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.
Die Rosenkranzmadonna - Bartolomé Esteban Murillo
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
Eine zärtliche Darstellung der Jungfrau Maria mit dem Jesuskind vom spanischen Barockmeister Bartolomé Esteban Murillo.
Bartolomé Esteban Murillo, ein Meister des spanischen Goldenen Zeitalters, malte dieses Werk in der zweiten Hälfte seiner Karriere. Die Komposition zeigt die sitzende Jungfrau Maria, die das Jesuskind hält, das sich an ihre Schulter lehnt. Die Figuren treten aus einem dunklen, atmosphärischen Hintergrund hervor, eine Technik, die die Aufmerksamkeit des Betrachters auf die weiche Modellierung der Haut und die Falten des Gewandes lenkt. Maria trägt ein tiefrotes Gewand und einen blauen Mantel, Farben, die traditionell mit ihrer Ikonographie verbunden sind. Das Jesuskind ist naturalistisch dargestellt, seine Haltung entspannt, während es sich an seine Mutter lehnt. Ein Rosenkranz, von dem das Gemälde seinen Namen hat, ist über den Arm der Jungfrau und den Körper des Kindes drapiert. Murillo vermeidet übermäßige Ornamente und konzentriert sich stattdessen auf die emotionale Verbindung zwischen den beiden Figuren. Die Beleuchtung ist charakteristisch für Murillos Ansatz, der ein sanftes Chiaroscuro verwendet, um die Formen ohne harte Übergänge zu definieren. Der Pinselstrich ist fließend, besonders in der Darstellung des Stoffes, der eine taktile Qualität aufweist. Dieses Werk spiegelt die Fähigkeit des Künstlers wider, religiösen Themen einen Sinn für menschliche Wärme und Zugänglichkeit zu verleihen. Die Komposition ist ausgewogen und stabil, typisch für seine reife Periode in Sevilla, wo er zahlreiche Andachtsbilder für private und kirchliche Auftraggeber schuf. Der Fokus liegt weiterhin auf der zärtlichen Interaktion, die mit einer Klarheit dargestellt wird, die unnötige Künstlichkeit vermeidet. Dieser Druck fängt die subtilen Tonwertverschiebungen des ursprünglichen Ölgemäldes ein und bewahrt die stille Würde der Szene.
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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.
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Die Rosenkranzmadonna - 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.
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 £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.
Premium Box Frame
From £85
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.
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Schneller Versand
Museumsreife Materialien
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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