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.
Virgin and Child with Saints and Donors - Giovanni Bellini
Prix régulier
£28.00 GBP
Prix de vente
£28.00 GBP
Prix régulier
Giclée d'art
Les cadres sont livrés prêts à suspendre
Paiement sécurisé
Fabriqué sur commande
Description
A classic Sacra Conversazione by Giovanni Bellini, featuring the Virgin and Child surrounded by saints and donors in a serene, atmospheric setting.
This composition, known as a Sacra Conversazione, depicts the Virgin Mary holding the Christ Child, surrounded by a gathering of saints and two kneeling donors. Giovanni Bellini, a master of the Venetian school, employs a balanced arrangement where the figures occupy a unified space. The central group is positioned before a decorative textile hanging, which provides a vertical axis against the open, atmospheric background. To the left, Saint Sebastian stands with his characteristic youthful appearance, accompanied by Saint John the Baptist and a partially obscured figure. To the right, Saint Jerome, an unidentified female saint, and Saint Anthony of Padua complete the assembly. The two donors are placed in the foreground, their presence indicating a private commission for devotional use.
Bellini demonstrates his mastery of light and colour, particularly in the soft modelling of the figures and the naturalistic rendering of the distant hills and architecture. The oil medium allows for subtle transitions in tone, creating a sense of depth that draws the viewer into the scene. The inclusion of the donors, shown in profile, reflects the conventions of early sixteenth-century Venetian portraiture, where patrons sought to place themselves within the spiritual sphere of the holy figures. The textile hanging behind the Virgin features a pattern reminiscent of contemporary damask, adding a tactile quality to the composition. This work captures the transition from the rigid structures of earlier devotional art toward the more fluid, humanistic approach that defined the Venetian Renaissance. The careful observation of light, combined with the serene expressions of the figures, creates a quiet, contemplative atmosphere typical of Bellini's mature period.
Politique de retour
Comme chaque impression est réalisée à la commande, nous n'acceptons ni les retours, ni les remboursements, ni les échanges pour cause de changement d'avis. Si votre commande arrive défectueuse, endommagée ou non conforme, nous la remplacerons gratuitement — contactez-nous simplement dans les 48 heures suivant la livraison. Consultez notre page de remboursement pour plus de détails.
Expédition
Nous livrons dans le monde entier, en imprimant depuis le centre de production le plus proche de votre adresse de livraison. Les délais et les frais de livraison varient selon la destination ; vous verrez les options qui s'offrent à vous lors du paiement.
Fabrication
Chaque impression est réalisée à la commande par impression giclée 12 couleurs sur papier d'archivage certifié FSC. Conçue en Grande-Bretagne et imprimée dans votre centre de production le plus proche afin de réduire le gaspillage et d'accélérer la livraison.
Entretien et matériaux
Caractéristiques spécifiques
Chaque pièce Solis est fabriquée sur commande avec des matériaux de qualité galerie, conçus pour durer, destinés à la conservation.
- Impression giclée de qualité musée pour des couleurs riches et résistantes à la décoloration
- Papier beaux-arts mat d'archivage, certifié FSC
- Plusieurs tailles et options d'encadrement disponibles
- Cadres en noir, bois naturel, bois foncé ou blanc
- Les impressions encadrées sont livrées prêtes à accrocher
Entretien et nettoyage
Pour conserver votre œuvre en parfait état :
- Époussetez délicatement avec un chiffon doux et sec
- Évitez l'exposition directe et prolongée au soleil
- N'utilisez jamais de nettoyants liquides sur la surface de l'impression ou de la toile
- Conservez dans un endroit sec à température ambiante
- Manipulez les impressions avec des mains propres et sèches
Matériaux et dimensions
Impression giclée de qualité musée sur papier mat d'archivage certifié FSC, avec options d'encadrement et sur toile.
- Formats de papier : A4, A3, A2, A1, A0 et B2 (50×70 cm)
- Toile : du XS (20×30 cm) au Grand (60×90 cm)
- Cadres : noir, bois naturel, bois foncé ou blanc
Complétez le look
Virgin and Child with Saints and Donors - Giovanni Bellini
Prix régulier
À partir de £28.00 GBP
Prix de vente
À partir de £28.00 GBP
Prix régulier
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Giovanni Bellini
Bellini ran the most important painting workshop in Venice for over half a century. Whether he was the son or the younger brother of Jacopo Bellini has been debated by scholars since Daniel Maze challenged the traditional assumption; what is not debated is that by the 1470s, Giovanni had surpassed everyone in the family. His older brother Gentile was more famous during their lifetimes, but that ranking has been reversed for centuries.
His brother-in-law was Andrea Mantegna, who married Jacopo's daughter Nicolosia. The two men influenced each other constantly: Mantegna's hard, sculptural line pushed Bellini toward precision, while Bellini's instinct for colour and atmosphere gradually softened Mantegna's edges. The dialogue between them is one of the most productive in Renaissance art.
He transformed Venetian painting by introducing oil glazes over tempera, a technique he adapted from Antonello da Messina after Antonello visited Venice in 1475. The new method allowed him to build up translucent layers of colour that captured the specific quality of Venetian light: soft, diffused, reflected off water. Before Bellini, Venetian painters worked in the dry, linear style of the rest of Italy. After Bellini, Venice had its own tradition.
Titian and Giorgione both came through his workshop. Titian may have caused him some annoyance; their professional relationship was complicated. But Bellini was painting into his eighties, still the official painter of the Venetian Republic, and still producing work that held its own against pupils forty years younger.
When Albrecht Durer visited Venice in 1505, he said Bellini was very old but still the greatest artist of them all.
His brother-in-law was Andrea Mantegna, who married Jacopo's daughter Nicolosia. The two men influenced each other constantly: Mantegna's hard, sculptural line pushed Bellini toward precision, while Bellini's instinct for colour and atmosphere gradually softened Mantegna's edges. The dialogue between them is one of the most productive in Renaissance art.
He transformed Venetian painting by introducing oil glazes over tempera, a technique he adapted from Antonello da Messina after Antonello visited Venice in 1475. The new method allowed him to build up translucent layers of colour that captured the specific quality of Venetian light: soft, diffused, reflected off water. Before Bellini, Venetian painters worked in the dry, linear style of the rest of Italy. After Bellini, Venice had its own tradition.
Titian and Giorgione both came through his workshop. Titian may have caused him some annoyance; their professional relationship was complicated. But Bellini was painting into his eighties, still the official painter of the Venetian Republic, and still producing work that held its own against pupils forty years younger.
When Albrecht Durer visited Venice in 1505, he said Bellini was very old but still the greatest artist of them all.
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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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