Once payment is complete, the download link will be sent to your payment email.
Public Domain Content: Free for Personal & Commercial Use.
Artwork Story
Dante Gabriel Rossetti’s Lady Lilith (1867) captures the biblical figure of Adam’s first wife in a mesmerizing, almost hypnotic pose. She gazes into a hand mirror, her cascading red hair framing a face of serene self-absorption, while her loose, flowing gown hints at both sensuality and untamed nature. The painting brims with symbolic details—wild roses tangled in her hair, a poppy in her hand—suggesting beauty intertwined with danger. Rossetti’s rich colors and meticulous attention to texture create an intoxicating blend of allure and mystery, reflecting the Pre-Raphaelite fascination with femme fatales and mythological themes.
The work subverts traditional depictions of Lilith, often portrayed as a demonic figure, by presenting her as a figure of quiet power. The mirror, a recurring motif in Rossetti’s art, becomes a tool of self-possession rather than vanity. Background foliage seems to pulse with life, as if the natural world bends to her presence. There’s an unsettling harmony between her delicate features and the untamed wilderness around her, blurring the line between enchantress and elemental force.
Dante Gabriel Rossetti (1828–1882), English, A founding member of the Pre-Raphaelite Brotherhood, this painter and poet fused medieval revivalism with lush, sensuous modernity, creating works that oscillate between sacred and profane. His art reveled in vivid color, intricate detail, and a haunting emotional intensity, often drawing from literature—Dante, Shakespeare, and Arthurian legend—to explore themes of love, death, and redemption. Women, frequently depicted with flowing hair and enigmatic expressions, dominated his canvases; they were neither passive muses nor mere beauties but complex symbols of desire and melancholy. Life and art blurred in his world. His wife, Elizabeth Siddal, became both collaborator and tragic figure, her early death immortalized in *Beata Beatrix*, a painting that transfigured grief into transcendent beauty. Later, his obsession with Jane Morris, wife of William Morris, fueled a series of portraits where longing and guilt seeped through the gilded frames. Though criticized for his "fleshly" style—a term flung by detractors—his work influenced Symbolists and Aesthetes, bridging Romanticism and the avant-garde. Beyond painting, his poetry echoed similar preoccupations: ornate, rhythmic, and steeped in melancholy. By the end of his life, addiction and declining health shadowed his output, yet even his later works retained a hypnotic power. Today, his legacy endures as a paradox—both a Victorian moralist and a subversive sensualist, forever caught between heaven and desire.
-full.webp "Boy in Boat, Gloucester (1880–1881) by Winslow Homer")
-full.webp "Zirkusreiterin in der Manege (circa 1935) by Brynolf Wennerberg")
-full.webp "Original water-colour drawings of birds and eggs Pl.02 (1763) by John William Lewin")
-full.webp "Peasant Woman Binding Sheaves (After Millet) by Vincent van Gogh")
-full.webp "Roses. Marie Krøyer seated in the deckchair in the garden by Mrs Bendsen’s house (1893) by Peder Severin Krøyer")
-full.webp "Wheatfield With Cornflowers (1890) by Vincent van Gogh")
-full.webp)