Ecce Agnus Dei (Infant Saint John the Baptist with Lamb) - Bartolomé Esteban Murillo
Archival giclée
Ready to hang
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Made to order
Description
A serene Baroque painting by Bartolomé Esteban Murillo, depicting the infant Saint John the Baptist with the Lamb of God. This fine art print brings a touch of classical elegance and spiritual contemplation to any space.
This tender depiction of the infant Saint John the Baptist with the sacrificial lamb is characteristic of Bartolomé Esteban Murillo's devotional works. Painted in the Spanish Baroque style, the scene is imbued with a gentle naturalism and a focus on human emotion. The soft chiaroscuro, with its dramatic contrast of light and shadow, enhances the painting's emotional depth and draws the viewer into the intimate moment. Murillo was celebrated for his ability to portray religious figures with a sense of warmth and accessibility, making his works highly sought after for both private devotion and public display. The painting presents a young Saint John reclining, holding a staff bearing the inscription 'Ecce Agnus Dei' ('Behold the Lamb of God'). The lamb, a symbol of Christ's sacrifice, nestles beside him, its woolly fleece rendered with delicate detail. The composition is carefully balanced, with the figures arranged to create a sense of harmony and peace. The dark background serves to accentuate the luminous flesh tones of the infant saint and the soft texture of the lamb's wool. As a fine art print, this image brings a touch of classical elegance and spiritual contemplation to any space. Its muted colour palette and serene subject matter make it a versatile addition to a variety of interior styles, from traditional to contemporary. Whether displayed in a living room, study, or bedroom, this print offers a timeless reminder of faith, hope, and the enduring power of art.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Ecce Agnus Dei (Infant Saint John the Baptist with Lamb) - Bartolomé Esteban Murillo
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Bartolomé Esteban Murillo
He was born in Seville in late 1617, the youngest of fourteen children. His father was a barber surgeon. Both parents died before he was eleven, and he was raised by an older sister and her husband, also a barber. He studied in the workshop of Juan del Castillo, his uncle and godfather, and absorbed the realism of Zurbaran and Ribera. In 1645 he received his first major commission: eleven canvases for the convent of San Francisco in Seville. The success was decisive.
Seville became his entire world. He rarely left. In 1660 he co-founded and became first president of the city's Academy of Painting. His religious paintings, particularly his Immaculate Conceptions, were reproduced and imitated across the Catholic world for the next two centuries. He also painted contemporary street life: flower girls, beggars, street urchins, recorded with an affectionate realism that constitutes a documentary record of seventeenth-century Andalusia.
For two hundred years after his death he was considered one of the greatest painters who ever lived, ranked alongside Raphael and Titian. Then opinion turned. By the late nineteenth century his religious canvases were dismissed as sentimental and treacly, and he was nearly written out of art history altogether. The reassessment continues; the sentimentality charge has not entirely lifted.
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