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.
Madonna of Saint Jerome - Agostino Carracci
Prezzo originale
£28.00 GBP
Prezzo scontato
£28.00 GBP
Prezzo originale
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A masterful 1586 engraving by Agostino Carracci, reproducing Correggio's famous religious composition with technical precision.
This engraving by Agostino Carracci, dated 1586, reproduces the celebrated painting by Correggio. Carracci, a member of the influential Bolognese family of painters and printmakers, demonstrates his technical mastery through the use of varied hatching and cross-hatching to define form and light. The composition depicts the Virgin and Child flanked by Saint Jerome and Mary Magdalene, with an angel nearby. Saint Jerome is shown with his traditional attribute, the lion, while Mary Magdalene kneels in a gesture of devotion.
The work is a prime example of the reproductive print tradition, where engravers sought to translate the tonal qualities of oil paintings into the monochromatic medium of copperplate engraving. Carracci captures the soft, atmospheric quality of Correggio's original style, balancing the figures within a natural setting that includes a draped canopy and foliage. The inscription at the base provides details regarding the dedication and the source of the invention, reflecting the scholarly approach to art production common in the late sixteenth century.
Agostino Carracci was instrumental in the development of the Carracci Academy in Bologna, where he taught the importance of drawing from life and the study of classical masters. His prints were widely circulated across Europe, allowing artists and collectors to study works that were otherwise inaccessible. This particular engraving remains a record of his skill in interpreting the works of his predecessors, maintaining a high level of detail in the drapery, the musculature of the figures, and the textures of the surrounding environment. The print serves as a record of the artistic dialogue between the Renaissance masters and the subsequent generation of Italian artists.
Politica di reso
Poiché ogni stampa è realizzata su ordinazione, non offriamo resi, rimborsi o cambi in caso di ripensamento. Se il tuo ordine dovesse arrivare difettoso, danneggiato o errato, lo sostituiremo gratuitamente: ti basterà contattarci entro 48 ore dalla consegna. Consulta la nostra pagina sui rimborsi per tutti i dettagli.
Spedizione
Spediamo in tutto il mondo, stampando presso il centro di produzione più vicino al tuo indirizzo di consegna. I tempi e i costi di spedizione variano in base alla destinazione: visualizzerai le opzioni disponibili al momento del pagamento.
Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
Per mantenere la tua opera d'arte al meglio:
- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Completa il Look
Madonna of Saint Jerome - Agostino Carracci
Prezzo originale
Da £28.00 GBP
Prezzo scontato
Da £28.00 GBP
Prezzo originale
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Agostino Carracci
Agostino Carracci began his career not at an easel but at a jeweller's bench, training as a goldsmith before switching to painting in Bologna. With his brother Annibale and cousin Ludovico, he co-founded the Accademia degli Incamminati in 1582, the reform academy whose influence on Italian painting would prove far more durable than any single canvas. Where Annibale attracted the larger reputation, Agostino excelled at a craft that contemporaries undervalued: engraving. His reproductive prints after Tintoretto, Titian and Veronese spread knowledge of Venetian colour across Italy before photographs existed.
His masterpiece as a painter, The Last Communion of Saint Jerome (1592), hangs in the Pinacoteca Nazionale di Bologna. The composition is controlled and deeply felt, with the dying saint receiving the sacrament in a soft, Correggesque light that reveals Agostino's careful study of the Parma master. He also contributed to major fresco cycles at Palazzo Fava (1584, Lives of Jason and Medea) and Palazzo Magnani (1590-92, Scenes from the Foundation of Rome), working alongside Annibale on both.
The engraving work that critics sometimes dismissed as mere reproduction turns out to have had an unexpectedly long legacy. His print after Paolo Fiammingo's Love in the Golden Age is recorded as a direct source for Matisse's Le bonheur de vivre (1905-06), connecting a Bologna workshop of the 1580s to Fauvist Paris three centuries later. Agostino died in Parma in March 1602, at forty-four, leaving a son, Antonio, who also became a painter.
His masterpiece as a painter, The Last Communion of Saint Jerome (1592), hangs in the Pinacoteca Nazionale di Bologna. The composition is controlled and deeply felt, with the dying saint receiving the sacrament in a soft, Correggesque light that reveals Agostino's careful study of the Parma master. He also contributed to major fresco cycles at Palazzo Fava (1584, Lives of Jason and Medea) and Palazzo Magnani (1590-92, Scenes from the Foundation of Rome), working alongside Annibale on both.
The engraving work that critics sometimes dismissed as mere reproduction turns out to have had an unexpectedly long legacy. His print after Paolo Fiammingo's Love in the Golden Age is recorded as a direct source for Matisse's Le bonheur de vivre (1905-06), connecting a Bologna workshop of the 1580s to Fauvist Paris three centuries later. Agostino died in Parma in March 1602, at forty-four, leaving a son, Antonio, who also became a painter.
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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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