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.
Verklärung Christi, Heiliger Hieronymus und Heiliger Augustinus – Sandro Botticelli
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
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Beschreibung
Ein Renaissance-Triptychon von Sandro Botticelli, das die Verklärung Christi zeigt, flankiert von den gelehrten Figuren des Heiligen Hieronymus und des Heiligen Augustinus.
Dieses Werk von Sandro Botticelli präsentiert eine triptychonartige Anordnung, die die Verklärung Christi im Zentrum zeigt, flankiert vom Heiligen Hieronymus und dem Heiligen Augustinus. Das zentrale Paneel stellt das biblische Ereignis auf dem Berg Tabor dar, wo Christus in einem strahlend weißen Gewand erscheint, begleitet von Moses und Elia. Darunter sind die Apostel Petrus, Jakobus und Johannes in Ehrfurcht und Anbetung dargestellt, die auf das göttliche Licht reagieren. Die Komposition verlässt sich auf die Vertikalität der Figuren, um die spirituelle Erhöhung der Szene zu vermitteln.
Die Seitenflügel bilden einen Kontrast zum himmlischen Ereignis. Der Heilige Hieronymus ist links abgebildet, in seinem Studierzimmer sitzend, mit seiner gelehrten Arbeit beschäftigt. Der Heilige Augustinus nimmt den rechten Flügel ein, ebenfalls in einer nachdenklichen, studierenden Umgebung dargestellt. Diese Figuren repräsentieren die intellektuelle Tradition der Kirche und verankern das wundersame zentrale Ereignis in der Realität theologischer Studien und historischer Gelehrsamkeit. Die architektonische Umgebung der Seitenflügel mit ihren Regalen und Büchern bietet einen häuslichen, menschlichen Maßstab, der die ätherische Natur der Verklärung ausgleicht.
Botticelli verwendet einen linearen Stil, charakteristisch für seine spätere Periode, wobei der Fokus auf der Klarheit der Form und den expressiven Gesten der Figuren liegt. Die Farbpalette ist zurückhaltend, mit gedämpften Tönen in den Seitenflügeln, um die Aufmerksamkeit des Betrachters auf die leuchtende, zentrale Figur Christi zu lenken. Das Werk spiegelt die Auseinandersetzung des Künstlers mit den religiösen Spannungen im Florenz des späten 15. Jahrhunderts wider, wo der Einfluss Savonarolas eine Verschiebung hin zu asketischeren und andächtigeren Darstellungen förderte. Dieses Stück demonstriert die Fähigkeit des Künstlers, komplexe theologische Erzählungen in ein strukturiertes, ausgewogenes visuelles Format zu integrieren und durch Komposition und Licht eine klare Unterscheidung zwischen göttlichen und irdischen Reichen aufrechtzuerhalten.
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Verklärung Christi, Heiliger Hieronymus und Heiliger Augustinus – Sandro Botticelli
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Sandro Botticelli
Botticelli's real name was Alessandro di Mariano di Vanni Filipepi. 'Botticelli' was a nickname meaning 'little barrel', originally given to his older brother and passed along. He was apprenticed to a goldsmith and then to the painter Fra Filippo Lippi, whose delicate line and pale colouring shaped everything Botticelli went on to do.
He worked in Florence under the patronage of the Medici family during the period art historians call the Early Renaissance. The Birth of Venus and Primavera, both painted in the 1480s, are his best-known works and among the most reproduced images in Western art. They are strange paintings. Venus stands on a shell, blown to shore by the wind, her body curved in a way that owes nothing to anatomical reality and everything to Gothic line. Primavera fills a dark orange grove with mythological figures whose feet barely touch the ground.
The paintings are technically tempera on canvas and panel, executed with a fineness of line that reflects his goldsmith training. The outlines are visible. The surfaces are flat compared to the oil-based modelling that Leonardo and other contemporaries were developing. Botticelli was not interested in three-dimensional illusion. He was interested in contour, pattern, and the way a line can describe both a body and an emotion simultaneously.
His later career was affected by the rise of the Dominican friar Girolamo Savonarola, who preached against secular art and luxury. Botticelli may have burned some of his own paintings in the Bonfire of the Vanities in 1497. Whether this represents genuine religious conversion or political self-preservation is unclear. His output declined. He died in 1510, largely forgotten, and was not rediscovered until the Pre-Raphaelites championed him in the nineteenth century.
