Fine Art Poster
From £37
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.
Der Heilige Franziskus in der Wüste – Giovanni Bellini
Regulärer Preis
£37.00 GBP
Angebotspreis
£37.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
Giovanni Bellinis „Der Heilige Franziskus in der Wüste“ fängt einen Moment spiritueller Ekstase in einer detailreich ausgeführten Renaissance-Landschaft ein. Dieser Kunstdruck bringt einen Hauch zeitloser Eleganz und ruhiger Kontemplation in jeden Raum.
Giovanni Bellinis „Der Heilige Franziskus in der Wüste“, um 1480 gemalt, ist ein Meisterwerk der Frührenaissance, das die Meisterschaft des Künstlers in Licht, Farbe und Landschaft zeigt. Das Gemälde stellt den Heiligen Franz von Assisi in einem Moment spiritueller Ekstase dar, eingebettet in eine detailreich ausgeführte italienische Landschaft. Bellinis akribische Naturbeobachtung, kombiniert mit seinem innovativen Einsatz von Ölfarben, schafft eine leuchtende und atmosphärische Szene. Das felsige Gelände, die ferne Stadt und die sorgfältig platzierten Pflanzen tragen alle zu einem Gefühl tiefer Kontemplation bei. Die demütige Gestalt des Heiligen, gebadet in göttlichem Licht, steht in starkem Kontrast zur Großartigkeit der Natur und unterstreicht die Themen Glaube, Demut und die göttliche Präsenz in der Natur. Dieser Kunstdruck in Museumsqualität fängt die feinen Nuancen von Bellinis Originalwerk ein und ist somit eine ideale Ergänzung für jedes Zuhause. Sein zeitloses Thema und exquisite Details bringen einen Hauch von Renaissance-Eleganz in Ihr Wohnzimmer, Arbeitszimmer oder Flur. Die harmonische Farbpalette und die ruhige Atmosphäre des Gemäldes schaffen eine beruhigende und erhebende Umgebung, perfekt für Kontemplation und Entspannung. Stellen Sie diesen Druck aus, um die Schönheit der italienischen Renaissance zu würdigen und Ihrem Wohnraum eine Note spiritueller Tiefe zu verleihen.
Rückgaberecht
Da jeder Druck auf Bestellung gefertigt wird, bieten wir keine Rücksendungen, Rückerstattungen oder Umtausche aufgrund von Meinungsänderungen an. Sollte Ihre Bestellung fehlerhaft, beschädigt oder falsch ankommen, ersetzen wir sie kostenlos – kontaktieren Sie uns einfach innerhalb von 48 Stunden nach Lieferung. Vollständige Details finden Sie auf unserer Rückerstattungsseite.
Versand
Wir versenden weltweit und drucken im Produktionszentrum in der Nähe Ihrer Lieferadresse. Lieferzeiten und -kosten variieren je nach Zielort – die Ihnen zur Verfügung stehenden Optionen werden Ihnen an der Kasse angezeigt.
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.
Look vervollständigen
Der Heilige Franziskus in der Wüste – Giovanni Bellini
Regulärer Preis
Ab £30.00 GBP
Angebotspreis
Ab £30.00 GBP
Regulärer Preis
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Giovanni Bellini
Bellini ran the most important painting workshop in Venice for over half a century. Whether he was the son or the younger brother of Jacopo Bellini has been debated by scholars since Daniel Maze challenged the traditional assumption; what is not debated is that by the 1470s, Giovanni had surpassed everyone in the family. His older brother Gentile was more famous during their lifetimes, but that ranking has been reversed for centuries.
His brother-in-law was Andrea Mantegna, who married Jacopo's daughter Nicolosia. The two men influenced each other constantly: Mantegna's hard, sculptural line pushed Bellini toward precision, while Bellini's instinct for colour and atmosphere gradually softened Mantegna's edges. The dialogue between them is one of the most productive in Renaissance art.
He transformed Venetian painting by introducing oil glazes over tempera, a technique he adapted from Antonello da Messina after Antonello visited Venice in 1475. The new method allowed him to build up translucent layers of colour that captured the specific quality of Venetian light: soft, diffused, reflected off water. Before Bellini, Venetian painters worked in the dry, linear style of the rest of Italy. After Bellini, Venice had its own tradition.
Titian and Giorgione both came through his workshop. Titian may have caused him some annoyance; their professional relationship was complicated. But Bellini was painting into his eighties, still the official painter of the Venetian Republic, and still producing work that held its own against pupils forty years younger.
When Albrecht Durer visited Venice in 1505, he said Bellini was very old but still the greatest artist of them all.
His brother-in-law was Andrea Mantegna, who married Jacopo's daughter Nicolosia. The two men influenced each other constantly: Mantegna's hard, sculptural line pushed Bellini toward precision, while Bellini's instinct for colour and atmosphere gradually softened Mantegna's edges. The dialogue between them is one of the most productive in Renaissance art.
