Fine Art Poster
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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.
Renunciation of Worldly Goods and The Bishop of Assisi Dresses St. Francis - Benozzo Gozzoli
Ordinarie pris
£28.00 GBP
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£28.00 GBP
Ordinarie pris
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Beskrivning
A detailed 1452 fresco by Benozzo Gozzoli depicting the pivotal moment of Saint Francis renouncing his worldly inheritance.
This fresco is part of the cycle depicting the life of Saint Francis of Assisi, located in the church of San Francesco in Montefalco. Benozzo Gozzoli, a student of Fra Angelico, executed this work in 1452. The scene captures a specific moment in the saint's life: his formal rejection of his father's wealth and his subsequent adoption of the religious habit under the protection of the Bishop of Assisi.
The composition is structured around a central architectural space, typical of the Quattrocento interest in perspective and urban settings. The figures are arranged in a frieze-like manner across the foreground, allowing for a clear reading of the narrative. Saint Francis stands at the right, partially unclothed, as he is covered by the Bishop's mantle. This gesture signifies his transition from a secular life to a spiritual one. To the left, his father, Pietro di Bernardone, is restrained by a companion, his expression conveying anger and disbelief at his son's actions.
Gozzoli employs a palette of soft pinks, ochres, and muted blues, which provides a sense of harmony to the scene. The architectural backdrop, featuring tall, slender buildings, creates a sense of depth while maintaining a decorative quality. The clothing of the onlookers reflects the fashion of the mid-15th century, grounding the religious event in the contemporary reality of the artist's time. The attention to the textures of the fabrics, from the heavy wool of the cloaks to the patterned vestments of the Bishop, demonstrates the technical skill of the artist. This work remains a clear example of the narrative style prevalent in Italian fresco cycles of the period, focusing on the human drama of the saint's conversion.
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Tillverkning
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.
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
Komplettera looken
Renunciation of Worldly Goods and The Bishop of Assisi Dresses St. Francis - Benozzo Gozzoli
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Benozzo Gozzoli
The self-portrait is easy to miss: Gozzoli painted himself peering from behind a rocky outcrop on the west wall of the Medici chapel, one large hand raised as if waving at the procession he has orchestrated across three walls. The fresco, commissioned in 1459 and completed by around 1463, is called the Procession of the Magi, but it reads more as a catalogue of Florentine power. Lorenzo de' Medici rides in gold robes as a young Magus; a youth in blue holds a baby leopard in a gold collar on a leash; and Byzantine Emperor John Palaeologus, who had visited Florence twenty years earlier as a guest of the Medici, appears as the eldest king on a white mule.
Gozzoli trained first as a goldsmith's apprentice under Lorenzo Ghiberti, whose Gates of Paradise doors for the Baptistery shaped his love of dense narrative and decorative precision. He then worked as an assistant to Fra Angelico, absorbing Renaissance spatial conventions without Fra Angelico's devotional gravity. Scholars have been blunt about his limitations: Ernst Gombrich called him a 'minor master' who applied new perspective methods 'gaily without worrying overmuch about their difficulty.' The Procession's rocky landscape still rises flat from bottom to top, indebted more to Ghiberti's bas-relief language than to Masaccio's pictorial space.
None of that troubled his patrons. The subject of the Magi was popular among wealthy Florentines precisely because it licensed the painting of costly brocades, gleaming gold, and thoroughbred horses in quantities that declared the patron's status. The Medici chapel, small enough that access felt like a privilege, was used for family mass and for receiving visiting ambassadors. The procession of kings served as a perfect backdrop for those audiences.
Gozzoli went on to paint extensive fresco cycles at Montefalco (1452, the life of St Francis) and at the Campo Santo in Pisa (from 1469, Old Testament narratives covering thousands of square feet). Neither matches the Medici chapel for concentrated ambition, but both confirm his command of large-scale narrative pageantry. He died at Pistoia in 1497, working almost to the end.
Gozzoli trained first as a goldsmith's apprentice under Lorenzo Ghiberti, whose Gates of Paradise doors for the Baptistery shaped his love of dense narrative and decorative precision. He then worked as an assistant to Fra Angelico, absorbing Renaissance spatial conventions without Fra Angelico's devotional gravity. Scholars have been blunt about his limitations: Ernst Gombrich called him a 'minor master' who applied new perspective methods 'gaily without worrying overmuch about their difficulty.' The Procession's rocky landscape still rises flat from bottom to top, indebted more to Ghiberti's bas-relief language than to Masaccio's pictorial space.
None of that troubled his patrons. The subject of the Magi was popular among wealthy Florentines precisely because it licensed the painting of costly brocades, gleaming gold, and thoroughbred horses in quantities that declared the patron's status. The Medici chapel, small enough that access felt like a privilege, was used for family mass and for receiving visiting ambassadors. The procession of kings served as a perfect backdrop for those audiences.
Gozzoli went on to paint extensive fresco cycles at Montefalco (1452, the life of St Francis) and at the Campo Santo in Pisa (from 1469, Old Testament narratives covering thousands of square feet). Neither matches the Medici chapel for concentrated ambition, but both confirm his command of large-scale narrative pageantry. He died at Pistoia in 1497, working almost to the end.
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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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