Fine Art Poster
From £28
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 Franz Xaver - Bartolomé Esteban Murillo
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
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Beschreibung
Eine klassische Barockdarstellung des Heiligen Franz Xaver von Bartolomé Esteban Murillo, die den Heiligen in einem Moment spiritueller Kontemplation festhält.
Bartolomé Esteban Murillo, ein Meister des spanischen Barocks, stellt in dieser Komposition den Heiligen Franz Xaver dar. Der Heilige wird in einem Moment der spirituellen Ekstase gezeigt, sein Blick ist nach oben zu einem himmlischen Licht gerichtet. Er trägt das schwarze Gewand des Jesuitenordens, seine Hand an die Brust gepresst, während er einen langen Pilgerstab umklammert. Im Hintergrund ist eine ferne, zerklüftete Landschaft mit Figuren zu sehen, die auf seine missionarischen Reisen hinweisen, im Kontrast zur ätherischen Präsenz von Engeln, die aus den Wolken darüber auftauchen.
Murillo verwendet eine charakteristische Chiaroscuro-Technik, um die Figur des Heiligen vor dem atmosphärischen, goldenen Schein des Himmels hervorzuheben. Die weiche Modellierung des Gesichts und die fließende Behandlung des Faltenwurfs sind typisch für die Reifezeit des Künstlers. Seine Herangehensweise an religiöse Themen bevorzugte oft eine menschliche Zugänglichkeit, indem er die göttliche Erfahrung in einer nachvollziehbaren physischen Form verankerte. Die Komposition gleicht die Vertikalität des Stabes mit der diagonalen Haltung des Heiligen aus und erzeugt so ein Gefühl von Bewegung, das den Blick von der irdischen Umgebung zur göttlichen Erleuchtung lenkt.
Dieses Werk spiegelt den Fokus der Gegenreformation auf das Leben der Heiligen und die Förderung des Missionsgedankens wider. Murillo vermeidet übermäßige Verzierungen und konzentriert sich stattdessen auf den emotionalen Zustand des Motivs. Die Farbpalette wird von warmen, erdigen Tönen dominiert, die durch das brillante Licht aus der oberen linken Ecke akzentuiert werden. Dieser Druck fängt die Nuancen von Murillos Pinselführung ein, von der zarten Darstellung der Putten bis zur strukturierten Oberfläche des Habit des Heiligen. Es ist ein Beispiel für die Fähigkeit des Künstlers, technische Präzision mit einem Gefühl ruhiger, hingebungsvoller Intensität zu verbinden.
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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.
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Der heilige Franz Xaver - Bartolomé Esteban Murillo
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Bartolomé Esteban Murillo
Murillo fell from a scaffold in Cadiz and died a few months later. He was sixty-four, working on a fresco at the church of the Capuchines, and the fall ended both the painting and his life. His burial in the Church of Santa Cruz in Seville did not survive either: the French demolished the church during the Peninsular War, and his remains were lost.
He was born in Seville in late 1617, the youngest of fourteen children. His father was a barber surgeon. Both parents died before he was eleven, and he was raised by an older sister and her husband, also a barber. He studied in the workshop of Juan del Castillo, his uncle and godfather, and absorbed the realism of Zurbaran and Ribera. In 1645 he received his first major commission: eleven canvases for the convent of San Francisco in Seville. The success was decisive.
Seville became his entire world. He rarely left. In 1660 he co-founded and became first president of the city's Academy of Painting. His religious paintings, particularly his Immaculate Conceptions, were reproduced and imitated across the Catholic world for the next two centuries. He also painted contemporary street life: flower girls, beggars, street urchins, recorded with an affectionate realism that constitutes a documentary record of seventeenth-century Andalusia.
For two hundred years after his death he was considered one of the greatest painters who ever lived, ranked alongside Raphael and Titian. Then opinion turned. By the late nineteenth century his religious canvases were dismissed as sentimental and treacly, and he was nearly written out of art history altogether. The reassessment continues; the sentimentality charge has not entirely lifted.
He was born in Seville in late 1617, the youngest of fourteen children. His father was a barber surgeon. Both parents died before he was eleven, and he was raised by an older sister and her husband, also a barber. He studied in the workshop of Juan del Castillo, his uncle and godfather, and absorbed the realism of Zurbaran and Ribera. In 1645 he received his first major commission: eleven canvases for the convent of San Francisco in Seville. The success was decisive.
Seville became his entire world. He rarely left. In 1660 he co-founded and became first president of the city's Academy of Painting. His religious paintings, particularly his Immaculate Conceptions, were reproduced and imitated across the Catholic world for the next two centuries. He also painted contemporary street life: flower girls, beggars, street urchins, recorded with an affectionate realism that constitutes a documentary record of seventeenth-century Andalusia.
For two hundred years after his death he was considered one of the greatest painters who ever lived, ranked alongside Raphael and Titian. Then opinion turned. By the late nineteenth century his religious canvases were dismissed as sentimental and treacly, and he was nearly written out of art history altogether. The reassessment continues; the sentimentality charge has not entirely lifted.
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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
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
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.
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Biografie des Künstlers
Bartolomé Esteban Murillo
Murillo fell from a scaffold in Cadiz and died a few months later. He was sixty-four, working on a fresco at the church of the Capuchines, and the fall ended both the painting and his life. His burial in the Church of Santa Cruz in Seville did not survive either: the French demolished the church during the Peninsular War, and his remains were lost.
He was born in Seville in late 1617, the youngest of fourteen children. His father was a barber surgeon. Both parents died before he was eleven, and he was raised by an older sister and her husband, also a barber. He studied in the workshop of Juan del Castillo, his uncle and godfather, and absorbed the realism of Zurbaran and Ribera. In 1645 he received his first major commission: eleven canvases for the convent of San Francisco in Seville. The success was decisive.
Seville became his entire world. He rarely left. In 1660 he co-founded and became first president of the city's Academy of Painting. His religious paintings, particularly his Immaculate Conceptions, were reproduced and imitated across the Catholic world for the next two centuries. He also painted contemporary street life: flower girls, beggars, street urchins, recorded with an affectionate realism that constitutes a documentary record of seventeenth-century Andalusia.
For two hundred years after his death he was considered one of the greatest painters who ever lived, ranked alongside Raphael and Titian. Then opinion turned. By the late nineteenth century his religious canvases were dismissed as sentimental and treacly, and he was nearly written out of art history altogether. The reassessment continues; the sentimentality charge has not entirely lifted.
He was born in Seville in late 1617, the youngest of fourteen children. His father was a barber surgeon. Both parents died before he was eleven, and he was raised by an older sister and her husband, also a barber. He studied in the workshop of Juan del Castillo, his uncle and godfather, and absorbed the realism of Zurbaran and Ribera. In 1645 he received his first major commission: eleven canvases for the convent of San Francisco in Seville. The success was decisive.
Seville became his entire world. He rarely left. In 1660 he co-founded and became first president of the city's Academy of Painting. His religious paintings, particularly his Immaculate Conceptions, were reproduced and imitated across the Catholic world for the next two centuries. He also painted contemporary street life: flower girls, beggars, street urchins, recorded with an affectionate realism that constitutes a documentary record of seventeenth-century Andalusia.
For two hundred years after his death he was considered one of the greatest painters who ever lived, ranked alongside Raphael and Titian. Then opinion turned. By the late nineteenth century his religious canvases were dismissed as sentimental and treacly, and he was nearly written out of art history altogether. The reassessment continues; the sentimentality charge has not entirely lifted.
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