvercial were Gabriel's wings (the flames at his feat suggest a classical influence) and his obvious nakedness, glimpsed through the side of his robe. Note also the dove's halo – although the Bible states that animals have no soul (Rossetti was a fervent animal lover, sharing his home with myriad animals, ranging from dormice to an armadillo) – and the difference between Mary's and Gabriel's haloes, which may have arisen because Mary's was painted in 1850 whereas Gabriel's was not added until 1853.
Hawksley, Lucinda. Essential Pre-Raphaelites, Paragon Publishing, 2002, pg. 26.
This painting by Dante Gabriel Rossetti depicts St. Gabriel addressing the Virgin Mary – it is in the Tate Gallery, London, England