He transformed Venetian painting by introducing oil glazes over tempera, a technique he adapted from Antonello da Messina after Antonello visited Venice in 1475. The new method allowed him to build up translucent layers of colour that captured the specific quality of Venetian light: soft, diffused, reflected off water. Before Bellini, Venetian painters worked in the dry, linear style of the rest of Italy. After Bellini, Venice had its own tradition.
Titian and Giorgione both came through his workshop. Titian may have caused him some annoyance; their professional relationship was complicated. But Bellini was painting into his eighties, still the official painter of the Venetian Republic, and still producing work that held its own against pupils forty years younger.
When Albrecht Durer visited Venice in 1505, he said Bellini was very old but still the greatest artist of them all.
Unsere Funktionen
Entwickelt für nachhaltige Wirkung
Besondere Eigenschaften
Jedes Solis-Stück wird auf Bestellung mit archivtauglichen Materialien in Galeriequalität gefertigt, die für eine lange Lebensdauer ausgelegt sind.
- Giclée-Druck in Museumsqualität für satte, lichtbeständige Farben
- Mattes Fine-Art-Papier in Archivqualität, FSC-zertifiziert
- Mehrere Größen und Rahmenoptionen verfügbar
- Rahmen in Schwarz, Naturholz, dunklem Holz oder Weiß
- Gerahmte Drucke werden fertig zum Aufhängen geliefert
Pflege & Reinigung
Damit Ihr Kunstwerk optimal aussieht:
- Vorsichtig mit einem weichen, trockenen Tuch abstauben
- Längere direkte Sonneneinstrahlung vermeiden
- Niemals flüssige Reiniger auf Druck- oder Leinwandoberflächen verwenden
- An einem trockenen Ort bei Raumtemperatur aufbewahren
- Drucke mit sauberen, trockenen Händen anfassen
Material & Größe
Museums-Giclée-Druck auf FSC-zertifiziertem, archivbeständigem, mattem Papier, wahlweise mit Rahmen oder als Leinwand.
- Papierformate: A4, A3, A2, A1, A0 und B2 (50×70 cm)
- Leinwand: XS (20×30 cm) bis Large (60×90 cm)
- Rahmen: Schwarz, Naturholz, dunkles Holz oder Weiß
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £59
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.
Premium Box Frame
From £95
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From £30
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From £135
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
Warum uns wählen?
Garantie für beschädigungsfreie Lieferung
Schneller Versand
Museumsreife Materialien
Biografie des Künstlers
Giovanni Bellini
Bellini ran the most important painting workshop in Venice for over half a century. Whether he was the son or the younger brother of Jacopo Bellini has been debated by scholars since Daniel Maze challenged the traditional assumption; what is not debated is that by the 1470s, Giovanni had surpassed everyone in the family. His older brother Gentile was more famous during their lifetimes, but that ranking has been reversed for centuries.
His brother-in-law was Andrea Mantegna, who married Jacopo's daughter Nicolosia. The two men influenced each other constantly: Mantegna's hard, sculptural line pushed Bellini toward precision, while Bellini's instinct for colour and atmosphere gradually softened Mantegna's edges. The dialogue between them is one of the most productive in Renaissance art.
He transformed Venetian painting by introducing oil glazes over tempera, a technique he adapted from Antonello da Messina after Antonello visited Venice in 1475. The new method allowed him to build up translucent layers of colour that captured the specific quality of Venetian light: soft, diffused, reflected off water. Before Bellini, Venetian painters worked in the dry, linear style of the rest of Italy. After Bellini, Venice had its own tradition.
Titian and Giorgione both came through his workshop. Titian may have caused him some annoyance; their professional relationship was complicated. But Bellini was painting into his eighties, still the official painter of the Venetian Republic, and still producing work that held its own against pupils forty years younger.
When Albrecht Durer visited Venice in 1505, he said Bellini was very old but still the greatest artist of them all.
His brother-in-law was Andrea Mantegna, who married Jacopo's daughter Nicolosia. The two men influenced each other constantly: Mantegna's hard, sculptural line pushed Bellini toward precision, while Bellini's instinct for colour and atmosphere gradually softened Mantegna's edges. The dialogue between them is one of the most productive in Renaissance art.
He transformed Venetian painting by introducing oil glazes over tempera, a technique he adapted from Antonello da Messina after Antonello visited Venice in 1475. The new method allowed him to build up translucent layers of colour that captured the specific quality of Venetian light: soft, diffused, reflected off water. Before Bellini, Venetian painters worked in the dry, linear style of the rest of Italy. After Bellini, Venice had its own tradition.
Titian and Giorgione both came through his workshop. Titian may have caused him some annoyance; their professional relationship was complicated. But Bellini was painting into his eighties, still the official painter of the Venetian Republic, and still producing work that held its own against pupils forty years younger.
When Albrecht Durer visited Venice in 1505, he said Bellini was very old but still the greatest artist of them all.
Das könnte Ihnen auch gefallen