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.
Virgin Annunciate - Carlo Crivelli
Regular price
£28.00 GBP
Sale price
£28.00 GBP
Regular price
Archival giclée
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Description
A refined tempera painting by Carlo Crivelli, depicting the Virgin Mary in prayer during the Annunciation, characterised by precise lines and architectural detail.
Carlo Crivelli, an artist active in the Marche region of Italy, produced this depiction of the Virgin Annunciate during the latter half of the fifteenth century. The work displays the characteristic precision and linear clarity associated with his output. The Virgin is shown kneeling before a wooden lectern, her hands clasped in prayer, while the dove of the Holy Spirit descends from above. The architectural setting, defined by brickwork and a tiled floor, provides a structured space for the figure.
Crivelli often employed a distinct approach to perspective and surface detail. The wood grain of the lectern and the folds of the Virgin's garments are rendered with careful attention to texture. The palette remains grounded in earth tones, punctuated by the gold leaf of the halo, which reflects the influence of the International Gothic style that persisted in his work despite the broader shifts toward Renaissance naturalism. The pointed arch of the panel suggests its original function as part of a larger polyptych, a common format for altarpieces of this period.
This image captures a moment of quiet contemplation. The composition is balanced, with the verticality of the lectern and the figure of the Virgin creating a sense of stability. Crivelli's work is known for its decorative quality and its refusal to abandon the ornamental traditions of his predecessors in favour of the purely mathematical perspective favoured by his contemporaries in Florence. The result is an image that balances narrative clarity with a highly individualised aesthetic, typical of his career spent largely outside the major artistic centres of the Italian peninsula.
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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. See our refunds page for full details.
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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.
Care and materials
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
Complete The Look
Virgin Annunciate - Carlo Crivelli
Regular price
From £28.00 GBP
Sale price
From £28.00 GBP
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Carlo Crivelli
Carlo Crivelli spent the most productive decades of his career in the March of Ancona, not in Venice, yet he never stopped signing himself "a Venetian." The declaration was an advertisement: Venetian training counted in the provincial cities of the Adriatic, and Crivelli's formation under the Vivarini and through the example of Mantegna gave him a technical seriousness that set him apart from local competition.
He had left Venice by 1458, possibly following a conviction for adultery in 1457 that may have made continued residence uncomfortable. The Marche towns, Ascoli Piceno above all, became his territory. He painted nothing but religious subjects: polyptychs, Madonnas, altarpieces designed for specific church niches where the gold-ground backgrounds and the theatrical use of festoons, fruit, and cucumbers would catch the light at specific hours.
The 1486 Annunciation with Saint Emidius, now in the National Gallery in London, is the work that most condenses his method. The architectural setting is precise and Flemish in its love of depth and surface texture; the figures are described with a wiry, almost metallic clarity that owes something to engraving. On the panel he signed it "Opus Caroli Crivelli Veneti Militis", he had been knighted by the Prince of Capua that same year.
His style was conservative by the standards of the 1480s, when Bellini was moving towards atmospheric sfumato and Venetian colour. Crivelli's answer was greater elaboration, not revision.
He had left Venice by 1458, possibly following a conviction for adultery in 1457 that may have made continued residence uncomfortable. The Marche towns, Ascoli Piceno above all, became his territory. He painted nothing but religious subjects: polyptychs, Madonnas, altarpieces designed for specific church niches where the gold-ground backgrounds and the theatrical use of festoons, fruit, and cucumbers would catch the light at specific hours.
The 1486 Annunciation with Saint Emidius, now in the National Gallery in London, is the work that most condenses his method. The architectural setting is precise and Flemish in its love of depth and surface texture; the figures are described with a wiry, almost metallic clarity that owes something to engraving. On the panel he signed it "Opus Caroli Crivelli Veneti Militis", he had been knighted by the Prince of Capua that same year.
His style was conservative by the standards of the 1480s, when Bellini was moving towards atmospheric sfumato and Venetian colour. Crivelli's answer was greater elaboration, not revision.
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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.
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