Resting on the Banks of the Tiber - Paul Delaroche
Archival giclée
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Description
A refined genre scene by Paul Delaroche, depicting a family resting by the Tiber with the Castel Sant'Angelo in the background.
Paul Delaroche, a prominent figure in the French Academic tradition, produced this work during his time in Italy. The composition depicts a family group positioned along the Tiber, with the distinct silhouette of the Castel Sant'Angelo visible in the distance. Delaroche, known for his technical precision and historical subjects, here turns his attention to a more intimate, genre-based scene. The figures are rendered with the careful modelling characteristic of his training under Antoine-Jean Gros, yet the setting reflects the artist's personal observations of the Roman environment. The figures occupy the foreground, sheltered by the trunk of a tree and a classical architectural fragment. The woman reclines, lifting the child towards the man, who sits behind her. Their garments are painted with muted tones, allowing the soft light to define the forms against the riverbank. The background features the river itself, with the fortress providing a clear geographical marker. The brushwork is controlled, maintaining the smooth finish expected of the period, while the lighting suggests a calm, late afternoon atmosphere. Delaroche often balanced the demands of official commissions with smaller, personal studies. This piece demonstrates his ability to integrate human subjects into a specific topographical context without relying on overly dramatic narrative elements. The focus remains on the quiet interaction between the figures, set against the enduring presence of Roman history. The palette is dominated by earthy ochres, browns, and deep blues, which unify the figures with the surrounding terrain. This print captures the precise detail of the original oil painting, preserving the tonal balance and the atmospheric quality of the Roman setting. It offers a view into the artist's practice beyond his large-scale historical canvases, showing a preference for balanced, classical composition and a restrained approach to emotional expression.
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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. See our refunds page for full details.
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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.
Resting on the Banks of the Tiber - Paul Delaroche
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
- Multiple sizes and framing options available
- 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
Paul Delaroche
He was born in 1797 in Paris and specialised in English and French history scenes because they sold well. In his own lifetime, his commercial success often exceeded both Ingres and Delacroix. Upon first seeing the daguerreotype in 1839, he reportedly declared: from today, painting is dead.
He married Louise Vernet, daughter of the painter Horace Vernet, in 1835. She was the absorbing passion of his life. She died in 1845, aged thirty-one. He sketched her on her deathbed; the drawing survives at the Walters Art Museum in Baltimore. He never recovered from the loss. His later work turned exclusively to religious subjects. He died in 1856.
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