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.
Madonna and Child and the Young St John the Baptist - Sandro Botticelli
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£28.00 GBP
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£28.00 GBP
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Beschrijving
A classic Renaissance devotional painting by Sandro Botticelli, depicting the Virgin Mary with the Christ Child and the young Saint John the Baptist.
This work by Sandro Botticelli depicts the Virgin Mary cradling the Christ Child, who leans forward to embrace the young Saint John the Baptist. The composition is characteristic of the artist's later period, where he moved away from the linear precision of his earlier works toward a more emotive and melancholic style. The figures are arranged in a tight, triangular grouping, creating a sense of intimacy and quiet devotion.
Botticelli employs a clear, cool light that defines the forms of the figures against a backdrop of a rose hedge and a distant, pale sky. The Virgin is dressed in her traditional colours of red and blue, with the heavy folds of her drapery rendered with careful attention to volume. The young Saint John, identified by his camel-hair tunic and the slender wooden cross he holds, is shown in a moment of tender interaction with the infant Jesus. The inclusion of the rose hedge is a common iconographic element in Renaissance art, often symbolising the Virgin as the rose without thorns.
Technically, the painting demonstrates the artist's mastery of tempera. The surfaces are smooth, and the contours are defined with a deliberate, graceful line. The expressions of the figures are restrained, avoiding overt sentimentality while conveying a sense of solemnity. The painting reflects the religious climate of late fifteenth-century Florence, where such devotional images were commissioned for private homes and chapels. The focus remains on the physical connection between the figures, with their heads pressed together in a gesture of affection. This piece is a representative example of the Florentine school, showing the balance between naturalistic observation and the idealised beauty that defined the work of Botticelli and his contemporaries during the Quattrocento.
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Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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- Lijsten in zwart, naturel hout, donker hout of wit
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Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
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Madonna and Child and the Young St John the Baptist - Sandro Botticelli
Normale prijs
Vanaf £28.00 GBP
Actieprijs
Vanaf £28.00 GBP
Normale prijs
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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