Jacob's Dream - Raphael
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Beschreibung
A fine art print of Raphael's depiction of Jacob's vision, featuring the celestial ladder and angels from the Vatican Logge frescoes.
This composition depicts the biblical account of Jacob's vision, a narrative found in the Book of Genesis. Raphael designed this scene for the Vatican Logge, a series of open galleries within the Apostolic Palace. The work shows Jacob resting on the ground, his head supported by a stone, while a celestial ladder extends into the heavens. Angels ascend and descend this structure, connecting the earthly realm to the divine presence of God, who appears at the summit.
The artist employs a dramatic use of light and shadow to separate the sleeping figure from the ethereal vision. Jacob is positioned in the foreground, his form rendered with the anatomical precision characteristic of the High Renaissance. The surrounding clouds are heavy and dark, providing a contrast to the luminous path of the ladder. This visual arrangement directs the viewer's eye from the physical exhaustion of the sleeper to the spiritual activity occurring above him.
Raphael's approach to this subject avoids unnecessary clutter, focusing instead on the clarity of the narrative. The figures of the angels are balanced, moving with a sense of purpose that suggests a bridge between two worlds. The palette relies on muted earth tones for the landscape, which allows the brighter, warmer hues of the celestial light to dominate the upper portion of the scene. This work is part of a larger cycle of biblical stories executed by Raphael and his workshop, often referred to as Raphael's Bible. The execution demonstrates the technical mastery of the period, particularly in the handling of perspective and the integration of human figures into a complex, multi-layered environment. The print captures these details, offering a clear view of the composition's spatial depth and the subtle modelling of the forms.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
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
- 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
Jacob's Dream - Raphael
Artist Biography
Raphael
He was born in Urbino, the son of a painter. His father died when he was eleven, and by his teens he was already working in the studio of Perugino, whose smooth, symmetrical compositions gave Raphael his starting point. He surpassed Perugino quickly. He studied Leonardo's sfumato and Michelangelo's anatomical intensity and absorbed both without losing his own clarity. The Madonnas from his Florentine period (the Madonna of the Goldfinch, the Sistine Madonna) have a serene perfection that has been imitated for five hundred years and never matched.
Pope Julius II summoned him to Rome in 1508, the same year he commissioned Michelangelo for the Sistine ceiling. Raphael painted the Stanze della Segnatura: four rooms in the Vatican whose frescoes include The School of Athens, the single most famous image of classical philosophy. Plato and Aristotle walk through an ideal architecture surrounded by every major thinker of the ancient world. Raphael painted Michelangelo into the scene as Heraclitus, brooding alone on the steps. Michelangelo was furious.
He ran a large workshop that produced portraits, altarpieces, tapestry designs, and architectural plans. He was appointed architect of St Peter's Basilica. He was charming, diplomatic, and universally liked, which made Michelangelo dislike him even more.
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