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.
St. Gregory - Antonello da Messina
Regular price
£28.00 GBP
Sale price
£28.00 GBP
Regular price
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A refined portrait of St. Gregory by Antonello da Messina, showcasing the artist's mastery of oil painting and psychological depth.
This portrait of St. Gregory is a work by the Sicilian master Antonello da Messina. It forms part of the polyptych originally commissioned for the church of San Gregorio in Messina. The artist is widely recognised for his role in introducing oil painting techniques from the Low Countries to the Italian peninsula, a development that allowed for greater luminosity and detail in his compositions.
The figure of the saint is depicted in a traditional ecclesiastical pose, wearing the papal tiara and ornate vestments. Antonello employs a refined application of oil paint to render the textures of the fabric and the soft, contemplative expression of the subject. The background features a decorative, gilded pattern that provides a sense of flatness, contrasting with the three-dimensional modelling of the saint's face and hands. The book held by St. Gregory is rendered with precision, showing the artist's attention to the material qualities of the object.
Antonello da Messina's approach to portraiture often involved a psychological depth that was unusual for the period. In this work, the saint appears absorbed in his reading, creating an atmosphere of quietude. The composition is framed by an arched top, typical of the altarpiece format of the fifteenth century. The use of light and shadow, or chiaroscuro, helps to define the volume of the figure against the decorative backdrop. This piece remains a clear example of the synthesis between Northern European technical precision and the structural clarity of the Italian Renaissance. It provides a view into the devotional art of the era, where the focus remained on the humanisation of religious figures through careful observation and technical mastery.
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. 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.
Complete The Look
St. Gregory - Antonello da Messina
Regular price
From £28.00 GBP
Sale price
From £28.00 GBP
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Antonello Da Messina
When Giorgio Vasari told the story of how Antonello da Messina travelled to Flanders and was personally taught oil painting by Jan van Eyck, it made for an irresistible tale. The flaw was that Van Eyck died when Antonello was still a boy. The actual source was Naples, where the young Sicilian painter worked around 1450. King Alfonso I's collection there included works by Van Eyck and Rogier van der Weyden, and the Neapolitan master Colantonio had already absorbed Flemish methods. From this environment Antonello mastered the key technique: by layering multiple transparent glazes of oil-rich paint, a painter could achieve depths of colour that tempera alone could never produce.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
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
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
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.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
Artist Biography
Antonello da Messina
When Giorgio Vasari told the story of how Antonello da Messina travelled to Flanders and was personally taught oil painting by Jan van Eyck, it made for an irresistible tale. The flaw was that Van Eyck died when Antonello was still a boy. The actual source was Naples, where the young Sicilian painter worked around 1450. King Alfonso I's collection there included works by Van Eyck and Rogier van der Weyden, and the Neapolitan master Colantonio had already absorbed Flemish methods. From this environment Antonello mastered the key technique: by layering multiple transparent glazes of oil-rich paint, a painter could achieve depths of colour that tempera alone could never produce.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
You May Also Like