Madre Jerónima de la Fuente - Diego Velázquez
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A striking 1620 portrait by Diego Velázquez depicting the resolute Madre Jerónima de la Fuente, founder of the Convent of Santa Clara in Manila.
Painted in 1620, this portrait depicts Madre Jerónima de la Fuente, a formidable figure of the Poor Clares order. Diego Velázquez captures the subject with a directness that avoids idealisation. The nun stands against a dark, neutral background, her gaze fixed upon the viewer with an intensity that conveys her resolute character. She is dressed in the traditional habit of her order, rendered in sombre tones of black and white. In her right hand, she holds a wooden crucifix, while her left hand grips a small book, likely a prayer book or a volume of religious texts.
The composition is austere, reflecting the ascetic nature of the subject. Above her head, a Latin inscription reads: Bonum est prestolari cum silentio salutare Dei. This phrase, taken from the Book of Lamentations, translates to: It is good to wait in silence for the salvation of God. Below, a lengthy Spanish inscription provides biographical details, identifying her as the founder of the Convent of Santa Clara in Manila.
Velázquez employs a restrained palette, focusing on the textures of the fabric and the weathered features of the nun's face. The light source is subtle, illuminating the white wimple and the crucifix, which draws the eye to the centre of the canvas. This work belongs to the early period of the artist's career in Seville, demonstrating his developing ability to convey psychological presence through precise observation. The painting is a study in religious devotion and individual authority, presenting a woman of significant historical agency. The lack of decorative elements ensures that the focus remains entirely on the subject, whose stern expression and posture communicate a life defined by discipline and religious commitment.
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.
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
Madre Jerónima de la Fuente - Diego Velázquez
Artist Biography
Diego Velázquez
He was born in Seville in 1599 and apprenticed at eleven to Francisco Pacheco, the city's most prominent painter and art theorist. He married Pacheco's daughter Juana. At court, he was not just a painter but a bureaucrat, holding successive administrative positions and eventually managing the decoration and logistics of royal events.
He owned an enslaved man, Juan de Pareja, who was himself a painter. In 1650, while in Rome, Velazquez painted de Pareja's portrait, now at the Metropolitan Museum of Art. The painting won him election to the Accademia di San Luca. That November, he granted de Pareja his freedom, effective after a four-year probationary period.
Las Meninas (1656) is the painting that breaks everything. Velazquez painted himself painting in the royal studio. The Infanta Margarita and her attendants occupy the foreground. A mirror in the background reflects the king and queen, implying they are standing where the viewer stands. The composition makes the artist, not the monarchs, the central figure. A red cross of the Order of Santiago appears on Velazquez's chest, but he was not awarded the knighthood until 1659, three years after the painting was completed. The cross was added later. Whether by the king himself, by Velazquez, or by de Pareja after the master's death remains disputed.
He died on 6 August 1660 in Madrid, shortly after organising the decorations for the marriage of the Infanta Maria Teresa to Louis XIV at the French border.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like