The Resurrection - Luca Giordano
Archival giclée
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Description
A dramatic Baroque depiction of the Resurrection by Luca Giordano, featuring intense chiaroscuro and dynamic movement.
Luca Giordano, a prolific Neapolitan painter of the seventeenth century, produced this depiction of the Resurrection during a period when his style was heavily influenced by the dramatic chiaroscuro of Jusepe de Ribera and the Venetian masters. The composition focuses on the sudden, supernatural emergence of Christ from the tomb, a moment defined by a powerful contrast between the divine light emanating from the central figure and the deep, enveloping shadows surrounding the startled soldiers below. Giordano employs a restricted, warm palette to manage the intense illumination. The figure of Christ is suspended in a cloud of golden light, his body angled in a dynamic, upward motion that suggests weightlessness. Below, the soldiers are rendered in states of disarray and confusion. Their armour catches the light, providing a metallic texture that contrasts with the soft, ethereal treatment of the clouds and the drapery surrounding Christ. The artist uses rapid, fluid brushwork to define the forms, a technique that allowed him to complete large-scale commissions with remarkable speed throughout his career. The work demonstrates the theatricality typical of the Baroque period. Giordano avoids static poses, opting instead for a composition that captures a fleeting moment of transition. The soldiers are positioned to guide the viewer's eye upward, reinforcing the verticality of the scene. This print captures the tonal range of the original oil painting, preserving the depth of the shadows and the luminosity of the central figure. It is a study in the application of light to create narrative tension, characteristic of Giordano's ability to synthesise various European influences into a coherent, dramatic visual language.
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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 Resurrection - 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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