Fine Art Poster
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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.
The Story of Lucretia - Sandro Botticelli
Precio habitual
£28.00 GBP
Precio de oferta
£28.00 GBP
Precio habitual
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A narrative Renaissance panel by Sandro Botticelli, depicting the Roman legend of Lucretia through a series of sequential scenes set within classical architecture.
The Story of Lucretia is a narrative panel painting by Sandro Botticelli, depicting the tragic Roman legend of Lucretia. The composition employs a continuous narrative technique, presenting multiple episodes of the story within a single architectural setting. On the left, the assault on Lucretia occurs, while the centre shows her suicide before a statue of David, and the right side depicts the subsequent public mourning and the oath of vengeance taken by Brutus and his followers.
Botticelli constructs this scene with a rigorous application of linear perspective. The classical architecture, featuring a triumphal arch and colonnaded structures, frames the figures and directs the eye toward the central action. The figures are rendered with the characteristic grace and elongated proportions associated with the artist's later period. The palette is balanced, utilising clear, distinct colours that define the figures against the pale stone of the buildings. The inclusion of the statue of David atop the central column serves as a symbolic reference to the Florentine Republic, linking the ancient Roman tale to the contemporary political climate of the city.
This work demonstrates the artist's interest in classical history and his ability to organise complex, multi-figure compositions. The architectural elements are not merely decorative, but function as a stage for the unfolding drama. The painting reflects the intellectual environment of late fifteenth-century Florence, where humanists and artists engaged with classical texts to explore themes of virtue, tyranny, and civic duty. The clarity of the spatial arrangement and the precise execution of the figures demonstrate the technical control Botticelli maintained during this phase of his career. The panel remains a significant example of the narrative tradition in Renaissance art, combining historical storytelling with a sophisticated approach to pictorial space.
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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
Para mantener su obra de arte en las mejores condiciones:
- 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
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The Story of Lucretia - Sandro Botticelli
Precio habitual
Desde £28.00 GBP
Precio de oferta
Desde £28.00 GBP
Precio habitual
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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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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