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.
Young Sick Bacchus - Caravaggio
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£28.00 GBP
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Beschrijving
A self-portrait by Caravaggio, this early Baroque work depicts a jaundiced Bacchus with a still life of fruit, showcasing the artist's emerging mastery of light.
Young Sick Bacchus is an early work by Michelangelo Merisi da Caravaggio, painted during his initial period in Rome. The painting is widely considered a self-portrait, executed while the artist was recovering from an illness, possibly malaria, which he contracted while working for the painter Giuseppe Cesari. The subject, a young man draped in a white cloth, wears a crown of ivy and holds a cluster of white grapes. His skin tone appears jaundiced, a detail that aligns with the historical accounts of the artist's poor health at the time.
The composition focuses on the figure, who is turned towards the viewer with a weary expression. On the stone ledge in front of him sits a still life of peaches and dark grapes. This element demonstrates the artist's early interest in naturalistic detail, a hallmark of his later career. The lighting is directional, casting deep shadows that define the musculature of the figure's arm and shoulder. This technique, known as tenebrism, would become a defining characteristic of Caravaggio's mature style.
Unlike the idealised figures of the Renaissance, this Bacchus is grounded in physical reality. The painting reflects the artist's technical skill in rendering textures, from the soft skin of the fruit to the coarse fabric of the drapery. It remains a significant example of his ability to merge classical subject matter with personal, observed experience. The work is currently housed in the Galleria Borghese in Rome, where it is studied for its contribution to the development of early Baroque painting and its departure from the Mannerist conventions that preceded it.
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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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- Giclée-print van museumkwaliteit voor rijke, kleurvaste kleuren
- Archiefbestendig mat fine-art papier, FSC-gecertificeerd
- Diverse formaten en inlijstopties beschikbaar
- 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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Young Sick Bacchus - Caravaggio
Normale prijs
Vanaf £28.00 GBP
Actieprijs
Vanaf £28.00 GBP
Normale prijs
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Caravaggio
Caravaggio killed a man in a fight over a tennis match. Or a gambling debt. Or a woman. The sources disagree. What is certain is that Ranuccio Tomassoni died on a Roman street in May 1606, Caravaggio held the sword, and the painter spent the last four years of his life on the run.
Before the killing, he had already transformed European painting. He arrived in Rome from Milan in the early 1590s, hungry and unknown, and within a decade had developed a method of painting from life, using strong directional light against deep shadow, that made the prevailing Mannerist style look theatrical and empty. He used real people as models: prostitutes, street boys, labourers. His saints had dirty feet. The Church commissioned altarpieces and then rejected them for being too vulgar, too real, too much like the people who actually attended church.
The Calling of Saint Matthew, painted for the Contarelli Chapel in San Luigi dei Francesi, is his method at its clearest. The light enters from the upper right like a blade. Matthew sits at a tax collector's table with his companions. Christ points. The scene looks like something you might see through a doorway, which is roughly the viewer's position. Nothing is idealised. The moment is ordinary and sacred simultaneously.
After the killing he fled to Naples, then Malta, then Sicily, then back to Naples. He kept painting. The late works are darker, faster, more desperate. He received a papal pardon and boarded a boat north. He died on a beach in Porto Ercole in July 1610, at thirty-eight. The cause is unknown: fever, infection, possibly lead poisoning from his paints. His influence on Rembrandt, Velazquez, Georges de La Tour, and every painter who has ever used a spotlight is difficult to overstate.
Before the killing, he had already transformed European painting. He arrived in Rome from Milan in the early 1590s, hungry and unknown, and within a decade had developed a method of painting from life, using strong directional light against deep shadow, that made the prevailing Mannerist style look theatrical and empty. He used real people as models: prostitutes, street boys, labourers. His saints had dirty feet. The Church commissioned altarpieces and then rejected them for being too vulgar, too real, too much like the people who actually attended church.
The Calling of Saint Matthew, painted for the Contarelli Chapel in San Luigi dei Francesi, is his method at its clearest. The light enters from the upper right like a blade. Matthew sits at a tax collector's table with his companions. Christ points. The scene looks like something you might see through a doorway, which is roughly the viewer's position. Nothing is idealised. The moment is ordinary and sacred simultaneously.
After the killing he fled to Naples, then Malta, then Sicily, then back to Naples. He kept painting. The late works are darker, faster, more desperate. He received a papal pardon and boarded a boat north. He died on a beach in Porto Ercole in July 1610, at thirty-eight. The cause is unknown: fever, infection, possibly lead poisoning from his paints. His influence on Rembrandt, Velazquez, Georges de La Tour, and every painter who has ever used a spotlight is difficult to overstate.
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Fine Art Framed
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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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