He worked in Florence under the patronage of the Medici family during the period art historians call the Early Renaissance. The Birth of Venus and Primavera, both painted in the 1480s, are his best-known works and among the most reproduced images in Western art. They are strange paintings. Venus stands on a shell, blown to shore by the wind, her body curved in a way that owes nothing to anatomical reality and everything to Gothic line. Primavera fills a dark orange grove with mythological figures whose feet barely touch the ground.
The paintings are technically tempera on canvas and panel, executed with a fineness of line that reflects his goldsmith training. The outlines are visible. The surfaces are flat compared to the oil-based modelling that Leonardo and other contemporaries were developing. Botticelli was not interested in three-dimensional illusion. He was interested in contour, pattern, and the way a line can describe both a body and an emotion simultaneously.
His later career was affected by the rise of the Dominican friar Girolamo Savonarola, who preached against secular art and luxury. Botticelli may have burned some of his own paintings in the Bonfire of the Vanities in 1497. Whether this represents genuine religious conversion or political self-preservation is unclear. His output declined. He died in 1510, largely forgotten, and was not rediscovered until the Pre-Raphaelites championed him in the nineteenth century.
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- Giclée-Druck in Museumsqualität für satte, lichtbeständige Farben
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- Gerahmte Drucke werden fertig zum Aufhängen geliefert
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Damit Ihr Kunstwerk optimal aussieht:
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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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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
Sandro Botticelli
Botticelli's real name was Alessandro di Mariano di Vanni Filipepi. 'Botticelli' was a nickname meaning 'little barrel', originally given to his older brother and passed along. He was apprenticed to a goldsmith and then to the painter Fra Filippo Lippi, whose delicate line and pale colouring shaped everything Botticelli went on to do.
He worked in Florence under the patronage of the Medici family during the period art historians call the Early Renaissance. The Birth of Venus and Primavera, both painted in the 1480s, are his best-known works and among the most reproduced images in Western art. They are strange paintings. Venus stands on a shell, blown to shore by the wind, her body curved in a way that owes nothing to anatomical reality and everything to Gothic line. Primavera fills a dark orange grove with mythological figures whose feet barely touch the ground.
The paintings are technically tempera on canvas and panel, executed with a fineness of line that reflects his goldsmith training. The outlines are visible. The surfaces are flat compared to the oil-based modelling that Leonardo and other contemporaries were developing. Botticelli was not interested in three-dimensional illusion. He was interested in contour, pattern, and the way a line can describe both a body and an emotion simultaneously.
His later career was affected by the rise of the Dominican friar Girolamo Savonarola, who preached against secular art and luxury. Botticelli may have burned some of his own paintings in the Bonfire of the Vanities in 1497. Whether this represents genuine religious conversion or political self-preservation is unclear. His output declined. He died in 1510, largely forgotten, and was not rediscovered until the Pre-Raphaelites championed him in the nineteenth century.
He worked in Florence under the patronage of the Medici family during the period art historians call the Early Renaissance. The Birth of Venus and Primavera, both painted in the 1480s, are his best-known works and among the most reproduced images in Western art. They are strange paintings. Venus stands on a shell, blown to shore by the wind, her body curved in a way that owes nothing to anatomical reality and everything to Gothic line. Primavera fills a dark orange grove with mythological figures whose feet barely touch the ground.
The paintings are technically tempera on canvas and panel, executed with a fineness of line that reflects his goldsmith training. The outlines are visible. The surfaces are flat compared to the oil-based modelling that Leonardo and other contemporaries were developing. Botticelli was not interested in three-dimensional illusion. He was interested in contour, pattern, and the way a line can describe both a body and an emotion simultaneously.
His later career was affected by the rise of the Dominican friar Girolamo Savonarola, who preached against secular art and luxury. Botticelli may have burned some of his own paintings in the Bonfire of the Vanities in 1497. Whether this represents genuine religious conversion or political self-preservation is unclear. His output declined. He died in 1510, largely forgotten, and was not rediscovered until the Pre-Raphaelites championed him in the nineteenth century.
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