Assumption of the Virgin - Benozzo Gozzoli
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Description
A 1484 fresco by Benozzo Gozzoli depicting the Assumption of the Virgin, featuring the celestial ascent above a gathering of apostles.
This fresco, painted by Benozzo Gozzoli in 1484, forms part of the Tabernacle of the Madonna delle Tosse in Castelfiorentino. The work depicts the Virgin Mary ascending into heaven, surrounded by a celestial host of angels. Below, the apostles gather around an empty sarcophagus, their expressions conveying a mixture of awe and sorrow as they witness the miraculous event.
Gozzoli, a student of Fra Angelico, demonstrates his characteristic attention to narrative detail and decorative grace. The composition is divided into two distinct registers. The upper portion contains the divine realm, where the Virgin is seated within a mandorla, her form rendered with soft, flowing drapery. The lower portion occupies the earthly plane, featuring a group of figures whose varied postures and gestures create a sense of human reaction to the supernatural occurrence. The background includes a stylised depiction of a Tuscan town, reflecting the artist's interest in integrating local geography into his religious scenes.
The colour palette remains muted, consistent with the fresco technique of the period. The figures are arranged with a focus on clarity, ensuring the theological narrative is accessible to the viewer. Gozzoli employs a balanced approach to the scene, avoiding excessive ornamentation while maintaining a sense of order. The work provides a clear example of the Quattrocento style, where the transition from Gothic influence to the more naturalistic observations of the Renaissance is evident. This print captures the texture and tonal qualities of the original wall painting, preserving the delicate brushwork and the specific spatial arrangement intended by the artist for the tabernacle setting.
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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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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.
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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
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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
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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
Assumption of the Virgin - Benozzo Gozzoli
Artist Biography
Benozzo Gozzoli
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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