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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.
Martyrdom of Saint Ursula - Caravaggio
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£37.00 GBP
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£37.00 GBP
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Beskrivning
The final work by Caravaggio, this painting captures the dramatic moment of Saint Ursula's martyrdom through intense light and shadow.
The Martyrdom of Saint Ursula is the final work completed by Caravaggio before his death. Commissioned by Marcantonio Doria, the painting depicts the moment the Hunnish king fires an arrow at Saint Ursula. The composition is defined by the artist's signature use of chiaroscuro, where deep shadows consume the background and focus the viewer on the figures caught in the light.
Unlike earlier works that relied on complex staging, this piece is stripped of extraneous detail. The figures emerge from the darkness with a sense of immediacy. Saint Ursula stands with a calm, resigned expression, looking down at the arrow that has pierced her chest. Her posture is not one of struggle, but of quiet acceptance. To her left, the king is captured in a moment of sudden realisation, his face showing a mixture of aggression and regret. The metallic sheen of his armour contrasts with the soft, heavy folds of the saint's red garment.
Caravaggio painted this work in Naples during his final months. The brushwork is notably rapid and direct, reflecting the urgency of his circumstances at the time. The lack of a traditional setting forces the viewer to engage directly with the psychological tension between the executioner and the victim. It is a study in human frailty and the abruptness of violence. The painting remains a primary example of the late Baroque style, where the focus shifts from grand narrative to the raw, personal experience of the subject. The limited palette, dominated by deep blacks and intense reds, concentrates the emotional weight of the scene into a singular, frozen moment of transition.
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Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
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Martyrdom of Saint Ursula - Caravaggio
Ordinarie pris
Från £37.00 GBP
Reapris
Från £37.00 GBP
Ordinarie pris
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Caravaggio
Caravaggio killed a man in a fight over a tennis match. Or a gambling debt. Or a woman. The sources disagree. What is certain is that Ranuccio Tomassoni died on a Roman street in May 1606, Caravaggio held the sword, and the painter spent the last four years of his life on the run.
Before the killing, he had already transformed European painting. He arrived in Rome from Milan in the early 1590s, hungry and unknown, and within a decade had developed a method of painting from life, using strong directional light against deep shadow, that made the prevailing Mannerist style look theatrical and empty. He used real people as models: prostitutes, street boys, labourers. His saints had dirty feet. The Church commissioned altarpieces and then rejected them for being too vulgar, too real, too much like the people who actually attended church.
The Calling of Saint Matthew, painted for the Contarelli Chapel in San Luigi dei Francesi, is his method at its clearest. The light enters from the upper right like a blade. Matthew sits at a tax collector's table with his companions. Christ points. The scene looks like something you might see through a doorway, which is roughly the viewer's position. Nothing is idealised. The moment is ordinary and sacred simultaneously.
After the killing he fled to Naples, then Malta, then Sicily, then back to Naples. He kept painting. The late works are darker, faster, more desperate. He received a papal pardon and boarded a boat north. He died on a beach in Porto Ercole in July 1610, at thirty-eight. The cause is unknown: fever, infection, possibly lead poisoning from his paints. His influence on Rembrandt, Velazquez, Georges de La Tour, and every painter who has ever used a spotlight is difficult to overstate.
Before the killing, he had already transformed European painting. He arrived in Rome from Milan in the early 1590s, hungry and unknown, and within a decade had developed a method of painting from life, using strong directional light against deep shadow, that made the prevailing Mannerist style look theatrical and empty. He used real people as models: prostitutes, street boys, labourers. His saints had dirty feet. The Church commissioned altarpieces and then rejected them for being too vulgar, too real, too much like the people who actually attended church.
The Calling of Saint Matthew, painted for the Contarelli Chapel in San Luigi dei Francesi, is his method at its clearest. The light enters from the upper right like a blade. Matthew sits at a tax collector's table with his companions. Christ points. The scene looks like something you might see through a doorway, which is roughly the viewer's position. Nothing is idealised. The moment is ordinary and sacred simultaneously.
After the killing he fled to Naples, then Malta, then Sicily, then back to Naples. He kept painting. The late works are darker, faster, more desperate. He received a papal pardon and boarded a boat north. He died on a beach in Porto Ercole in July 1610, at thirty-eight. The cause is unknown: fever, infection, possibly lead poisoning from his paints. His influence on Rembrandt, Velazquez, Georges de La Tour, and every painter who has ever used a spotlight is difficult to overstate.
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Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
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Fine Art Framed
From £59
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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Artistbiografi
Caravaggio
Caravaggio killed a man in a fight over a tennis match. Or a gambling debt. Or a woman. The sources disagree. What is certain is that Ranuccio Tomassoni died on a Roman street in May 1606, Caravaggio held the sword, and the painter spent the last four years of his life on the run.
Before the killing, he had already transformed European painting. He arrived in Rome from Milan in the early 1590s, hungry and unknown, and within a decade had developed a method of painting from life, using strong directional light against deep shadow, that made the prevailing Mannerist style look theatrical and empty. He used real people as models: prostitutes, street boys, labourers. His saints had dirty feet. The Church commissioned altarpieces and then rejected them for being too vulgar, too real, too much like the people who actually attended church.
The Calling of Saint Matthew, painted for the Contarelli Chapel in San Luigi dei Francesi, is his method at its clearest. The light enters from the upper right like a blade. Matthew sits at a tax collector's table with his companions. Christ points. The scene looks like something you might see through a doorway, which is roughly the viewer's position. Nothing is idealised. The moment is ordinary and sacred simultaneously.
After the killing he fled to Naples, then Malta, then Sicily, then back to Naples. He kept painting. The late works are darker, faster, more desperate. He received a papal pardon and boarded a boat north. He died on a beach in Porto Ercole in July 1610, at thirty-eight. The cause is unknown: fever, infection, possibly lead poisoning from his paints. His influence on Rembrandt, Velazquez, Georges de La Tour, and every painter who has ever used a spotlight is difficult to overstate.
Before the killing, he had already transformed European painting. He arrived in Rome from Milan in the early 1590s, hungry and unknown, and within a decade had developed a method of painting from life, using strong directional light against deep shadow, that made the prevailing Mannerist style look theatrical and empty. He used real people as models: prostitutes, street boys, labourers. His saints had dirty feet. The Church commissioned altarpieces and then rejected them for being too vulgar, too real, too much like the people who actually attended church.
The Calling of Saint Matthew, painted for the Contarelli Chapel in San Luigi dei Francesi, is his method at its clearest. The light enters from the upper right like a blade. Matthew sits at a tax collector's table with his companions. Christ points. The scene looks like something you might see through a doorway, which is roughly the viewer's position. Nothing is idealised. The moment is ordinary and sacred simultaneously.
After the killing he fled to Naples, then Malta, then Sicily, then back to Naples. He kept painting. The late works are darker, faster, more desperate. He received a papal pardon and boarded a boat north. He died on a beach in Porto Ercole in July 1610, at thirty-eight. The cause is unknown: fever, infection, possibly lead poisoning from his paints. His influence on Rembrandt, Velazquez, Georges de La Tour, and every painter who has ever used a spotlight is difficult to overstate.
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