The Entombment of Christ - Luca Giordano
Archival giclée
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Description
This oil on canvas by Luca Giordano, titled "The Entombment of Christ", captures the emotional intensity of the burial scene with dramatic lighting and expressive figures, characteristic of the Baroque period.
Luca Giordano's "The Entombment of Christ" presents a dramatic and emotionally charged depiction of Christ's burial. Giordano, a prominent figure in the late Baroque period, was known for his energetic style and facility in painting, earning him the nickname "Luca fa presto" (Luca paints quickly). This work exemplifies his ability to blend Venetian colourism with the dynamism of Roman Baroque. The painting shows the body of Christ being carried by several figures, their faces etched with grief. The composition is arranged to draw the viewer's eye to Christ's pale, lifeless form, which contrasts sharply with the darker tones surrounding it. The figures are tightly grouped, enhancing the sense of sorrow and intimacy. Giordano's brushwork is fluid and expressive, contributing to the overall sense of movement and emotion. The use of light and shadow is particularly effective, creating a theatrical atmosphere that heightens the scene's emotional impact. The work reflects the Baroque interest in evoking strong emotional responses from the viewer, inviting contemplation on themes of death, sacrifice, and redemption.
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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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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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.
The Entombment of Christ - Luca Giordano
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
Luca Giordano
He was born in Naples in 1634 and trained under Jusepe de Ribera. Around 1652 he travelled to Rome, where he absorbed Pietro da Cortona's Baroque dynamism and studied the High Renaissance masters. His other nickname, Proteus, came from his ability to produce convincing pastiches in the style of almost any painter: Durer, Titian, Veronese. The skill was admired rather than criticised; versatility was a virtue in Baroque Naples.
In 1692, Charles II of Spain invited him to Madrid, where he spent ten years painting frescoes in the Escorial, the Royal Palace and other buildings. His Spanish work is among his best: the scale suited his ambition, and the court demanded the gold brush. He returned to Naples in 1702 after the king's death.
His late paintings, lighter and less rhetorical than his Roman-influenced middle period, anticipated the Rococo. Fragonard admired them a generation later. Giordano was generous with money, particularly to poorer artists, and spent large sums on acts of patronage and charity. His output was enormous, running to thousands of works across oil and fresco. He died in Naples in 1705, at seventy.
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