A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1551 masterpiece by Pieter Aertsen, this work juxtaposes a detailed butcher's stall with a background scene of the Holy Family giving alms.
Pieter Aertsen, a painter active in Amsterdam and Antwerp, produced this work in 1551. It represents a significant shift in Northern European painting, where the artist elevates the mundane subject of a butcher's stall to the scale of a history painting. The composition is split between the foreground, dominated by a raw display of meat, and a background scene depicting the Holy Family distributing alms to the poor. This juxtaposition creates a moral dialogue between material abundance and spiritual charity.
The foreground features a large cut of meat hanging from a hook, surrounded by various kitchen utensils, bread, and a metal pitcher. Aertsen renders these textures with precision, capturing the fibrous quality of the flesh and the reflective surfaces of the metalware. The background, visible through an opening, provides a narrative contrast. The figures are smaller in scale, yet they provide the thematic anchor for the entire piece. The inclusion of a fireplace and architectural details suggests a domestic or market setting, grounding the religious narrative in a contemporary sixteenth-century environment.
Aertsen was known for his ability to integrate genre elements into religious compositions. This work is an early example of the inverted still life, where the secondary subject matter occupies the majority of the visual space. The lighting is dramatic, drawing the eye across the varied surfaces of the objects before leading the viewer to the figures in the distance. The painting remains a primary example of the transition toward secular subjects in Dutch and Flemish art, reflecting the changing interests of patrons and the broader cultural shifts of the period.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen
Artist Biography
Pieter Aertsen
He was born in Amsterdam around 1508 and was known as "Lange Piet" (Tall Pete) because of his height. He apprenticed under Allaert Claesz in Amsterdam before moving to Antwerp, where he became a citizen in 1542 and worked for roughly fifteen years. His market and kitchen scenes placed food, cookware and domestic labour at enormous scale, transforming genre subjects into something approaching history painting's physical presence.
He married Kathelijne Beuckelaar, and three of their eight children became painters. His nephew and pupil Joachim Beuckelaer continued and developed his distinctive format. Many of Aertsen's later religious paintings were destroyed during the Beeldenstorm, the wave of Protestant iconoclasm in 1566. He returned to Amsterdam around 1556 and died there in 1575. His monumental kitchen and market scenes anticipate the still-life painting of the seventeenth century by half a century, and his compositional strategy of hiding the sacred behind the secular continues to generate scholarly argument about his intentions.
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