The Finding of Moses - Sebastien Bourdon

Sale price£28.00
Product: Fine Art Poster
Size: A4 (21x29.7 cm)
Frame: -
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A classical history painting by Sebastien Bourdon depicting the biblical discovery of the infant Moses by Pharaoh's daughter.

Sebastien Bourdon, a French painter active during the seventeenth century, produced this depiction of the biblical narrative concerning the discovery of the infant Moses. The composition follows the classical tradition, prioritising a balanced arrangement of figures set against a structured, architectural backdrop. The scene captures the moment Pharaoh's daughter and her attendants encounter the basket containing the child near the riverbank. Bourdon employs a palette of primary colours, notably the deep red of the kneeling attendant's garment and the golden yellow worn by the princess. These figures are rendered with a focus on sculptural form, reflecting the influence of Poussin and the Roman school on Bourdon's practice. The lighting is even, avoiding the dramatic chiaroscuro often associated with the wider Baroque period, opting instead for a clarity that defines the spatial relationships between the foreground figures and the distant, classical city architecture. The background features a calm body of water, reflecting the sky and the surrounding structures. This inclusion of an idealised cityscape provides a sense of scale and historical context to the narrative. The figures are arranged in a frieze-like manner, a common technique in seventeenth-century history painting to ensure the legibility of the story. The attention to the drapery of the garments and the precise positioning of the hands and gazes directs the viewer's eye across the canvas, from the discovery of the infant on the left to the reaction of the royal party on the right. This work demonstrates Bourdon's ability to synthesise classical order with narrative clarity, a hallmark of his mature style developed during his time in Rome and subsequent return to France.

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    12-colour giclée printing on FSC-certified 200gsm fine art paper, with lifetime fade resistance.

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    Each frame is sealed with rigid backing and fixings attached, no extra effort required.

Crafted for a Lifetime — frame exploded view

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What our customers say

Real reviews from real customers

jayne-review-image
Received the beautiful hummingbird print in black frame. Great service, stunning print, I will post a picture when the room is finished. Thank you
Jayne - Yorkshire
WhatsApp Image 2025-08-22 at 17.52.11
Delighted with this print! The colours are extremely vibrant, the imagine crystal clear and beautifully displayed in an attractive frame. Delivery was prompt and securely packaged. Highly recommended and will be using again!
Matt - Rutland
nikki
So pleased with my print and the frame it’s housed in. Fantastic quality and really adds character to the room. Communication was great and it was delivered quicker than estimated. Overall I’m extremely pleased and will recommend to friends. I’m already eying up my next purchase!
Nikki - London
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Beautiful print, great quality and love it with the white frame. Delivery was really fast. I've had loads of compliments from visitors as I've hung it in my hallway as the first thing you see when you enter the house. Couldn't be happier.
Alice - Norfolk

Sebastien Bourdon

Bourdon was sent to Paris as an apprentice at the age of seven, enlisted in the army for lack of funds, and was rescued by an officer who financed his trip to Rome in 1634. There he befriended Claude Lorrain and Poussin, before being forced to flee in 1638 to escape the Inquisition because of his Calvinist faith. His life reads as a sequence of escapes. He was born in Montpellier in 1616, the son of a Protestant glass painter. Back in Paris after the Roman flight, he became a co-founder of the French Royal Academy in 1648, later serving as professor and rector. In 1652, Queen Christina of Sweden appointed him first court painter, though the posting lasted only two years. His versatility was unusual: landscapes, religious compositions, mythological scenes and strikingly lifelike portraits all came from the same hand with equal competence. His Calvinist background gave him access to Protestant networks across Europe while limiting his access to Catholic commissions in France. He died in Paris in 1671, at fifty-five. His Calvinist background gave him access to Protestant networks across northern Europe while restricting his ability to secure the most lucrative Catholic commissions in France. The tension between faith and profession forced him into a peripatetic career that, paradoxically, gave his art a cosmopolitan range that more settled painters lacked.