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.
The Virgin Appearing to Saint Jerome - Agostino Carracci
Regular price
£28.00 GBP
Sale price
£28.00 GBP
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A detailed 1588 engraving by Agostino Carracci depicting Saint Jerome in a wilderness setting, visited by the Virgin Mary and celestial figures.
This engraving by Agostino Carracci depicts a vision of the Virgin Mary appearing to Saint Jerome. The composition is divided into two distinct zones. In the lower portion, Saint Jerome is shown in a rocky wilderness, accompanied by his traditional attribute, the lion. He is depicted in a state of spiritual contemplation, with an open book and a skull nearby, symbols of his scholarly life and his meditation on mortality. The artist employs precise hatching to define the musculature of the saint and the texture of the lion's fur. In the upper portion, the Virgin Mary descends, surrounded by putti. Her figure is rendered with fluid lines, contrasting with the more grounded, rugged appearance of the saint below. The background features a distant landscape with a bridge and architectural elements, which provides a sense of depth to the scene. Carracci, a member of the influential Bolognese family of painters, was highly regarded for his technical skill in printmaking. His work often bridged the gap between the late Renaissance and the emerging Baroque style, focusing on clarity of form and dramatic narrative. The print demonstrates the artist's mastery of the burin. The varying density of the lines creates a range of tones, from the deep shadows of the cave to the luminous quality of the celestial figures. This work reflects the Counter-Reformation emphasis on personal piety and the direct experience of the divine. The inclusion of the date 1588 on the open book provides a clear chronological marker for this piece, placing it within the artist's mature period in Bologna. The balance between the human and the divine, achieved through careful anatomical study and compositional arrangement, is characteristic of the Carracci school's approach to religious iconography.
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
The Virgin Appearing to Saint Jerome - Agostino Carracci
Regular price
From £28.00 GBP
Sale price
From £28.00 GBP
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Agostino Carracci
Agostino Carracci began his career not at an easel but at a jeweller's bench, training as a goldsmith before switching to painting in Bologna. With his brother Annibale and cousin Ludovico, he co-founded the Accademia degli Incamminati in 1582, the reform academy whose influence on Italian painting would prove far more durable than any single canvas. Where Annibale attracted the larger reputation, Agostino excelled at a craft that contemporaries undervalued: engraving. His reproductive prints after Tintoretto, Titian and Veronese spread knowledge of Venetian colour across Italy before photographs existed.
His masterpiece as a painter, The Last Communion of Saint Jerome (1592), hangs in the Pinacoteca Nazionale di Bologna. The composition is controlled and deeply felt, with the dying saint receiving the sacrament in a soft, Correggesque light that reveals Agostino's careful study of the Parma master. He also contributed to major fresco cycles at Palazzo Fava (1584, Lives of Jason and Medea) and Palazzo Magnani (1590-92, Scenes from the Foundation of Rome), working alongside Annibale on both.
The engraving work that critics sometimes dismissed as mere reproduction turns out to have had an unexpectedly long legacy. His print after Paolo Fiammingo's Love in the Golden Age is recorded as a direct source for Matisse's Le bonheur de vivre (1905-06), connecting a Bologna workshop of the 1580s to Fauvist Paris three centuries later. Agostino died in Parma in March 1602, at forty-four, leaving a son, Antonio, who also became a painter.
His masterpiece as a painter, The Last Communion of Saint Jerome (1592), hangs in the Pinacoteca Nazionale di Bologna. The composition is controlled and deeply felt, with the dying saint receiving the sacrament in a soft, Correggesque light that reveals Agostino's careful study of the Parma master. He also contributed to major fresco cycles at Palazzo Fava (1584, Lives of Jason and Medea) and Palazzo Magnani (1590-92, Scenes from the Foundation of Rome), working alongside Annibale on both.
The engraving work that critics sometimes dismissed as mere reproduction turns out to have had an unexpectedly long legacy. His print after Paolo Fiammingo's Love in the Golden Age is recorded as a direct source for Matisse's Le bonheur de vivre (1905-06), connecting a Bologna workshop of the 1580s to Fauvist Paris three centuries later. Agostino died in Parma in March 1602, at forty-four, leaving a son, Antonio, who also became a painter.
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.
Premium Box Frame
From £85
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From £30
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From £135
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
Why Choose Us ?
Damage-free delivery guarantee
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Museum-Quality Materials
Artist Biography
Agostino Carracci
Agostino Carracci began his career not at an easel but at a jeweller's bench, training as a goldsmith before switching to painting in Bologna. With his brother Annibale and cousin Ludovico, he co-founded the Accademia degli Incamminati in 1582, the reform academy whose influence on Italian painting would prove far more durable than any single canvas. Where Annibale attracted the larger reputation, Agostino excelled at a craft that contemporaries undervalued: engraving. His reproductive prints after Tintoretto, Titian and Veronese spread knowledge of Venetian colour across Italy before photographs existed.
His masterpiece as a painter, The Last Communion of Saint Jerome (1592), hangs in the Pinacoteca Nazionale di Bologna. The composition is controlled and deeply felt, with the dying saint receiving the sacrament in a soft, Correggesque light that reveals Agostino's careful study of the Parma master. He also contributed to major fresco cycles at Palazzo Fava (1584, Lives of Jason and Medea) and Palazzo Magnani (1590-92, Scenes from the Foundation of Rome), working alongside Annibale on both.
The engraving work that critics sometimes dismissed as mere reproduction turns out to have had an unexpectedly long legacy. His print after Paolo Fiammingo's Love in the Golden Age is recorded as a direct source for Matisse's Le bonheur de vivre (1905-06), connecting a Bologna workshop of the 1580s to Fauvist Paris three centuries later. Agostino died in Parma in March 1602, at forty-four, leaving a son, Antonio, who also became a painter.
His masterpiece as a painter, The Last Communion of Saint Jerome (1592), hangs in the Pinacoteca Nazionale di Bologna. The composition is controlled and deeply felt, with the dying saint receiving the sacrament in a soft, Correggesque light that reveals Agostino's careful study of the Parma master. He also contributed to major fresco cycles at Palazzo Fava (1584, Lives of Jason and Medea) and Palazzo Magnani (1590-92, Scenes from the Foundation of Rome), working alongside Annibale on both.
The engraving work that critics sometimes dismissed as mere reproduction turns out to have had an unexpectedly long legacy. His print after Paolo Fiammingo's Love in the Golden Age is recorded as a direct source for Matisse's Le bonheur de vivre (1905-06), connecting a Bologna workshop of the 1580s to Fauvist Paris three centuries later. Agostino died in Parma in March 1602, at forty-four, leaving a son, Antonio, who also became a painter.
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