Romeo and Juliet, 1884 Sir Frank Bernard Dicksee (1853-1928)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Sir Frank Bernard Dicksee also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Romeo and Juliet is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

A curtain of deep red hangs like a held breath, its heavy pattern pressing close to the lovers. Against it, Juliet’s white gown falls in one long, liquid descent, pooling at her feet with the quiet inevitability of time running out. Frank Dicksee sets us right at the end of the balcony scene, in that suspended moment when Romeo says, “Farewell, farewell, one kiss and I’ll descend” – and you can almost hear how the night sounds when you don’t want it to move on.

Their faces meet in profile, tender but intent. Romeo, in ruby velvet and dark hair, braces himself on the stone ledge, one leg already swung over as if duty is dragging him downward. Juliet leans after him, arms looped around his neck, her whole body stretching toward delay. Notice how her sleeve catches the light: the paint thins into a milky sheen on the forearm, while the folds at her waist are built up with warmer, thicker touches. That shift in handling makes the fabric feel worn, lived-in, human – not just “beautiful.”

Dicksee’s medievalising romance is unmistakable: carved stonework, a spiral column wrapped in greenery, white blossoms at the left like a small, chaste chorus. Beyond the balcony, the world opens into pale sky and distant roofs, a cooler, calmer space that makes this embrace feel even more enclosed. Colour does much of the storytelling. Crimson and cream, leaf-green and stone-grey: desire and innocence, nature and architecture, private vow and public peril.

Pre-Raphaelite detail is in the air, though softened into late Victorian sweetness. One might think of Millais’s lovers for the clarity of contour and that staged intensity, yet Dicksee wants less bite and more sigh. Perhaps that is why the painting became so adored: it doesn’t argue with you. It simply holds you in the scented stillness of jasmine and night air, right before the inevitable drop.